Critics’ Picks

View of “Hudinilson Jr.,” 2014.

São Paulo

Hudinilson Jr.

Galeria Jaqueline Martins
Rua Dr. Cesário Mota Júnior, 443
March 25 - May 10

While experimenting with graffiti in the late 1970s, the São Paulo–based artist Hudinilson Jr. founded the collective 3NÓS3 with Mario Ramiro and Rafael França. They collaborated on a series of urban interventions, obscuring monuments with bags and obstructing street crossings with tape during the height of the military dictatorship. Marginalized in the Brazilian art world for decades and now rediscovered (with a simultaneous focus on his work in the current edition of the Glasgow International), Hudinilson Jr. passed away in August 2013. This exhibition, the first solo presentation of his work in his hometown, introduces his vast erotic universe. Curated by Marcio Harum, the show brings together a selection of collages, sketchbooks, mail art, photographs, Xeroxes, as well as sculptures produced with acrylic paint on starched clothing.

The narcissism of Hudinilson Jr.’s work unfolds here. A vitrine features the undated series “Espelha-Me/Espelha-Me” (Mirror-Me/Mirror-Me), in which the artist used a photocopier to create portraits of his nude body. Another vitrine showcases one of his many sketchbooks, which is open to a love poem that he penned in red ink: “love = solitude . . . the artist is alone and solitary while working in the studio, I’d like to be alone while creating—but my entire life,” he wrote. In an attempt to convey the artist’s tales and histories further, the exhibition presents a revealing video interview with Hudinilson Jr., recorded between 2011 and 2013 and edited by artist Vitor Butkus, titled Tratado do Narciso (Treaty of Narcissus). Hudinilson Jr. himself features only as reflection from the mirrors in the midst of his apartment atelier, as the camera moves across the walls densely hung with art and ephemera and the carefully arranged sculptural ensembles of relics such as Greek statuettes, toy rhinoceroses, and religious symbols.