Rio de Janeiro

Waltercio Caldas

Paço Imperial

It’s difficult to describe an exhibition like Waltercio Caldas’ “Anotações 1969–1996” (Annotations 1969–1996). First, there is the problem of attempting to “translate” the work of an artist that depends so much on the play of languages, visual and verbal. Second, “Anotações. . .” consisted of several dozen works (sketchbooks, drawings, objects, reproductions, texts, and a video piece), which—though for the most part small and rather simply constructed— engage complex issues. The work juxtaposes and exposes gaps between languages, the logic of the visual, the verbal and—in the case of the video piece—the auditory: their untranslatable and enigmatic nature. Though Caldas’ work might conjure Conceptual art, it strongly resists art-historical categorization.

The exhibition, which occupied a single room of this former imperial palace, offered a compelling alternative to the retrospective Caldas’

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