sao-paulo

Miguel Rio Branco, untitled, 2012, video projection (color, sound, 3 minutes 52 seconds), vibrating machines, metal plates. Installation view.

Miguel Rio Branco

Galeria Millan

Miguel Rio Branco, untitled, 2012, video projection (color, sound, 3 minutes 52 seconds), vibrating machines, metal plates. Installation view.

Following an artist’s career for more than twenty years, we construct a memory of him as an amalgam of images and experiences that have fascinated us and come to belong to us. I’ll never forget the first works I saw by Miguel Rio Branco: photographs of boxers training, highlighting the sensuality of the athletes’ very imperfections or the gleam of sweat on their skin, and the extraordinary film Nada levarei quando morrer, aqueles que mim deve cobrarei no inferno (I’ll Take Nothing with Me When I Die, Those Who Owe Me I’ll Collect in Hell), 1979–81, an exercise in gentle voyeurism revealing glimpses of the secret side of Salvador, the capital city of the Brazilian state of Bahia. But to complete the synthesis of memories, what viewers most hope for is an exhibition that offers more than the sum of what they thought they already knew: one that provides a broader vision of the

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