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Laercio Redondo, Carmen Miranda—Uma ópera da imagem (Carmen Miranda—An Opera of the Image) (detail), 2010, sound, mobiles, mixed media, dimensions variable.

Laercio Redondo

Casa França-Brasil

Laercio Redondo, Carmen Miranda—Uma ópera da imagem (Carmen Miranda—An Opera of the Image) (detail), 2010, sound, mobiles, mixed media, dimensions variable.

With his exhibition “Contos sem Reis” (Tales with No Kings), Laercio Redondo examined the history and symbols of Brazilian national identity in order to suggest not only what these exclude from official memory but also how such competing memories might have purchase on our understanding of the present. On entering the main hall of Casa Fran.a-Brasil (CFB), one first saw a scaffold-like structure built from thin wooden rods. This work, Ponto Cego (Blind Spot), 2013, nearly forty feet long and thirteen feet high, which Redondo produced with his longtime collaborator and the exhibition’s architect, Birger Lipinski, was situated at an oblique angle to the neoclassical building’s main axis. As one walked past it, the spelling of the word REVOLVER eventually emerged from the virtual volumes and planes created by the armature. In Portuguese, the word means “to turn over,” as if excavating

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