rio-de-janeiro

Cinthia Marcelle, em entre para perante (in between for before), 2015, acrylic paint on fabric, shoelaces on hardware, dimensions variable. Photo: Jaime Acioli.

Cinthia Marcelle

Silvia Cintra Galeria de Arte + Box 4

Cinthia Marcelle, em entre para perante (in between for before), 2015, acrylic paint on fabric, shoelaces on hardware, dimensions variable. Photo: Jaime Acioli.

These days, viewers have to enter art galleries ready for anything. And yet there are still certain basic things they usually do expect to find, such as explanatory shortcuts: either a critical text, a title, or an anecdote about the conception of the work on display that provides a hint of meaning or topicality—or, at the very least, a familiar kind of opaqueness that recurs often enough to reassure us, as viewers, that we are well-moored in the realm of contemporary art. It may be going too far to claim that Cinthia Marcelle’s recent show “em entre para perante”(in between for before) subverts these expectations, but it certainly does manipulate and detourn them in a deliberate, subtle manner.

The exhibition comprised neither discrete art objects nor dispersed and heterogeneous elements in a conventional installation. Instead, it featured a single 2015 work, after which the

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