rio-de-janeiro

View of “Laercio Redondo,” 2015–16. Backdrop: Desvios (Detour) (detail), 2015. On screens: A casa de vidro (The Glass House), 1998/2008. Photo: Sergio Araujo.

Laercio Redondo

Museu de Arte Moderna

View of “Laercio Redondo,” 2015–16. Backdrop: Desvios (Detour) (detail), 2015. On screens: A casa de vidro (The Glass House), 1998/2008. Photo: Sergio Araujo.

O que acaba todos os dias” (What Ends Every Day) is the first comprehensive museum exhibition dedicated to the Brazilian artist Laercio Redondo. The show, which travels to Dallas Contemporary in September, brings together works created between 1998 and 2015, all jam-packed with references to the history of art and architecture, both Brazilian and foreign. In Rio, the exhibition was framed by a pair of curtains, a blue-gray-yellow Neo-concrete geometric abstraction, made in collaboration with exhibition designer Birger Lipinski. Upon entering, the viewer encountered a slanted board, covered in gray carpet, below a fluorescent light next to a fern. This arrangement belongs to the artist’s most recent video installation, Desvios (Detour), 2015. Redondo’s images, accompanied by a text by Soraya Guimarães Hoepfner, present the story of the self-taught architect Lota de Macedo Soares,

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