Silvia Cintra Galeria de Arte + Box 4
“Martelinho de ouro” (Golden Hammer), the title of Marcius Galan’s recent exhibition, refers to a technique for repairing dented cars using tools specially designed to smoothly apply pressure to the damaged part of the chassis. Here, the artist’s interventions sometimes seemed more invasive than that phrase would imply: He’d ripped apart a wall in spots, leaving in view the underlying metal studs. The 2017 work that gave the show its title was a wooden panel covered in white automotive paint with an iron bar jammed through it. In several works, iron was cut and folded, leaping through space. In other works, concentric drawings or half-moon illustrations resulted from the action of iron on woodgestures of measuring and drawing.
Galan’s work addresses two references of great importance to his generation of artists in Brazil: Neo-Concretism and Minimalismtwo ways in which
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