rio-de-janeiro

Lais Myrrha, Corpo de prova #5 (Body of Proof #5), 2017, bronze, concrete, watercolor on paper, dimensions variable.

Lais Myrrha

Galeria Athena Contemporânea

Lais Myrrha, Corpo de prova #5 (Body of Proof #5), 2017, bronze, concrete, watercolor on paper, dimensions variable.

Lais Myrrha’s exhibition “Cálculo das diferenças”(Calculation of Differences) explored the problem of equivalence as it plays out formally and materially. More importantly, the show addressed the ideological underpinnings of equivalence itself as a social and cultural doxa. Such was the case in recent works such as Dois pesos, duas medidas (Double Standard), 2016, shown at the Thirty-Second São Paulo Bienal (but not on view here), in which a pair of twenty-six-foot rectangular structures combined indigenous building materials (vines, logs, and straw) with those of industrial construction materials (bricks, cement, etc.). The scale of the structures was key to the project: Their size, somewhere between that of a small building and a large totem, rendered the juxtaposition all the more uncanny.

In Soma (não) nula (Non-zero Sum), 2017, part of the Athena Contemporânea show, Myrrha

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