https://randolpholamonier.com Randolpho Lamonier Fri, 25 Nov 2022 19:29:56 +0000 https://randolpholamonier.com en https://randolpholamonier.com/x Wed, 20 Mar 2019 15:53:48 +0000 Randolpho Lamonier https://randolpholamonier.com/x <img width="540" height="662" width_o="540" height_o="662" data-src="https://freight.cargo.site/t/original/i/382c49e4b7ea94b8796886998e1c007e5bff28b9718575d7034eb3fa0b901d31/Randolpho-Lamonier---06-2-pqno.jpg" data-mid="117345723" border="0" src="https://freight.cargo.site/w/540/i/382c49e4b7ea94b8796886998e1c007e5bff28b9718575d7034eb3fa0b901d31/Randolpho-Lamonier---06-2-pqno.jpg" /> <img width="1303" height="474" width_o="1303" height_o="474" data-src="https://freight.cargo.site/t/original/i/8b5ce07ba8e50e8ed05c58942ba6892f9fc27b3b2244f1a91f17dd355eea317c/site_sivlertape_pt.png" data-mid="117350916" border="0" src="https://freight.cargo.site/w/1000/i/8b5ce07ba8e50e8ed05c58942ba6892f9fc27b3b2244f1a91f17dd355eea317c/site_sivlertape_pt.png" /> <img width="1163" height="425" width_o="1163" height_o="425" data-src="https://freight.cargo.site/t/original/i/d07f1e1c660859cef85e655389e10847157f82566a79bc8012c15264916c8237/site_sivlertape_en2.png" data-mid="117350753" border="0" src="https://freight.cargo.site/w/1000/i/d07f1e1c660859cef85e655389e10847157f82566a79bc8012c15264916c8237/site_sivlertape_en2.png" /> https://randolpholamonier.com/index_PT Mon, 07 May 2018 17:00:15 +0000 Randolpho Lamonier https://randolpholamonier.com/index_PT https://randolpholamonier.com/My-Kind-Of-Dirty Thu, 26 Aug 2021 03:06:40 +0000 Randolpho Lamonier https://randolpholamonier.com/My-Kind-Of-Dirty My Kind Of Dirty Galeria Fort Gansevoort, Nova York https://www.fortgansevoort.com/online-exhibitions/randolpho-lamonier <img width="1896" height="2500" width_o="1896" height_o="2500" data-src="https://freight.cargo.site/t/original/i/4df3b49f9dc5dd07f66788a5a3a7f6421f5872690299d03bb7f05ca3f9ae7107/My-kind-of-dirty.jpg" data-mid="117423327" border="0" src="https://freight.cargo.site/w/1000/i/4df3b49f9dc5dd07f66788a5a3a7f6421f5872690299d03bb7f05ca3f9ae7107/My-kind-of-dirty.jpg" /> My Kind Of Dirtycordas, objetos variados, crochê, sinal luminoso, neon e impressão fotográfica sobre tecido 160 x 215 cm <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/f73af3e184e55ef79b4402a5b05446a70991102f29e5f6731b048a8ecddae116/13-copia.jpg" data-mid="117423831" border="0" src="https://freight.cargo.site/w/1000/i/f73af3e184e55ef79b4402a5b05446a70991102f29e5f6731b048a8ecddae116/13-copia.jpg" /> O porta bandeira do apocalypse serigrafia e carimbo sobre couro e tecido, cordas, correntes, plástico, vassoura e objetos 170 x 195 cm <img width="2500" height="1666" width_o="2500" height_o="1666" data-src="https://freight.cargo.site/t/original/i/e69da721d4ebdc44ccf3f70237e80b6c960f53893c9caf9d50142141b7707ee1/Capitao-Cloroquina.jpg" data-mid="117423663" border="0" src="https://freight.cargo.site/w/1000/i/e69da721d4ebdc44ccf3f70237e80b6c960f53893c9caf9d50142141b7707ee1/Capitao-Cloroquina.jpg" /> O gabinete do Capitão Cloroquina amanheceu vandalizadopintura, costura, couro, objetos e impressão fotográfica sobre tecido 280 x 180 cm <img width="2500" height="1666" width_o="2500" height_o="1666" data-src="https://freight.cargo.site/t/original/i/c1fd9b02816f44c6b5a459fe0d21b10e0cfadb6db78c1f30bdd9510f9494aa51/Ontem-vi-Deus.jpg" data-mid="117426127" border="0" src="https://freight.cargo.site/w/1000/i/c1fd9b02816f44c6b5a459fe0d21b10e0cfadb6db78c1f30bdd9510f9494aa51/Ontem-vi-Deus.jpg" /> Ontem vi Deus dormindo no chão da rua Aarão Reis plástico, pintura e costura sobre tecido 215 x 183 cm <img width="726" height="1000" width_o="726" height_o="1000" data-src="https://freight.cargo.site/t/original/i/85ac07618a1b644e75660411d3f6792630cf85de30adf4901177a8eb34986aef/1d20253b90c80e035bb94c17a8b62b82.jpeg" data-mid="117424236" border="0" src="https://freight.cargo.site/w/726/i/85ac07618a1b644e75660411d3f6792630cf85de30adf4901177a8eb34986aef/1d20253b90c80e035bb94c17a8b62b82.jpeg" /> Corações vigilantes impressão fotográfica, pintura e botões sobre tecido, plástico, rede de metal, luminária e antena de tv 130 x 100 x 10 cm <img width="1667" height="2500" width_o="1667" height_o="2500" data-src="https://freight.cargo.site/t/original/i/836828ec7b8a9a592d9b23c65d895eda0f274155db3b2a7aeb900dac888eff7d/8.jpg" data-mid="117424474" border="0" src="https://freight.cargo.site/w/1000/i/836828ec7b8a9a592d9b23c65d895eda0f274155db3b2a7aeb900dac888eff7d/8.jpg" /> Ready to lose? correntes, cordas e pintura em tecido 130 x 110 cm <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/4481f10d2c1edb75b483f3b5ec9f249d41ff41ab21163387ddaf14a294b2fdc0/9.jpg" data-mid="117425499" border="0" src="https://freight.cargo.site/w/1000/i/4481f10d2c1edb75b483f3b5ec9f249d41ff41ab21163387ddaf14a294b2fdc0/9.jpg" /> Podres poderes ainda 160 x 135 cm Cordas, esfregão, costura e pintura sobre tecido <img width="1978" height="2500" width_o="1978" height_o="2500" data-src="https://freight.cargo.site/t/original/i/e6cf1c34ed6d8637c99666605da7de03d2d38a35534012032199a1a487009f64/b366c4978d29dc21c5654db7bf3bc2ea.jpeg" data-mid="117426367" border="0" src="https://freight.cargo.site/w/1000/i/e6cf1c34ed6d8637c99666605da7de03d2d38a35534012032199a1a487009f64/b366c4978d29dc21c5654db7bf3bc2ea.jpeg" /> Distraídos morreremos cordas, vassoura, plástico, pintura e bordado sobre tecido 190 x 165 cm <img width="1730" height="2500" width_o="1730" height_o="2500" data-src="https://freight.cargo.site/t/original/i/4216fea36b41e0c4a65c4aa612967e1370d7ea3e77df67429b0309888ad21264/Esmbora-o-mundo-esteja-acabando.jpg" data-mid="117426471" border="0" src="https://freight.cargo.site/w/1000/i/4216fea36b41e0c4a65c4aa612967e1370d7ea3e77df67429b0309888ad21264/Esmbora-o-mundo-esteja-acabando.jpg" /> Embora o mundo esteja acabando, @kinkylatinboy passou a noite toda online, apenas se divertindo corda, corrente, couro e costura sobre tecido 165 x 130 cm <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/926995c423f229f5041bb80bb18eef8574fad2c0b787e8343f932035dc651228/7.jpg" data-mid="117501364" border="0" src="https://freight.cargo.site/w/1000/i/926995c423f229f5041bb80bb18eef8574fad2c0b787e8343f932035dc651228/7.jpg" /> Ass Fucker tecido, bordado, e botões sobre tapete 40 x 60 cm <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/f5f9dad0c2e267b97bb5090bcfe5d98a6af0551522042eb6bc9de4c66ebe52f0/10.jpg" data-mid="117426967" border="0" src="https://freight.cargo.site/w/1000/i/f5f9dad0c2e267b97bb5090bcfe5d98a6af0551522042eb6bc9de4c66ebe52f0/10.jpg" /> Fé e joelhos no chão, sem reação bordado, crochê e pintura sobre tecido 80 x 100 cm <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/3d206993bb3ca1042dc109cd89c8122bbb7d4c6bd221067f17ea7b08ea55ffe2/2.jpg" data-mid="117427174" border="0" src="https://freight.cargo.site/w/1000/i/3d206993bb3ca1042dc109cd89c8122bbb7d4c6bd221067f17ea7b08ea55ffe2/2.jpg" /> Bar da Lôra — Sábado à tarde, 32 graus chumbo, corda, couro, metal e tecido sobre trama plástica 80 x 50 cm <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/390a907ac849db20faa6d024dd7d83dc48015033b11dde9e9730f6a0d8ee6615/1.jpg" data-mid="117501335" border="0" src="https://freight.cargo.site/w/1000/i/390a907ac849db20faa6d024dd7d83dc48015033b11dde9e9730f6a0d8ee6615/1.jpg" /> Andarilho meio místico sentado na praça da rodoviária- eu acho que talvez ele saiba demais sobre a vida, ou talvez algum dia ele tenha tido uma grande decepção da qual nunca se recuperou pintura sobre tela plástica, chumbo, couro, corda e objetos 70 x 50 cm <img width="2000" height="2500" width_o="2000" height_o="2500" data-src="https://freight.cargo.site/t/original/i/806a65d9530c754f6c3ad8b789b1066c19383801ec38c32d51caa62471c4ae24/6.jpg" data-mid="117427197" border="0" src="https://freight.cargo.site/w/1000/i/806a65d9530c754f6c3ad8b789b1066c19383801ec38c32d51caa62471c4ae24/6.jpg" /> Incêndios misteriosos e especulação imobiliária tecido, bordado, couro e botões sobre tapete 120 x 46 cm <img width="2500" height="2000" width_o="2500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7239d72d27a6a9b5baaed0c82ca08de62c71b61fb8d04918a2fcbe12258e7eee/4.jpg" data-mid="117501103" border="0" src="https://freight.cargo.site/w/1000/i/7239d72d27a6a9b5baaed0c82ca08de62c71b61fb8d04918a2fcbe12258e7eee/4.jpg" /> Rua Vista Alegre tecido, bordado, e botões sobre tapete 45 x 60 cm <img width="2500" height="2000" width_o="2500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6e999dd81f07cc89a84e4bbb5c175e19c79d6b8e7a651bb8189873beb63a91cd/5.jpg" data-mid="117501256" border="0" src="https://freight.cargo.site/w/1000/i/6e999dd81f07cc89a84e4bbb5c175e19c79d6b8e7a651bb8189873beb63a91cd/5.jpg" /> Central Park x Maracanã tecido, bordado, e botões sobre tapete 40 x 60 xm Conversa de Randolpho Lamonier&nbsp;com&nbsp;Raphael Fonseca e Maxwell Alexandre&nbsp; Raphael Fonseca is a curator at the Museum of Contemporary Art Niterói, in Rio de Janeiro, Brazil. Aside from his curatorial practice,&nbsp;&nbsp;Fonseca is also&nbsp;a&nbsp;lecturer at&nbsp;the federal education institute, Colégio Pedro II. Throughout his career he has received several awards including&nbsp;the Centro Cultural São Paulo curatorial award in 2017 and the Marcantonio Viloça curatorial award in 2015.&nbsp;The&nbsp;conversation&nbsp;below features a dialogue between Raphael Fonseca,&nbsp;Randolpho&nbsp;Lamonier and fellow Brazilian artist,&nbsp;Maxwell Alexandre. Here, the artists discuss their respective upbringings in Brazil, sharing with us the ways in which&nbsp;their hometowns have influenced&nbsp;their visual practices. Raphael Fonseca: Based on some of the questions I came up with, one thing that has been on my mind is what unites us?&nbsp; None of us come from a family background of visual arts. I was born and raised in Taquara, Jacarepaguá, in Rio de Janeiro and I am the first person in my family to have gone to University. Maxwell, I know that you attended PUC-Rio (Catholic University of Rio de Janeiro) and I know Randolpho went to UFMG (Federal University of Minas Gerais). There is something that I think is interesting in both of your works. Randolpho thinks about his relationship with Contagem, which is a town near Belo Horizonte, while Maxwell focuses more on his roots from the Rocinha. I am going to begin by first asking Randolpho how he manifests and transforms the theme of his birthplace, Contagem, in his practice. Randolpho Lamonier:It’s hard to answer this question because the subject, themes and discussions that are present in my work are very fluid. When I started attending UFMG, around 2012, is when I first began to look back and reflect on my childhood in Contagem. Because of the four-hour commute by bus, I had to move away and ended-up relocating to Belo Horizonte. However, only once moving to Belo Horizonte did I begin to notice details about suburban life. My colleagues changed, my social circle changed, and I began to get a glimpse of this world that I was stepping into, the art world. I started to think more about the meaning of authority. I felt very weird in the beginning, but ended up connecting with friends and colleagues who also identified with these “weird” feelings. For example, Dayane Tropicaos is one of those people. We lived in the same neighborhood and ended up meeting in college. Only after having moved away from Contagem to pursue my studies in Belo Horizonte, did I begin to feel the need to go back to revisit my hometown, but this time from the point of view of a foreigner. I began to pick up things as metaphors. For example, the industrial aspect of the city says a lot about my personal experience there. My whole family worked in a factory, especially my mother who has done so her entire life. There is hardship in such places, which is why I immediately connected with the reality of this environment. So, I started visiting some abandoned places such as factories, railroad tracks, abandoned parks and I eventually started drifting away. Contagem is all connected by railroad tracks that are used for the transportation of iron ore. I started combining what my city had to offer because of this. I started working with fire and mainly creating drawings on the floor. A specific thought I had during this time was about my relationship with work.&nbsp; In a metaphoric sense, the harsh side of life from a political and anthropological view. I began to explore and study how my family’s life at work manifested into the dynamics of our relationship. Now, I often try to go back to Contagem, as my whole family lives there and the majority of my friends. All my memories and issues, regarding work, originate from this place. Contagem is a place that I will always keep going back to. RF: Perfect! Maxwell, how is your relationship with the Rocinha? I think it’s quite different from Randolpho’s case. You mentioned in your interview for the PIPA Prize that you never moved away and keep living there till this day. Maxwell Alexandre: Exactly! There was always a mental distance, never a physical one. I’ve never left the Rocinha, I’ve been living here for the last thirty years since enrolling in University in 2011 to study graphic design and visual arts.&nbsp;I encountered the concept of contemporary art later, in a course I took with Eduardo Berliner, and this is when my life changed.&nbsp;This is a field in which I could find myself, with graphic design there were many sophisticated issues that I could work with. I didn’t have a lot of financial resources, so I had to improvise a lot and I felt comfortable doing so through art. While attending university, I was still very rooted in the evangelical religion and I was often ridiculed for that. I started seeing everything as a church, such as my university, and what I mean by church is the structure of it.&nbsp; I started learning more about other religions and their stories. The more I learned, the farther away I felt from Jesus. I felt a divide taking place. There I learned the name of Jesus doesn’t have any power, but being an artist is a place of reverence. For example, an atheist that doesn’t believe in God or anything would look to a piece of art in reverence and cry. Every time I returned to the slum, nobody would care if I was an artist. I would collect things in the streets, as I often saw the potential of what it could become, once integrated them into my artwork. I had to preserve the name of Jesus in the slum. These were the two worlds I was living in. I didn’t realize that at that time, I had to take a step back to be able to understand the difference of these two worlds, which now I believe I do. Faith, for example, is an important aspect of my life. Faith and creativity to me are rooted in the same foundation. Attending an expensive university and living among a ‘class A’ environment, caused my behavior, vocabulary, and style to change. I was mentally living in this seperate world, and physically living in the slums. I trained myself to view the world through beauty, history and visual communication. Debates that focused on the topic of minorities started to capture my interest. The fact that I am Black, as well as other concerns and frustrations, is what made me break away from the ‘class A’ system. I came back to my world, the slum, and decided to stay in this world. RF: Let me ask another question starting with Randolpho. Both of you deal with very fragile materials in different ways. Randolpho how do you deal with this aspect of fragility within your work? RL: Before working as an artist, I was working in theater as an actor, and this is where I gained the majority of my experiences. No one in my family believed that this could be a profession. I initially started taking a theater workshop in Contagem and, once I moved to Belo Horizonte, I pursued my university studies as a theater major, until I ended up working in an office job. I was 18 years old when I joined this company, so the experience of working with my colleagues greatly impacted me. One person who influenced me the most was my aunt. She was a poet who worked a lot with her hands, and you can see her influence in my artwork. I work a lot with the idea of excess and often collect a lot of the materials directly from the streets, as I cannot afford much. When it comes to working with textiles, it is very important for me to work with used materials.&nbsp; In the past, there have been times where I wanted to work but had no money at all. Sometimes I had to use pieces of my clothes as material. Nowadays, this has become a part of my work.&nbsp; I try to change the meaning of objects through my work.&nbsp; For example, I have used kitchen supplies in different contexts. My relationship with art is related to my experience in the theater industry. I work a lot with my body, as I move around a lot when I work; sitting still is hard for me. When there is an exhibition and there is a piece of art that comes out from the wall, or is hanging from the ceiling, I want the people to see it through my perspective. RF: Maxwell, tell us more about how you plan your exhibitions. RL: I just want to comment really quickly about your exhibition named “Close a door to open a window”, which I was very impressed with and touched by. MA: Thank you! Once I start a project, it’s as if I become a part of it. My paintings are like shorthand.&nbsp; The experiences I have, end up being connected to one another. With the brown paper, I was told to use small sizes, as it would have been easier to sell, but what interested me was to work in a bigger dimension. The fragility of the brown paper and the blackness of the shoe polish&nbsp;made it very poetic for me. RF: I wanted to ask one last question for the both of you.&nbsp;Randolpho, you recently sent pictures of your artwork from your exhibition, “My Kind Of Dirty”. One set of images showed the Brazilian president wearing a facemask, while the other ones were a series of serigraphs of skulls. I wanted to ask the both of you, and get your opinion on the notion of using historic and political events in art. What is it like combining different techniques and materials? RL: I have used some political and historical images before in some videos and, recently, they are reappearing in my work, which is not intentional. The images that are being used in my work come from media, newspapers, etc. This collection of serigraphs I worked on was my very first one. I went back and forth many times about reproducing the face of our current president in Brazil as I thought that image was very symbolic. Regarding different types of media, it’s difficult for me to comment because of my formation in visual arts and its innateness. The use of video art became an important part of my life, stemming from my childhood, as my uncle owned a film-making company. I had many part time jobs growing up, which, in one way or another, influenced my work.&nbsp; Because of all the different jobs I’ve had, I don’t see any difference in the creation process which involves different types of formats. For example, video, photography, etc. MA: In my case, painting is the type of media that has given me the fastest result in terms of recognition. The fact that a painting is so unique makes it more relevant than other types of media. The painter, when he paints, feels he has the power to tell his story. During my time at University, I would often work with Keith Haring’s drawings and because of its simplicity, I never had any difficulties when it came to copying images or pictures. I did this because I felt the urgency and need to tell stories in the street. I would look at these drawings as if they were a very simple alphabet, to be used as letters to write the story that I wanted. I think of art as a software or a research tool that may be used freely by everyone. RF: Randolpho, I want you to discuss where the theme of faith comes across in your artwork. Sometimes I look at your work with a message of hope, but at other times as if it is representing or portraying a cynical message’. RL: Sometimes my work portrays the message of hope and, at other times, of despair.&nbsp; To me, art is a significant part of my life, as I tend to view my artwork as a means of receiving answers about my life and the world around me.&nbsp; When I look at myself, I see confusion, just as I do when I look around me. I consider myself to be a very hopeful person in the sense that something positive can always happen. I project my hopes and faith in my work. RF: How do you feel being an artist in Brazil during this scary political era? RL: I now feel very challenged as an artist. I ask myself, "what is my work and time asking of me as an artist?”.&nbsp; In my opinion, it is very important to use your platform so that your work can have a voice of its own.&nbsp;I feel very anguished with the current situation here in Brazil, and this moment of crisis we are experiencing only makes me want to push forward to reach my goals. https://randolpholamonier.com/Profecias Mon, 07 May 2018 16:18:01 +0000 Randolpho Lamonier https://randolpholamonier.com/Profecias Profecias Têxtil (Técnica mista sobre tecido e plástico)Dimensões variáveis (155x185 cm - 180x200 cm) 2018 - 2021 <img width="6000" height="8000" width_o="6000" height_o="8000" data-src="https://freight.cargo.site/t/original/i/03b5ea131816c1f51b613369e08fed655e9ab17789c015dace6fe897d5e517b8/rlamonier_profecias-americalatina-pqn.jpg" data-mid="30893360" border="0" src="https://freight.cargo.site/w/1000/i/03b5ea131816c1f51b613369e08fed655e9ab17789c015dace6fe897d5e517b8/rlamonier_profecias-americalatina-pqn.jpg" /><img width="4060" height="5416" width_o="4060" height_o="5416" data-src="https://freight.cargo.site/t/original/i/2c8d772a17180dd3d6b92795f107780aa8510e0193129c74beab76cc17fa9807/210902-Randolpho-Lamonier-ph-Ana-Pigosso-16-hr.jpg" data-mid="125081814" border="0" src="https://freight.cargo.site/w/1000/i/2c8d772a17180dd3d6b92795f107780aa8510e0193129c74beab76cc17fa9807/210902-Randolpho-Lamonier-ph-Ana-Pigosso-16-hr.jpg" /> &nbsp;<img width="6000" height="8000" width_o="6000" height_o="8000" data-src="https://freight.cargo.site/t/original/i/7a4f3699c7135f1bf31c407a1211a3d9f022791a9f3ec03d13ed02770aae7207/rlamonier_profecias-presidenta.jpg" data-mid="30893039" border="0" src="https://freight.cargo.site/w/1000/i/7a4f3699c7135f1bf31c407a1211a3d9f022791a9f3ec03d13ed02770aae7207/rlamonier_profecias-presidenta.jpg" /><img width="3708" height="4635" width_o="3708" height_o="4635" data-src="https://freight.cargo.site/t/original/i/d043c3ec7f12a70384e96f2c67227ee292058ede40051dc46d3f825835cdde2c/rlamonier_profecias_operarixs.JPG" data-mid="15985774" border="0" src="https://freight.cargo.site/w/1000/i/d043c3ec7f12a70384e96f2c67227ee292058ede40051dc46d3f825835cdde2c/rlamonier_profecias_operarixs.JPG" /> <img width="3940" height="5257" width_o="3940" height_o="5257" data-src="https://freight.cargo.site/t/original/i/c37576ef086c53b145521fd55613c3a73c8f3c93834b18bd548f1bf77e07edb3/210902-Randolpho-Lamonier-ph-Ana-Pigosso-11-hr.jpg" data-mid="125081813" border="0" src="https://freight.cargo.site/w/1000/i/c37576ef086c53b145521fd55613c3a73c8f3c93834b18bd548f1bf77e07edb3/210902-Randolpho-Lamonier-ph-Ana-Pigosso-11-hr.jpg" /><img width="4112" height="5487" width_o="4112" height_o="5487" data-src="https://freight.cargo.site/t/original/i/7b8bae9c9d05d70ce2d080ec82bc8756bc23de82dc94b0cf7d81fdadedd1bc65/210902-Randolpho-Lamonier-ph-Ana-Pigosso-6-hr.jpg" data-mid="125081812" border="0" src="https://freight.cargo.site/w/1000/i/7b8bae9c9d05d70ce2d080ec82bc8756bc23de82dc94b0cf7d81fdadedd1bc65/210902-Randolpho-Lamonier-ph-Ana-Pigosso-6-hr.jpg" /><img width="3621" height="4526" width_o="3621" height_o="4526" data-src="https://freight.cargo.site/t/original/i/5bc07edbc6ad7d27414039113b10953b4adebff84033aa808cd2256a69f3db77/rlamonier_profecias_guaranikaiowa.JPG" data-mid="15985772" border="0" src="https://freight.cargo.site/w/1000/i/5bc07edbc6ad7d27414039113b10953b4adebff84033aa808cd2256a69f3db77/rlamonier_profecias_guaranikaiowa.JPG" /><img width="3050" height="3812" width_o="3050" height_o="3812" data-src="https://freight.cargo.site/t/original/i/bd4dc4f7d47cf9c9eefba104291b3cfeec6238928e6aee91df5d88b164de87b8/rlamonier_profecias_exercitoqueer.jpg" data-mid="30893323" border="0" src="https://freight.cargo.site/w/1000/i/bd4dc4f7d47cf9c9eefba104291b3cfeec6238928e6aee91df5d88b164de87b8/rlamonier_profecias_exercitoqueer.jpg" /><img width="3880" height="5178" width_o="3880" height_o="5178" data-src="https://freight.cargo.site/t/original/i/2ba908482a9869c3b95100e80755799ec118085397f80ef51cc81474f9a5a498/210902-Randolpho-Lamonier-ph-Ana-Pigosso-35-hr.jpg" data-mid="125081816" border="0" src="https://freight.cargo.site/w/1000/i/2ba908482a9869c3b95100e80755799ec118085397f80ef51cc81474f9a5a498/210902-Randolpho-Lamonier-ph-Ana-Pigosso-35-hr.jpg" /><img width="4902" height="6270" width_o="4902" height_o="6270" data-src="https://freight.cargo.site/t/original/i/258aa002634230ab256db0090e0df117218d7c9e3a7598928190bc206ec3530c/rlamonier_profecias_mst.jpg" data-mid="30893746" border="0" src="https://freight.cargo.site/w/1000/i/258aa002634230ab256db0090e0df117218d7c9e3a7598928190bc206ec3530c/rlamonier_profecias_mst.jpg" /><img width="3815" height="5080" width_o="3815" height_o="5080" data-src="https://freight.cargo.site/t/original/i/420026bf2e3b5734f1e2c199ecdaae84a678e2bb56b53a59b392db2ac1b057b6/210902-Randolpho-Lamonier-ph-Ana-Pigosso-29-hr.jpg" data-mid="125081815" border="0" src="https://freight.cargo.site/w/1000/i/420026bf2e3b5734f1e2c199ecdaae84a678e2bb56b53a59b392db2ac1b057b6/210902-Randolpho-Lamonier-ph-Ana-Pigosso-29-hr.jpg" /> <img width="2427" height="3033" width_o="2427" height_o="3033" data-src="https://freight.cargo.site/t/original/i/f401a88427ee2e1e73a5174cc2755338351b05922b4b9f837f71d753f9c1ac52/rlamonier_profecias_amor.jpg" data-mid="70447893" border="0" src="https://freight.cargo.site/w/1000/i/f401a88427ee2e1e73a5174cc2755338351b05922b4b9f837f71d753f9c1ac52/rlamonier_profecias_amor.jpg" /><img width="4300" height="5664" width_o="4300" height_o="5664" data-src="https://freight.cargo.site/t/original/i/085b1ecdf7b383e86f909c9f983c1348ed18426f0e5f7805fc6c26e283a25223/210902-Randolpho-Lamonier-ph-Ana-Pigosso-22-hr.jpg" data-mid="125081092" border="0" src="https://freight.cargo.site/w/1000/i/085b1ecdf7b383e86f909c9f983c1348ed18426f0e5f7805fc6c26e283a25223/210902-Randolpho-Lamonier-ph-Ana-Pigosso-22-hr.jpg" /><img width="3628" height="4840" width_o="3628" height_o="4840" data-src="https://freight.cargo.site/t/original/i/31a2c2da04ed0488c8d10bf508bff8760a816adf9144f2aa56328ace8fe38b67/210902-Randolpho-Lamonier-ph-Ana-Pigosso-1-hr.jpg" data-mid="125081810" border="0" src="https://freight.cargo.site/w/1000/i/31a2c2da04ed0488c8d10bf508bff8760a816adf9144f2aa56328ace8fe38b67/210902-Randolpho-Lamonier-ph-Ana-Pigosso-1-hr.jpg" /> <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/7ba20821c7b466db83ed1c01895a29882644263d8891583f4184b9edbb5b8b27/MITOMOTIM.jpg" data-mid="15985977" border="0" src="https://freight.cargo.site/w/1000/i/7ba20821c7b466db83ed1c01895a29882644263d8891583f4184b9edbb5b8b27/MITOMOTIM.jpg" /> vista da exposição Mitomotim, curadoria de Júlia Rebouças.Galpão VB - Associação Cultural Videobrasil, São Paulo, 2018. https://randolpholamonier.com/Self-Combustion Fri, 25 Nov 2022 19:29:56 +0000 Randolpho Lamonier https://randolpholamonier.com/Self-Combustion Self Combustioninstalação [têxteis, escultura, vídeo monocanal] obra comissionada para a exposição Who tells a tale adds a tailcuradoria de Raphael Fonseca Denver Art Museum, EUA 2022 <img width="4000" height="2708" width_o="4000" height_o="2708" data-src="https://freight.cargo.site/t/original/i/34430f94f267c2f3c6efeef3603657ff549674a101bc78659b5bba1c53d71915/IMG_20221125_155126_969.jpg" data-mid="160161533" border="0" src="https://freight.cargo.site/w/1000/i/34430f94f267c2f3c6efeef3603657ff549674a101bc78659b5bba1c53d71915/IMG_20221125_155126_969.jpg" /><img width="4000" height="2668" width_o="4000" height_o="2668" data-src="https://freight.cargo.site/t/original/i/8b4acb4ede7a093dadbb0d442f96b6549dacf2b15c23cbe94aa4c1a0a3d8a251/IMG_20221125_155125_569.jpg" data-mid="160161532" border="0" src="https://freight.cargo.site/w/1000/i/8b4acb4ede7a093dadbb0d442f96b6549dacf2b15c23cbe94aa4c1a0a3d8a251/IMG_20221125_155125_569.jpg" /><img width="4000" height="2668" width_o="4000" height_o="2668" data-src="https://freight.cargo.site/t/original/i/2f74bcd5da238bde1f16afa3d8537b214cb1ef492174b8ae81e481cdc9af2f49/IMG_20221125_155127_485.jpg" data-mid="160161534" border="0" src="https://freight.cargo.site/w/1000/i/2f74bcd5da238bde1f16afa3d8537b214cb1ef492174b8ae81e481cdc9af2f49/IMG_20221125_155127_485.jpg" /> Self Combustionem co-autoria com Victor Galvão video 4k, 10', 2022 https://randolpholamonier.com/Brasil-2019-partitura-para-fogo-e-metais-pesados Sun, 10 May 2020 13:27:17 +0000 Randolpho Lamonier https://randolpholamonier.com/Brasil-2019-partitura-para-fogo-e-metais-pesados Brasil 2019 — partitura para fogo e metais pesadosinstalação [filme em três canais, som, esculturas, plantas, objetos encontrados, têxtil] obra comissionada para a 15a Bienal de Arte Contemporênea de Lyon / Jeune Création InternationaleInstitut d’Art Contemporain, Villeurbane / Rhône-Alpes14x7x5 m 2019 <img width="8256" height="5504" width_o="8256" height_o="5504" data-src="https://freight.cargo.site/t/original/i/090301ff3b67929c2e7d9286e84415f69b49e24257e7438f93b6a4ea94040fe2/BR-19_01.jpg" data-mid="70399086" border="0" src="https://freight.cargo.site/w/1000/i/090301ff3b67929c2e7d9286e84415f69b49e24257e7438f93b6a4ea94040fe2/BR-19_01.jpg" /><img width="4893" height="3140" width_o="4893" height_o="3140" data-src="https://freight.cargo.site/t/original/i/31445de351fb782ae0fabacf0516418e915c7284a943986b9f06a2e42112e333/BR-19_02.jpg" data-mid="70399088" border="0" src="https://freight.cargo.site/w/1000/i/31445de351fb782ae0fabacf0516418e915c7284a943986b9f06a2e42112e333/BR-19_02.jpg" /><img width="4896" height="2760" width_o="4896" height_o="2760" data-src="https://freight.cargo.site/t/original/i/985d17abb026bbad40f5024ef31c7802f2d81f5d668bca5679ed96653df5146c/BR-19_03.jpg" data-mid="70399090" border="0" src="https://freight.cargo.site/w/1000/i/985d17abb026bbad40f5024ef31c7802f2d81f5d668bca5679ed96653df5146c/BR-19_03.jpg" /><img width="3573" height="2607" width_o="3573" height_o="2607" data-src="https://freight.cargo.site/t/original/i/740494adeb31f0e46d05c2c1aae477091703f5857efdf64b324e8a9b7b031ba6/BR-19_04.jpg" data-mid="70399091" border="0" src="https://freight.cargo.site/w/1000/i/740494adeb31f0e46d05c2c1aae477091703f5857efdf64b324e8a9b7b031ba6/BR-19_04.jpg" /><img width="4766" height="2854" width_o="4766" height_o="2854" data-src="https://freight.cargo.site/t/original/i/146f0f710672641210cf10a0f6eff62765be32f66f9cfed44457cc84986c8ba6/BR-19_05.jpg" data-mid="70399092" border="0" src="https://freight.cargo.site/w/1000/i/146f0f710672641210cf10a0f6eff62765be32f66f9cfed44457cc84986c8ba6/BR-19_05.jpg" /><img width="3500" height="2115" width_o="3500" height_o="2115" data-src="https://freight.cargo.site/t/original/i/a6ff381a68602b63dbb51787a2822483f128682d5916b183a8fe4279a17ed7e1/BR-19_06.jpg" data-mid="70399093" border="0" src="https://freight.cargo.site/w/1000/i/a6ff381a68602b63dbb51787a2822483f128682d5916b183a8fe4279a17ed7e1/BR-19_06.jpg" /><img width="4000" height="2672" width_o="4000" height_o="2672" data-src="https://freight.cargo.site/t/original/i/5f109a48486c9f02d9334b870ee09303ac7184cab8585b2b192ed125dfa027f8/BR-19_07.jpg" data-mid="70399094" border="0" src="https://freight.cargo.site/w/1000/i/5f109a48486c9f02d9334b870ee09303ac7184cab8585b2b192ed125dfa027f8/BR-19_07.jpg" /><img width="4766" height="2854" width_o="4766" height_o="2854" data-src="https://freight.cargo.site/t/original/i/ed5edbf5de17d271446d13e9aba12957a786c0bf2120e0002ea62a34bce020d3/BR-19_08.jpg" data-mid="70399095" border="0" src="https://freight.cargo.site/w/1000/i/ed5edbf5de17d271446d13e9aba12957a786c0bf2120e0002ea62a34bce020d3/BR-19_08.jpg" /><img width="8167" height="5445" width_o="8167" height_o="5445" data-src="https://freight.cargo.site/t/original/i/39a0095ad2c4f0b66e6e9062b4264f6d855d565a6e7996bc6a502f9542b9ba11/BR-19_09.jpg" data-mid="70399096" border="0" src="https://freight.cargo.site/w/1000/i/39a0095ad2c4f0b66e6e9062b4264f6d855d565a6e7996bc6a502f9542b9ba11/BR-19_09.jpg" /><img width="4851" height="3204" width_o="4851" height_o="3204" data-src="https://freight.cargo.site/t/original/i/5c1440d5105900db0e91bb5d7d29ebee30b42595666295d475ed213b8cd8a559/BR-19_10.jpg" data-mid="70399097" border="0" src="https://freight.cargo.site/w/1000/i/5c1440d5105900db0e91bb5d7d29ebee30b42595666295d475ed213b8cd8a559/BR-19_10.jpg" /><img width="7864" height="5242" width_o="7864" height_o="5242" data-src="https://freight.cargo.site/t/original/i/d2ef77bce09ec3ce844f96e6c9167ceb2d2900760b7f1a06f70d3f920bf2cc6f/BR-19_11.jpg" data-mid="70399098" border="0" src="https://freight.cargo.site/w/1000/i/d2ef77bce09ec3ce844f96e6c9167ceb2d2900760b7f1a06f70d3f920bf2cc6f/BR-19_11.jpg" />fotografias por Blaise Adillon e Victor Galvão A graduate of the Fine Arts School in Belo Horizonte, Randolpho Lamonier brings a subjective yet documentary perspective to the sex, protest, night and political lives of his native suburb and of Brazil’s big cities. In his series Prophecies (2018), the colourful images and the words embroired on large banners are all contemporary demands prophetised in the future, which reflect a current state of injustice and oppression. This form of protest patchwork, alternative to a state of normality, is found in works such as Vigilia (2017): an installation that juxtaposes neons, videos and photographs of raw images that explore so-called marginal lifestyles and practices — anticapitalist demonstrations, bondage, hospital beds and drag queens –, composing an identity that is both intimate and collective. His output resonates like an appeal for general vigilance for a fairer, more inclusive future. For the Young International Creation show, Lamonier assembles, collects and accumulates objects, material and gestures in an installation that reflects a conscious state of insurrection, where blood mingles with an acidulous queer aesthetic, like a festive response to everyday violence. Extraído de Là où les eaux se mêlent. Catálogo da 15e Lyon Biennale, França, 2019. <img width="2500" height="1406" width_o="2500" height_o="1406" data-src="https://freight.cargo.site/t/original/i/1e6ef0af492b89bbbd1b307c8efe4838253c55a01fc532d390807c0926f05214/20190830_lucio.00_00_23_01.Quadro001.jpeg" data-mid="70400850" border="0" src="https://freight.cargo.site/w/1000/i/1e6ef0af492b89bbbd1b307c8efe4838253c55a01fc532d390807c0926f05214/20190830_lucio.00_00_23_01.Quadro001.jpeg" /> <img width="2500" height="1406" width_o="2500" height_o="1406" data-src="https://freight.cargo.site/t/original/i/01dfbf8fc583e2d1f230066af942e2d00d8f0d52f0927ef72edb3aa59f68d89d/vlcsnap-2019-09-27-23h11m48s935.png" data-mid="70400854" border="0" src="https://freight.cargo.site/w/1000/i/01dfbf8fc583e2d1f230066af942e2d00d8f0d52f0927ef72edb3aa59f68d89d/vlcsnap-2019-09-27-23h11m48s935.png" /> <img width="2500" height="1761" width_o="2500" height_o="1761" data-src="https://freight.cargo.site/t/original/i/1bb728a0d7b356d8e44641e9f046d3b1efa3a3939f581226d59013c291c18159/BR-19-TAPE2_sara.00_58_14_26.Quadro001.jpeg" data-mid="70400852" border="0" src="https://freight.cargo.site/w/1000/i/1bb728a0d7b356d8e44641e9f046d3b1efa3a3939f581226d59013c291c18159/BR-19-TAPE2_sara.00_58_14_26.Quadro001.jpeg" /> <img width="2500" height="1761" width_o="2500" height_o="1761" data-src="https://freight.cargo.site/t/original/i/3675c6d3a2bcb3cddc4ed4c1de46d098228b4f15efe4855b547465e7308b3fea/BR-19-TAPE1.mov.01_06_52_07.Quadro001.jpeg" data-mid="70401048" border="0" src="https://freight.cargo.site/w/1000/i/3675c6d3a2bcb3cddc4ed4c1de46d098228b4f15efe4855b547465e7308b3fea/BR-19-TAPE1.mov.01_06_52_07.Quadro001.jpeg" /> com AMÁLIA COELHO ANA GAMA BERNARDO PÁDUA BRUNO RIOS CRISTINA MADEIRA DANIELA PEDROSA DAYANE TROPICAOS DESALI HUGO HONORATO IAN GAVIÃO JULIA BAUMFELD LUANA LACERDA LUANA VITRA LÚCIO HONORATO PAOLA RODRIGUES PEDRO SALDANHA SARA NÃO TEM NOME THYAGO SAINTE THYANA HACLA VICTOR GALVÃO narração ROSA MARIA UNDA SOUKItexto RANDOLPHO LAMONIER fotografia e edição VICTOR GALVÃO fotografia adicional LUANA LACERDA BRUNO RIOS LUIZ ROQUE tradução francesa CÉDRIC ESTURILLO trilha sonora PODESERDESLIGADO — CGE3TRICHARD JONAS — HARDCORE JUNGLE GABBER HINTERHEIM — SEDNOSETERCES costureira MARIA DO CARMO C. LAMOUNIER produzido por GRÃO PIXEL FILMS PERISCÓPIO GALLERY https://randolpholamonier.com/Uma-promessa Mon, 07 May 2018 16:28:00 +0000 Randolpho Lamonier https://randolpholamonier.com/Uma-promessa Uma promessa Instalação (tecidos, espuma e lã) exposição Mitomotim, curadoria de Júlia Rebouças Galpão VB / Associação Cultural Videobrasil, São Paulo 10x6m aprxm 2018 <img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/eeeec21fa76b1e3713f9a6c02cd8121bf0dd7b420890db046a895cc503b8f61e/promessa_rlamoniemitomotim.jpg" data-mid="15986138" border="0" src="https://freight.cargo.site/w/1000/i/eeeec21fa76b1e3713f9a6c02cd8121bf0dd7b420890db046a895cc503b8f61e/promessa_rlamoniemitomotim.jpg" /> “AGORA AGORA AGORA E AINDA ANTES QUE ESSA BALA ME ATRAVESSE EU PROMETO QUE DO JURUNAS AO JANGURUSSU E DA CEILÂNDIA À BAÍA DE GUANABARA OS POBRES VÃO MASTIGAR OS RICOS E OS VENCIDOS VINGARÃO SEUS MORTOS” https://randolpholamonier.com/Vigilia Fri, 23 Feb 2018 23:38:24 +0000 Randolpho Lamonier https://randolpholamonier.com/Vigilia Vigília instalação [fotografias, lâmpadas, jornais, objetos] 10x2m aprx 2017 <img width="5554" height="2598" width_o="5554" height_o="2598" data-src="https://freight.cargo.site/t/original/i/6696be026b6f1f73b523d4fc45cec37c16ee009a1b692eb893c1be22d7a08811/vigilia-01a.jpg" data-mid="70450877" border="0" src="https://freight.cargo.site/w/1000/i/6696be026b6f1f73b523d4fc45cec37c16ee009a1b692eb893c1be22d7a08811/vigilia-01a.jpg" /> vista da instalação Galeria Genesco Murta, Palácio das Artes. Belo Horizonte/MG Vigília é uma instalação concebida a partir de fotografias realizadas entre 2012 e 2017, em uma prática fotográfica constante e numerosa. As cenas presentes no grande mural formado pelas imagens correspondem a uma complexa variedade de experiências do corpo e mente em estado de sensibilidade aguçada. O conjunto de cenas fotografadas diz respeito a atitudes e gestos que constróem a micropolítica de cada indivíduo, nas formas de negação de normatividades, discriminações, segregações e preconceito socialmente estruturados. A vigília é o estado de atenção e cuidado. Em manifestações de rua, dentro de casa, cenas da intimidade, nas formas de experimentar o corpo e a sexualidade, momentos de êxtase e de angústia, situações banais e extraordinárias, cada sujeito faz presente em suas ações uma articulação crítica e sensível sobre da possibilidade de uma vida social exterior às lógicas de hierarquia e exploração. Festa, rua, música, ócio, viagem, casa, amor e conflito traduzem formas de estar presente e integrar ao caos e riqueza dos centros urbanos. Momentos em que a fotografia acontece como extensão da forma de experiência de situações cotidianas, em que a câmera, diferentemente de se postar como olhar externo, é parte e personagem dos momentos que retrata. As sobreposições de rostos e lugares constróem uma grande paisagem pessoal e coletiva, representativa de um estado de urgência que é vivido e compartilhado entre todos os personagens que atravessam uma turbulência social, política e identitária. <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/638bea5093c68652f0881eb120d961e516079df8f40298acbc6963ba50fe2ea7/vigilia-02.jpg" data-mid="70450944" border="0" src="https://freight.cargo.site/w/1000/i/638bea5093c68652f0881eb120d961e516079df8f40298acbc6963ba50fe2ea7/vigilia-02.jpg" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/296b3e39eb43ba678572638a8e2bf6eba127931e47e43682d4067195b10dbcca/vigilia-03.jpg" data-mid="70450949" border="0" src="https://freight.cargo.site/w/1000/i/296b3e39eb43ba678572638a8e2bf6eba127931e47e43682d4067195b10dbcca/vigilia-03.jpg" /> <img width="5401" height="3601" width_o="5401" height_o="3601" data-src="https://freight.cargo.site/t/original/i/9d7bfc40d3e2e45f6e723c83d573b77746c0d2148dc08fd9f053d00915bba543/vigilia-04.jpg" data-mid="70450952" border="0" src="https://freight.cargo.site/w/1000/i/9d7bfc40d3e2e45f6e723c83d573b77746c0d2148dc08fd9f053d00915bba543/vigilia-04.jpg" /> <img width="5616" height="3744" width_o="5616" height_o="3744" data-src="https://freight.cargo.site/t/original/i/bbfcdd28d8dd61a79af51a651495d7eb3640fd924392af154360beca60231d5a/vigilia-05.jpg" data-mid="70450963" border="0" src="https://freight.cargo.site/w/1000/i/bbfcdd28d8dd61a79af51a651495d7eb3640fd924392af154360beca60231d5a/vigilia-05.jpg" /> vista da instalaçãoZipper Galeria, São Paulo/SP fotografias por&nbsp;Ignacio Aronovich <img width="6173" height="3942" width_o="6173" height_o="3942" data-src="https://freight.cargo.site/t/original/i/4c34e0303f470b8062cdb6494bc7639c7f3efb50afb424b5a5e93559d699d1cd/vigilia-001.jpeg" data-mid="70452207" border="0" src="https://freight.cargo.site/w/1000/i/4c34e0303f470b8062cdb6494bc7639c7f3efb50afb424b5a5e93559d699d1cd/vigilia-001.jpeg" /><img width="1822" height="1384" width_o="1822" height_o="1384" data-src="https://freight.cargo.site/t/original/i/104b091fab67ea8c66526469d687c4ec62e1d6c094b56dbcadb7939fc91ed4c4/vigilia-002.jpeg" data-mid="70452208" border="0" src="https://freight.cargo.site/w/1000/i/104b091fab67ea8c66526469d687c4ec62e1d6c094b56dbcadb7939fc91ed4c4/vigilia-002.jpeg" /><img width="2361" height="1396" width_o="2361" height_o="1396" data-src="https://freight.cargo.site/t/original/i/d61ad5435139f41dafeac40405785b45ff4f886627f2d83c75b5ceb08c72d1b6/vigilia-003.jpeg" data-mid="70452210" border="0" src="https://freight.cargo.site/w/1000/i/d61ad5435139f41dafeac40405785b45ff4f886627f2d83c75b5ceb08c72d1b6/vigilia-003.jpeg" /><img width="1304" height="864" width_o="1304" height_o="864" data-src="https://freight.cargo.site/t/original/i/8bf490f2f02a8f683abe69fc22d942d5c0122afca0b10a8cc6591225954dc630/vigilia-004.jpeg" data-mid="70452269" border="0" src="https://freight.cargo.site/w/1000/i/8bf490f2f02a8f683abe69fc22d942d5c0122afca0b10a8cc6591225954dc630/vigilia-004.jpeg" /> https://randolpholamonier.com/Boleia-geral-BR-Betim-Nao-me-siga-eu-tambem-to-perdido Mon, 20 Jun 2022 17:13:29 +0000 Randolpho Lamonier https://randolpholamonier.com/Boleia-geral-BR-Betim-Nao-me-siga-eu-tambem-to-perdido Boléia geral — BR, Betim (Não me siga, eu também tô perdido)Têxtil (barra de metal, cordas, couro, objetos variados e costura sobre tecido) exposição Alegria, uma invenção, curadoria de Patricia Wagner Central Galeria, São Paulo 200x200cm 2022 <img width="1042" height="1311" width_o="1042" height_o="1311" data-src="https://freight.cargo.site/t/original/i/605bfa78d29b06bbf437e3ffa9c201274a5322d9de329aa7dccadde512a55455/boleiageral_rlamonier.jpg" data-mid="145906088" border="0" src="https://freight.cargo.site/w/1000/i/605bfa78d29b06bbf437e3ffa9c201274a5322d9de329aa7dccadde512a55455/boleiageral_rlamonier.jpg" /> <img width="750" height="500" width_o="750" height_o="500" data-src="https://freight.cargo.site/t/original/i/a05782b89c236e5a07e22c924a1c70a58a3fd3d4200c0352b6416711f6bcce0d/alegria-uma-invencao_central-galeria-2022_foto-estudio-em-obra_04_web.jpeg" data-mid="145905275" border="0" src="https://freight.cargo.site/w/750/i/a05782b89c236e5a07e22c924a1c70a58a3fd3d4200c0352b6416711f6bcce0d/alegria-uma-invencao_central-galeria-2022_foto-estudio-em-obra_04_web.jpeg" /> <img width="750" height="500" width_o="750" height_o="500" data-src="https://freight.cargo.site/t/original/i/78bd7f1602c479bcabb3d44305e6c8a06f6b19dd43bc2c2239492cf3b7fe5233/alegria-uma-invencao_central-galeria-2022_foto-estudio-em-obra_02b_web.jpeg" data-mid="145905272" border="0" src="https://freight.cargo.site/w/750/i/78bd7f1602c479bcabb3d44305e6c8a06f6b19dd43bc2c2239492cf3b7fe5233/alegria-uma-invencao_central-galeria-2022_foto-estudio-em-obra_02b_web.jpeg" /> <img width="1000" height="562" width_o="1000" height_o="562" data-src="https://freight.cargo.site/t/original/i/0626e090aedabbb5e813b60d6146d36bd682369498da6319d06d404d499bb7a8/alegria-uma-invencao_central-galeria-2022_foto-estudio-em-obra_03a_web.jpeg" data-mid="145905274" border="0" src="https://freight.cargo.site/w/1000/i/0626e090aedabbb5e813b60d6146d36bd682369498da6319d06d404d499bb7a8/alegria-uma-invencao_central-galeria-2022_foto-estudio-em-obra_03a_web.jpeg" /> fotos cortesia Central Galeria https://randolpholamonier.com/Diarios-em-Combustao Mon, 27 Jul 2015 03:07:03 +0000 Randolpho Lamonier https://randolpholamonier.com/Diarios-em-Combustao Diários em combustãofotografias 35mm 2014 Prenez garde de vous Estamos numa paisagem industrial. O asfalto se estende, sujo, inóspito, áspero, anódino. Restos de objetos imprecisos se espalham no chão criando no âmbito noturno uma constelação urbana onde alguém flutua como um astronauta perdido na imensidão industrial. Outros restos se expandem monstruosa e desesperadamente na verticalidade de um muro. Outros são compilados, carregados, elevados numa vertiginosa e frágil acrobacia. Outros se sucedem no espaço temporal, numa estética do equívoco de um difícil e incerto registro videográfico. Outros são extraídos e sublimados em recortes pintados por fumaça e água. Outros são contidos em livros impossíveis como se fossem segredos. Em todos os casos esses restos são signos, números, linhas de divisão e direção que nos orientam em um mapa inverossimilmente afetivo.&nbsp;Lamonier desenha um complexo entrelaçado de códigos, sinais, vestígios, cicatrizes, gestos que definem uma linguagem e que delimitam esse território, mas que também traçam roteiros. Estamos na verdade frente a um auto-retrato cartográfico.&nbsp;Nessa paisagem, o que seria para nós hostilidade, representa para ele o universo da sua estória pessoal, o lugar de memória da sua felicidade e da sua infelicidade, da sua liberdade e da sua condenação, do que lhe é próprio e do lhe é alheio, do que lhe é precioso e do que lhe é aterrador. Nos olhamos naquele que está abandonado, extraviado, mas que por uma luminosidade própria do condenado, ainda nos olha de frente, nos olhos, e nos dá pistas para ser achado e seguido: luz, fogo, fumaça, mapa. Como se nos encontrássemos no Hades, Randolpho incorpora o papel do Caronte, ou do Stalker de Tarkovsky, numa versão pueril que tensiona a graça e a ironia, a delicadeza e a crueza como duas pontas de uma mesma linha. Rosa Maria Unda Souk <img width="1737" height="1156" width_o="1737" height_o="1156" data-src="https://freight.cargo.site/t/original/i/8e1b279c0c56274d65894c7d328a1c8430b0c1dcef0affb62cd6b06abba5e424/80110007-copy-copy-copy-cpia_3.jpg" data-mid="11700013" border="0" src="https://freight.cargo.site/w/1000/i/8e1b279c0c56274d65894c7d328a1c8430b0c1dcef0affb62cd6b06abba5e424/80110007-copy-copy-copy-cpia_3.jpg" /><img width="5000" height="3395" width_o="5000" height_o="3395" data-src="https://freight.cargo.site/t/original/i/5178df8ed1c691da5ae9778b296f03f217f78aaf9979bc83cce4628623fb342f/80110016-copy-pequeno_o.jpg" data-mid="11700008" border="0" src="https://freight.cargo.site/w/1000/i/5178df8ed1c691da5ae9778b296f03f217f78aaf9979bc83cce4628623fb342f/80110016-copy-pequeno_o.jpg" /> <img width="2030" height="1346" width_o="2030" height_o="1346" data-src="https://freight.cargo.site/t/original/i/174da2b77d8f5e15e11dfd41b92c6b1aa359ef247ee00fae711a6c0d2b4aaabb/80110001-cpia.jpg" data-mid="11700012" border="0" src="https://freight.cargo.site/w/1000/i/174da2b77d8f5e15e11dfd41b92c6b1aa359ef247ee00fae711a6c0d2b4aaabb/80110001-cpia.jpg" /><img width="3583" height="2376" width_o="3583" height_o="2376" data-src="https://freight.cargo.site/t/original/i/784d24027e4795ce722c7736b5f789304a23c02d1424d1718229c7f5da53b43f/81760013-copy-1.jpg" data-mid="11700009" border="0" src="https://freight.cargo.site/w/1000/i/784d24027e4795ce722c7736b5f789304a23c02d1424d1718229c7f5da53b43f/81760013-copy-1.jpg" /><img width="1667" height="1106" width_o="1667" height_o="1106" data-src="https://freight.cargo.site/t/original/i/a2f268011be561713b30f7a82251f71a09b91e085caff7a49417575a6486123a/81760007-cpia.jpg" data-mid="11700010" border="0" src="https://freight.cargo.site/w/1000/i/a2f268011be561713b30f7a82251f71a09b91e085caff7a49417575a6486123a/81760007-cpia.jpg" /><img width="1859" height="1234" width_o="1859" height_o="1234" data-src="https://freight.cargo.site/t/original/i/cdf71633b32019f19f4cbb07eb443d0ae4ac00cb28e703f3ad4312fbdc138035/80110024-copy-pequeno-cpia.jpg" data-mid="11700011" border="0" src="https://freight.cargo.site/w/1000/i/cdf71633b32019f19f4cbb07eb443d0ae4ac00cb28e703f3ad4312fbdc138035/80110024-copy-pequeno-cpia.jpg" /><img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/6edf38b524db5dc999050dd20cf3b3152b1ec9413e496a0eb09a12f7a50d9f42/DC-3.jpg" data-mid="11700017" border="0" src="https://freight.cargo.site/w/1000/i/6edf38b524db5dc999050dd20cf3b3152b1ec9413e496a0eb09a12f7a50d9f42/DC-3.jpg" /><img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/711b776ee12c07f9343dda9605a8e3aa641afe6c67e57923b9a4542e663a8e3e/DC-4.jpg" data-mid="11700016" border="0" src="https://freight.cargo.site/w/1000/i/711b776ee12c07f9343dda9605a8e3aa641afe6c67e57923b9a4542e663a8e3e/DC-4.jpg" /><img width="3030" height="2272" width_o="3030" height_o="2272" data-src="https://freight.cargo.site/t/original/i/f7a4fb8adc4991cc704f74b7e9251c821c12d6ad1983b57fd67a95c0464be852/rocket.jpg" data-mid="11700014" border="0" src="https://freight.cargo.site/w/1000/i/f7a4fb8adc4991cc704f74b7e9251c821c12d6ad1983b57fd67a95c0464be852/rocket.jpg" /><img width="3339" height="5035" width_o="3339" height_o="5035" data-src="https://freight.cargo.site/t/original/i/ef82e3683ee11fd3de37063b22e7541b77f4fae28c6322fdf8006184040ac1d3/72030009.JPG" data-mid="11700015" border="0" src="https://freight.cargo.site/w/1000/i/ef82e3683ee11fd3de37063b22e7541b77f4fae28c6322fdf8006184040ac1d3/72030009.JPG" /> Memorial de Cacos Dimensões variáveis Galeria Orlando Lemos, Nova Lima, 2014 Foto: Victor Galvão