FORM-OBJECTS

FORM_OBJECTS is the latest collaborative project between the Geraldo de Barros Archive and Michela Negrini.

Brazilian painter, photographer and designer, Geraldo de Barros (1923 – 1998) also worked in engraving, graphic arts, and industrial design.
He was a leader of the concrete art movement in Brazil, cofounding Grupo Ruptura and was known for his trailblazing work in experimental abstract photography and modernism. Since the mid ‘50’s he was also active as a designer of furniture  (Unilabor), where he devoted himself until the late ‘80’s (Hobjeto).

Geraldo de Barros moved from geometry to pop art, from industrial design to photography. Influenced by concrete art and constructivist movement, he changed his view on representation of reality and applied new rules. Just nearly about twentyfive years after his passing, his works are accompaning us along a path that not only shows the use of different means and techniques, but also goes beyond spatial boundaries.

While revolving around the new and original serigraphs, FORM- OBJECTS features a selection of original serigrahs, photographs from the 1940’s, alongside his most recent photographic works from the late 1990’s, as well as a modernist shelving unit. Very different works, all expression of a visual vocabulary that refers to continuous interconnections between art and society.

This original works are published by the Geraldo de Barros Archive, with the support of the Institute for Studies on Latin American Art (ISLAA), New York, and Galleria Michela Negrini and are presented for the first time in Lugano. They have been released in a limited edition set on the occasion of the exhibition Geraldo de Barros at the MAMCO – Museum of Modern and Contemporary Art of Geneva (February 23 to June 19, 2022). The edition is composed of 6 series of 11 serigrahs, for a total of 66 different plates, printed on Arches 88 300g paper, size 30 x 30 cm. The manifesto “Da retomada de alguns objetos-forma da arte concreta”, published in 1979 by Geraldo de Barros is included in the edition in bilingual version, as well as an original contribution by the critic Heloisa Espada.
Aside a tribute to Concrete Art, this original work aims at further investigate the explorations pursued by Geraldo de Barros’ restless creative mind.