Twenty years after his death, Wopart pays tribute to the great Brazilian artist Geraldo De Barros with LEFT-OVER, an outdoor exhibition in Lugano.
Geraldo de Barros (1923 – 1998) – Brazilian painter, photographer and designer – was one of the leading exponents of the Brazilian art, forerunner of concrete art and pioneer of abstract photography. 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). Curated by Michela Negrini, [dip] contemporary art, the exhibition LEFT-OVER is coordinated by WOPART in cooperation with OMLOG, and provides for the installation of a container of 6 meters, a real outdoor museum of contemporary art, located in Piazza Battaglini. An exhibition conceived to connect  – thanks to art –  not only those who come to visit the fair, but anyone passing through the city.

Geraldo de Barros, LEFT-OVER, installation view

LEFT-OVER presents a selection of works created in very different moments during the career of the artist, accompanying the audience along a path that marks three distinct periods: the ’40’s, the ’80’s and the ’90’s.  Three FOTOFORMAS, photographs taken with multiple exposures on the negative, engravings and collages, by overlaying images of São Paulo’s cityscape with geometric elements; five SOBRAS, where De Barros uses old family photographs to create collages and new photographic explorations; and 5 silk screen prints from the JOGOS DE DADOS series, a tribute to Mallarmé.  Very different works, all expression of a visual vocabulary that refers to continuous interconnections between art and society: Geraldo de Barros moved from geometry to pop art, from industrial design to photography, producing very different works. Influenced by concrete art and constructivist movement, he changed his view on representation of reality and applied new rules.
LEFT-OVER, recalling his work, accompanies us along a path that not only shows the use of different means and techniques, but also goes beyond spatial boundaries, moving from the bi-dimensional size of photography to reach at the poly-dimensional one, as in SOBRAS and JOGOS DE DADOS.
It is precisely the image of the dice (throwing) game that captures the essence of Geraldo De Barros’ life:  man and artist who – with his research and experimentation – aspired to a “utopian” world, created through his own works.


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