13h september to 29th october
A large overview of Luciano Figueiredo’s work, an artist who was involved in the most important artistic and musical movements of the 1970s, is presented in this exhibition, which emphasizes his multiple practice, with historical and recent pieces. This body of works underlines the author’s plurality, with an oeuvre that ranges from art to designing album covers, concert backdrops and publications.
Curated by Paulo Miyada and Priscyla Gomes, from Instituto Tomie Ohtake’s Curating and Research Center, and sponsored by Bradesco, the exhibit presents the artworks in the foreground, supported by a timeline composed of documents, graphic units, and photographs that marked Figueiredo’s trajectory. “It is possible, through a body of works combined with this great chronology, to understand the vastness and diversity of his production, raging from experiments with newspaper to painting”, the curators note.
The exhibition brings his first pieces, marked by the use of newspapers, cutouts and collages, and his fascination with cinema. Paintings and reliefs are added to this set, emphasizing his commitment to color and experimentation. “The recent series of Relevos (Reliefs) reveals actions that constantly permeate his work, highlighting pieces in which cuts, folds, creases and tears are the fundamental elements.”
Born in Fortaleza, in 1948, Figueiredo studied painting in the 1960s, participating in the Bienal Nacional de Artes Plásticas (National Arts Biennale), in 1966, and in the Brazilian representation in the Bienal Internacional de São Paulo (São Paulo Biennale), in 1967. During that same decade, he moved to Rio de Janeiro, befriending important figures in the city’s literary and artistic scene, such as Wally Salomão, Óscar Ramos, Torquato Neto.
These relations and partnerships would become important for the realization of several of his works. Together with Óscar Ramos, Figueiredo designed scenarios for plays, album covers and publications, regularly collaborating with tropicalismo exponents. During this period, he created emblematic covers such as “Barra 69”, an album recorded in a Caetano Veloso and Gilberto Gil concert at the Teatro Castro Alves, in Salvador, and “FA-TAL: Gal a todo vapor”, recorded in 1971.
In this context, Figueiredo’s participation in the conception and realization of the “Navilouca” magazine, led by Torquato Neto and Waly Salomão, is noteworthy, creating the layout together with Ramos.
“The 1970’s is marked by the first works with newspapers, in which Luciano begins appropriating often discarded ordinary elements, and using them to assemble collages, poems, and which would come to become the essential substance of his reliefs and paintings”, the curators state. It is also during this time that Figueiredo met critic and curator Guy Brett and artist Hélio Oiticica. The friendship and collaboration with Oiticica would render many collective works and actions. For this reason, after Oiticica passed away, Figueiredo was in charge of the Centro de Arte Hélio Oiticica and its exhibitions and publications. He contributed to the preservation and organization of Oiticica’s work, presenting it to the public and leading it into an international circuit.
The following decades mark the consolidation of Figueiredo’s artistic work, broadening its horizons with the realization of his first solo exhibitions, such as “Noir” (1984) and “Diorama” (1988), both at the Galeria Paulo Klabin, in Rio de Janeiro. Another important contribution began in the 1980’s, with Lygia Clark’s invitation to participate in her sensorial therapy sessions. “From this proximity, a deep dialogue between the artists, which unfolded in both of their practices”, the curator add.
Since 1980, Figueiredo has participated in several solo exhibitions, in particular Do Jornal à Pintura (2006), at the Paço Imperial, in Rio de Janeiro; Peintures, Reliefs (2007 and 2010), at the Galerie D’Est et D’Ouest, in Paris; Tercetos (2008) e Interplanos, Entreplanos (2009), at the Galeria Lurixs, in Rio de Janeiro and the Galeria Nara Roesler, in São Paulo. The artist was also part of collective exhibitions at the Caixa Cultural in Rio de Janeiro (2011), Instituto Tomie Ohtake (2007), Oi Futuro (2007), Centro Cultural Banco do Brasil (RJ, 2003) and Itaú Cultural (2001).