Daniel Senise has brought to this exhibition at Instituto Tomie Ohtake not only a new monumental-scale work made especially for the event, but also a set of works that have seldom or never shown before, featuring interventions on photographic enlargements. According to curator Daniela Labra, the imbricating languages of these pieces reflect Senise's pictorial approach. “On photographic surfaces and images, they develop the discourse around memory, spatiality, representation, materiality, Western art history and philosophy that define Daniel Senise’s post-painting,” she said.
The large-scale piece measuring 5 x 3.66 meters contains fragments of burnt debris taken from Rio de Janeiro's Villa-Lobos Theater destroyed by fire in 2011 . The theater, which caught on fire when it was about to reopen after extensive refurbishing, remains closed to date. Using this material and reflective aluminum that instigates a play on spatiality, Senise reaffirms his interest in the idea of absence and in architecture as recurring poetics in his production. “In this work, photography departs and the mirror is introduced as support. Thus, the real space outside is inverted in its mirrored reflection over the charred remains,” adds Labra.
The other pieces were made from 2005 to 2019 using photography instead of painting as support to show images of facilities such as an old warehouse on the Sorocabana railroad and Matarazzo Hospital, and locations in Bahia, New York and elsewhere. The photos were shot or directed by Senise having Mauro Restiffe, Caetano Dias, Tiago Barros and Fernando Laslo as collaborative partners. The curator sees photography emerging as background and scenario that activate imaginaries. "Overlapped layers of temporality pose discussion on the physicality of matter, representation, image, the real, and existence."
On these large-format photos – measuring up to 3 x 2.50 meters – Senise intervenes with matter: “Materials and objects gathered from the spaces photographed are juxtaposed over these images, creating layers of depth and contrasts between figure and background, two-dimensionality and tridimensionality, narratives about the world, the current loci of the real and the virtual,” the curator added.
Daniel Senise (Rio de Janeiro, 1955) currently lives and works in Rio. In 1980, he earned a degree in civil engineering from Universidade Federal do Rio de Janeiro, and then attended art courses at Escola de Artes Visuais do Parque Lage until 1983 before teaching there from 1985 to 1996.
Since the 1980s the artist has shown in group exhibitions that include the São Paulo Biennial; La Habana Biennale, in Cuba; Venice Biennale, Liverpool Biennial; Cuenca Biennial; New Delhi Triennale; and museums such as MASP and MAM, in São Paulo; Musee d’Art Moderne de la Ville de Paris and Centre Geordes Pompidou, in Paris; MoMA, in New York; and Ludwig Museum in Cologne, Germany.
Daniel Senise has shown his work in solo exhibitions held in museums and art galleries in Brazil and abroad, which include MAM, in Rio de Janeiro; MAC, in Niterói; Museu Oscar Niemeyer, in Curitiba; Casa França-Brasil, in Rio de Janeiro; Museum of Contemporary Art, in Chicago; Museo de Arte Contemporáneo, in Monterrey, Mexico; Galeria Thomas Cohn Arte Contemporânea, in Rio de Janeiro; Ramis Barquet Gallery and Charles Cowley Gallery, in New York; Michel Vidal, in Paris; Galleri Engström, in Stockholm; Galeria Camargo Vilaça, in São Paulo; Pulitzer Art Gallery, in Amsterdam; Diana Lowenstein Fine Arts, in Miami; Galeria Silvia Cintra, in Rio de Janeiro; Galeria Nara Roesler, in São Paulo, and Galeria Graça Brandão, in Lisbon.