MAURÍ MAURÍCIO IANÊS

portfólio 2009 vermelho gallery — são paulo — brazil contacts:: [email protected]

Rethoric 1 / Romantic Landscape (1997) black sequins on black canvas 190,5 x 211 cm

A black canvas completely covered by black sequins, measuring 190,5 x 211 cm. The idea of decorating with sequins has become something very important to me in my work, representing the artificiality of artistic representation and also the way that artistic language covers the so-called authentic feelings of the artist and the expression of these feelings to the observer. It’s also important to me because in a way it makes a bridge between art work and my work with fashion.

12 Paul Celan’ Celan’s Poems Series (1999) Black electric tape on fine paper, glass, matte black frames 108 x 84 cm

detail

A series of twelve works, measuring 108,5 x 84 cm eac. Each work reproduces with black electric tape and fine butter paper the lay-out of a different Paul Celan poem, framed in matte black and glass sheets. Paul Celan is one of the most important influences on my work

Stopandcloseyoureyesthereis nothingtobeseenhere (2003) Laser-cut MDF, acrylic paint 280 x 12 cm

This work is made of MDF, with a bas relief laser-cut text in portuguese, painted with metallic black paint. It is a different version of a smaller work made previously in English. I explore here the possibility of the artist leaving the creation power of the artwork entirely to the imagination of the public.

Remarks On Silence 3 (2003) MDF, acrylic paint 214 x 110 cm

This work made of lemon-yellow painted MDF simulates in three dimensions the structure of a small text, marked with lemon-yellow marker pen, though there’s no text, just the marker. It is part of a series of three works (Remark On Silence 1, 2 and 3), each of them simulating a different text lay out.

Disappearer (2003) site specific at Vermelho gallery, silver plastic tape, steel structure

This is a site-specific work, made of silver plastic tape, mounted around and over the staircase at Vermelho, completely covering it and making it disappear. To go down or up the stairs, the public must penetrate the work and disappear into it.

Disappearer (2003) site specific at Vermelho gallery, silver plastic tape, steel structure

This is a site-specific work, made of silver plastic tape, mounted around and over the staircase at Vermelho, completely covering it and making it disappear. To go down or up the stairs, the public must penetrate the work and disappear into it.

Apophasis 1 (1997/2003) action, black electric tape 2 hours

This performance was first presented in 1997, and then again in 2003. for two hours I stand motionless at the centre of the exhibition room, completely covered with black electric tape. The performance took place in the late afternoon, with natural light only, so it started with a dim light and finished at night in the dark.

Apophasis 1 (1997/2003) action, black electric tape 2 hours

This performance was first presented in 1997, and then again in 2003. for two hours I stand motionless at the centre of the exhibition room, completely covered with black electric tape. The performance took place in the late afternoon, with natural light only, so it started with a dim light and finished at night in the dark.

Apophasis 2 (2003) site specific (Vermelho gallery), black electric tape on wall

For Apophasis 2, the whole façade of the gallery was covered with black electric tape, expanding the concept of Apophasis 1 to the exhibition place

Conditions of Interference (2003) action with Mauro Gasiglia, fishing hooks, nylon thread 2 hours

During two hours, me and fellow Mauro Gasiglia stood front to front, naked, connected by nylon wire that was attached to sixty-four fishing hooks that pierced our bodies. On this action we talked to each other and to the public about whatever subject we felt like, very naturally.

Conditions of Interference (2003) action with Mauro Gasiglia, fishing hooks, nylon thread 2 hours

During two hours, me and fellow Mauro Gasiglia stood front to front, naked, connected by nylon wire that was attached to sixty-four fishing hooks that pierced our bodies. On this action we talked to each other and to the public about whatever subject we felt like, very naturally.

Conditions of Interference (2003) action with Mauro Gasiglia, fishing hooks, nylon thread 2 hours

During two hours, me and fellow Mauro Gasiglia stood front to front, naked, connected by nylon wire that was attached to sixty-four fishing hooks that pierced our bodies. On this action we talked to each other and to the public about whatever subject we felt like, very naturally.

Remaining Silent (2003) Action, two chair, letter paper 7 days, 7 hours/day

This action was presented twice in 2003, at Vermelho Gallery and the New Museum of Curitiba, Brazil. It lasts seven days, seven hours a day, on each of the presentations. I stay sit, motionless and silent, dressed in black, with a pile of white paper in letter format, starting fixed at the seat of the empety chair in front of me. When a person seats on that chair, I look into his/her eyes and deliver a blank sheet of paper to him/her. The person is free to do whatever he/she wants with the paper, and also to interact with me, though I remain in silent and motionless, staring into his/her eyes.

Remaining Silent (2003) Action, two chair, letter paper 7 days, 7 hours/day

This action was presented twice in 2003, at Vermelho Gallery and the New Museum of Curitiba, Brazil. It lasts seven days, seven hours a day, on each of the presentations. I stay sit, motionless and silent, dressed in black, with a pile of white paper in letter format, starting fixed at the seat of the empety chair in front of me. When a person seats on that chair, I look into his/her eyes and deliver a blank sheet of paper to him/her. The person is free to do whatever he/she wants with the paper, and also to interact with me, though I remain in silent and motionless, staring into his/her eyes.

Remaining Silent (2003) Action, two chair, letter paper 7 days, 7 hours/day

This action was presented twice in 2003, at Vermelho Gallery and the New Museum of Curitiba, Brazil. It lasts seven days, seven hours a day, on each of the presentations. I stay sit, motionless and silent, dressed in black, with a pile of white paper in letter format, starting fixed at the seat of the empety chair in front of me. When a person seats on that chair, I look into his/her eyes and deliver a blank sheet of paper to him/her. The person is free to do whatever he/she wants with the paper, and also to interact with me, though I remain in silent and motionless, staring into his/her eyes.

Shadow Game (2003) action, suit and shirt embroidered with black sequins, hood with black glass beads variable duration

In an empty exhibition space, I walk very fast, blindfolded by a black beaded hood, wearing a black suit covered with black sequins. As I’m blindfolded — and walking fast — I violently hit the walls and the public that stands on my way. Eventually I stop to try to write on the walls with a pointless pencil, words that describe the way I’m feeling at the moment.

You And I Are Different Things (2003) live, interactive video action

In this interactive video performance, I first show a video of myself, where I try to tell the experience of lack of communication with the “other” and the feeling of unreachable psychological distance between me and this “other” (observer, receiver), which results in a silent abyss. The first person that decidse to join the work must watch carefully this video, then try to reproduce, when video taped on the same situation that I was in the former video, all the gestures, words and expressions I used. The following participant must then watch the video of the last person that took part the video action and again try to reproduce the gestures, expressions and words in front of the camera. That results, as the work expands to different people, in the change of meaning and dismemberment of the original message contained in the first video. Variable duration

Hug (2004) action, with clothes variable duration

In this action, made during the exhibition opening, I approached people and tenderly but tightly hugged them without warning

Untitled (2005) Installation with the participation of the public, in partnership with fashion designer Alexandre Herchcovitch, using clothes of his past colletions

This action was made in partnership with Brazilian fashion designer Alexandre Herchcovitch. During the exhibition, some of his most special pieces from different collections were showed suspended on two rows on the gallery ceiling. On the last day of the exhibition, the clothes came down from the ceiling and were available to the public. People could dress them as desired, and be photographed wearing them on a studio set in the gallery.

Private (2005) action, wood, acrylic paint, digital print variable duration and dimensions

For the installation/action Private, a white cabin was installed at the exhibition space. At the side of the cabin there was a list of emotions (happiness, joy, melancholy, sadness, etc.), and for each of them there was a price. The public could buy private performances that would take place inside the cabin. In this private performances, I would do my best efforts to feel the emotion demanded by the participant, but wouldn’t physically express it.

View (2005/2006) MDF, wood, automotive paint, reflexive paint 103 x 206 cm

Vista/View is a wall object that simulates the structure of a window, but the glass pannels were substituted by a reflective fabric, in the same colour of the the structure.

View 2 (2005/2006) MDF, wood, automotive paint, reflexive paint 103 x 206 cm

Vista/View is a wall object that simulates the structure of a window, but the glass pannels were substituted by a reflective fabric, in the same colour of the the structure.

Melancholy (2006) action, black t-shirt and pants, beaded hood 4 days, 1 hour/day

This action lasted 4 days in a row, one hour a day, and took place at Vermelho gallery. I used the space of the gallery as part of the work, and the action started at the ground floor (first day), then went to the staircase that links the ground floor to the second floor of the gallery (second day), then to the roof beam of the second floor (third day), and finally to the roof top, on the façade (fourth day), in na ascension movement balanced by the heavy weight of the headpiece I wore during the entire action. I remained still during the whole action.

Melancholy (2006) action, black t-shirt and pants, beaded hood 4 days, 1 hour/day

This action lasted 4 days in a row, one hour a day, and took place at Vermelho gallery. I used the space of the gallery as part of the work, and the action started at the ground floor (first day), then went to the staircase that links the ground floor to the second floor of the gallery (second day), then to the roof beam of the second floor (third day), and finally to the roof top, on the façade (fourth day), in na ascension movement balanced by the heavy weight of the headpiece I wore during the entire action. I remained still during the whole action.

Melancholy (2006) action, black t-shirt and pants, beaded hood 4 days, 1 hour/day

This action lasted 4 days in a row, one hour a day, and took place at Vermelho gallery. I used the space of the gallery as part of the work, and the action started at the ground floor (first day), then went to the staircase that links the ground floor to the second floor of the gallery (second day), then to the roof beam of the second floor (third day), and finally to the roof top, on the façade (fourth day), in na ascension movement balanced by the heavy weight of the headpiece I wore during the entire action. I remained still during the whole action.

Melancholy (2006) action, black t-shirt and pants, beaded hood 4 days, 1 hour/day

This action lasted 4 days in a row, one hour a day, and took place at Vermelho gallery. I used the space of the gallery as part of the work, and the action started at the ground floor (first day), then went to the staircase that links the ground floor to the second floor of the gallery (second day), then to the roof beam of the second floor (third day), and finally to the roof top, on the façade (fourth day), in na ascension movement balanced by the heavy weight of the headpiece I wore during the entire action. I remained still during the whole action.

ObjectObject-Speech (2005) digital video 9’

For this video I took scenes of the movie “Persona”, by Ingmar Bergman, changing the focus and time of the original movie, focusing the lips of the characters and also removing the sound of it. These changes create an intense silent dialogue where facial expressions and tensions of the muscles substitute oral communication. Duration: 9 minutes

Untitled — Ineffable (2006) action, golden glitter 30’

This action was the result of a twenty days residency in Trinidad & Tobago, together with other six artists from different parts of the world, plus seven local artists. The theme of the workshop we joined during the residency was “Access/Denied”, which was also the title for the final exhibition. During the workshop we joined the carnival at Port Of Spain. All this experience resulted in an action that continues my research on the relations established through artistic language, and on how its artifices push the artist far from the public. The focus of this discussion, here, is the hypothesis that when we try to express what has no name, we often use metaphors that end up by hiding it again.

Shadow Game 2 (2006) digital photograph mounted on lightbox 37 x 46,5 cm

On this black-and-white photograph, mounted on a lightbox, I wear the clothes used in the performance “Shadow Game” — a tailored suite covered in black sequins and a hooded shirt that covers my head completely, beaded with black glass beads. This portrait was made by the photographer Marcio Simch and digitally treated by myself.

Messenger (2006) installation/action, wood, paper, variable dimensions and duration

This work consists on an installation made with sixteen wooden chairs, connected on their top by a wooden bridge twenty centimeters wide. On the seat of each chair rests a white envelope containing a blank letter. In this installation, I an action on which I walk blindfolded on the path that links the chairs on those bridges. I stop on each chair that I find, get down the bridge and stand on the seat of the chair, collect the letter that rests there, climb back to the bridge, and follow the way until I find another chair. There I repeat the same action, leaving on the seat the envelope collected on the chair before. Variable dimensions

Messenger (2006) installation/action, wood, paper, variable dimensions and duration

This work consists on an installation made with sixteen wooden chairs, connected on their top by a wooden bridge twenty centimeters wide. On the seat of each chair rests a white envelope containing a blank letter. In this installation, I an action on which I walk blindfolded on the path that links the chairs on those bridges. I stop on each chair that I find, get down the bridge and stand on the seat of the chair, collect the letter that rests there, climb back to the bridge, and follow the way until I find another chair. There I repeat the same action, leaving on the seat the envelope collected on the chair before. Variable dimensions

Messenger (2006) installation/action, wood, paper, variable dimensions and duration

This work consists on an installation made with sixteen wooden chairs, connected on their top by a wooden bridge twenty centimeters wide. On the seat of each chair rests a white envelope containing a blank letter. In this installation, I an action on which I walk blindfolded on the path that links the chairs on those bridges. I stop on each chair that I find, get down the bridge and stand on the seat of the chair, collect the letter that rests there, climb back to the bridge, and follow the way until I find another chair. There I repeat the same action, leaving on the seat the envelope collected on the chair before. Variable dimensions

Messenger (2006) installation/action, wood, paper, variable dimensions and duration

This work consists on an installation made with sixteen wooden chairs, connected on their top by a wooden bridge twenty centimeters wide. On the seat of each chair rests a white envelope containing a blank letter. In this installation, I an action on which I walk blindfolded on the path that links the chairs on those bridges. I stop on each chair that I find, get down the bridge and stand on the seat of the chair, collect the letter that rests there, climb back to the bridge, and follow the way until I find another chair. There I repeat the same action, leaving on the seat the envelope collected on the chair before. Variable dimensions

Untitled (2006) digital photograph on metallic paper 77 x 59 cm

A digital photograph, measuring 77 x 59 cm, framed with a red frame, shows a pixelated portrait of myself without the mouth. The face can only be identified from the distance.

Barroque Alphabet (2006) digital video 20’

This video showed a portrait of myself, covered with golden glitter against a black backdrop, chanting in a mantra-like way all the letters of the Portuguese alphabet. This first video was then edited, using the individually chanted letters to form sentences. The sentences formed were: “These Abyss-words”, “Holes In The Mist Of Language” and “A Submerged Sign”. Theses sentences were in Portuguese. During the video, the observer would lose the reference of the sentences due to the way they were spelled. All the four resultant videos were showed one after the other. The entire video lasts twenty minutes.

Whisper (2006) digital video 8’41’’

This video installation must be projected on the wall, with a sound system configured with two subwoofers only. The video starts showing a tropical forest landscape in silence, with a still camera. Then on the following scene I appear whispering something that is not audible to a tree, and a very intense, bass sound starts, making the room - and the body of the observer — vibrate. Cut to another tropical landscape. Then again to myself whispering to a different tree. The video consist of four clips on the same manner, alternating silent forest tropical landscapes and me whispering to the trees with the bass sound.

Whisper (2006) digital video 8’41’’

This video installation must be projected on the wall, with a sound system configured with two subwoofers only. The video starts showing a tropical forest landscape in silence, with a still camera. Then on the following scene I appear whispering something that is not audible to a tree, and a very intense, bass sound starts, making the room - and the body of the observer — vibrate. Cut to another tropical landscape. Then again to myself whispering to a different tree. The video consist of four clips on the same manner, alternating silent forest tropical landscapes and me whispering to the trees with the bass sound.

Whisper (2006) digital video 8’41’’

This video installation must be projected on the wall, with a sound system configured with two subwoofers only. The video starts showing a tropical forest landscape in silence, with a still camera. Then on the following scene I appear whispering something that is not audible to a tree, and a very intense, bass sound starts, making the room - and the body of the observer — vibrate. Cut to another tropical landscape. Then again to myself whispering to a different tree. The video consist of four clips on the same manner, alternating silent forest tropical landscapes and me whispering to the trees with the bass sound.

Tone (2006) mdf, paint, digital photography variable dimenions

This installation is made by twenty-nine digital black and white photographs of different sizes, that show my lips pulling different expressions. The photographs are framed in red, with frames of different depths, with the depths varying according to the strength of the expression showed on the pictures.

Distant (2006) action inside wooden box paper, pencil, envelopes, video 3 hours

This action took place inside a wooden box, and lasted three hours. The box was completely closed and the public had no access to what was happening in it. I was alone inside the box, dressed in regular clothes, and had only some blank letter, format paper, envelopes and a pencil with me. Paper, pencils and envelopes were also avaliable to the public, and they could request whatever they wanted me to do inside the box through written letters, delivered through a small crevice on the front of the box. I tried to do all the requested actions — and did most of them - and if I wasn’t able to do them, I would answer the letter with another letter, negotiating the person’s request until I could do it without problems (for example, I was requested to cut myself, but had no sharp instrumento to do it. I answered to this request, and the person gave up on it). All the actions inside the box were recorded on video, and presented at the same exhibition two days later with all the letters displayed on the wall.

Distant (2006) action inside wooden box paper, pencil, envelopes, video 3 hours

This action took place inside a wooden box, and lasted three hours. The box was completely closed and the public had no access to what was happening in it. I was alone inside the box, dressed in regular clothes, and had only some blank letter, format paper, envelopes and a pencil with me. Paper, pencils and envelopes were also avaliable to the public, and they could request whatever they wanted me to do inside the box through written letters, delivered through a small crevice on the front of the box. I tried to do all the requested actions — and did most of them - and if I wasn’t able to do them, I would answer the letter with another letter, negotiating the person’s request until I could do it without problems (for example, I was requested to cut myself, but had no sharp instrumento to do it. I answered to this request, and the person gave up on it). All the actions inside the box were recorded on video, and presented at the same exhibition two days later with all the letters displayed on the wall.

Distant (2006) action inside wooden box paper, pencil, envelopes, video 3 hours

This action took place inside a wooden box, and lasted three hours. The box was completely closed and the public had no access to what was happening in it. I was alone inside the box, dressed in regular clothes, and had only some blank letter, format paper, envelopes and a pencil with me. Paper, pencils and envelopes were also avaliable to the public, and they could request whatever they wanted me to do inside the box through written letters, delivered through a small crevice on the front of the box. I tried to do all the requested actions — and did most of them - and if I wasn’t able to do them, I would answer the letter with another letter, negotiating the person’s request until I could do it without problems (for example, I was requested to cut myself, but had no sharp instrumento to do it. I answered to this request, and the person gave up on it). All the actions inside the box were recorded on video, and presented at the same exhibition two days later with all the letters displayed on the wall.

ObjectObject-Speech 2 (2006) digital video 12’

For this video I took scenes of the different porn movies, changing the focus and the duration of the original movies, focusing on the lips and eyes of the characters, and added na intense soundtrack. These changes creats an hermeneutic tension, where facial expressions and tensions of the muscles substitute oral communication, and the expressions acquire a dubious interpretation, losing their pornographic reading. Duration 12 min

Dead Zone (2007) Zona Morta golden glitter action, 2 hours

Zona Morta/ Dead Zone: For 2 hours, I lie down on the floor, naked, completely covered by 15Kg of golden glitter. All my muscles are tense, specially those of my feet and hands. I make slow movements with my hands, simulating sings, but they have no meaning imbedded in them. Verbo 2007 — Vermelho gallery — São Paulo - Brazil

Dead Zone (2007) Zona Morta golden glitter action, 2 hours

Zona Morta/ Dead Zone: For 2 hours, I lie down on the floor, naked, completely covered by 15Kg of golden glitter. All my muscles are tense, specially those of my feet and hands. I make slow movements with my hands, simulating sings, but they have no meaning imbedded in them. Verbo 2007 — Vermelho gallery — São Paulo - Brazil

Dead Zone (2007) Zona Morta golden glitter action, 2 hours

Zona Morta/ Dead Zone: For 2 hours, I lie down on the floor, naked, completely covered by 15Kg of golden glitter. All my muscles are tense, specially those of my feet and hands. I make slow movements with my hands, simulating sings, but they have no meaning imbedded in them. Verbo 2007 — Vermelho gallery — São Paulo - Brazil

Correspondence I (2007) graphite and water colour on paper 98 x 153 cm

Medium scale drawing and watercolour on paper, this work is linked to the installation/action "Messenger", in which chairs are linked by "bridges" on the place where the head of someone sitting would be. Framed using the same wood used for the chairs themselves on the installation "Messenger”.

Correspondence II (2007) graphite and water colour on paper 97 x 117 cm

Medium scale drawing and watercolour on paper, this work is linked to the installation/action "Messenger", in which chairs are linked by "bridges" on the place where the head of someone sitting would be. Framed using the same wood used for the chairs themselves on the installation "Messenger”.

Wordless (2007) Neon light

This piece made with blue and white neon lights has the words WORD (smaller,on the front in white) and LESS (bigger, on the back in blue) superposed, forming the word WORDLESS.

Fatherland 1 (2008) Pátria 1 flag embroided in paetês variable dimensions

These works bring the issue of communication signs created and built to show the supposed identity of a social group or country, and the dangers and artificiality involved in such an attempt. Three flags were designed, inspired by existing flags but with their designs slightly changed. Colours were substituted by black, gray and dark red, and covered with sequins. The flags were built in a way that makes them look old and distressed. “Looks Conceptual” or “How I Mistook a Carl André with a Pile of Brick” Group exhibition curated by Kiki Mazzucchelli - Vermelho gallery — São Paulo — Brazil (february 2008)

Fatherland 2 (2008) Pátria 2 flag embroided in paetês variable dimensions

These works bring the issue of communication signs created and built to show the supposed identity of a social group or country, and the dangers and artificiality involved in such an attempt. Three flags were designed, inspired by existing flags but with their designs slightly changed. Colours were substituted by black, gray and dark red, and covered with sequins. The flags were built in a way that makes them look old and distressed. “Looks Conceptual” or “How I Mistook a Carl André with a Pile of Brick” Group exhibition curated by Kiki Mazzucchelli - Vermelho gallery — São Paulo — Brazil (february 2008)

Fatherland 3 (2008) Pátria 3 flag embroided in paetês variable dimensions

These works bring the issue of communication signs created and built to show the supposed identity of a social group or country, and the dangers and artificiality involved in such an attempt. Three flags were designed, inspired by existing flags but with their designs slightly changed. Colours were substituted by black, gray and dark red, and covered with sequins. The flags were built in a way that makes them look old and distressed. “Looks Conceptual” or “How I Mistook a Carl André with a Pile of Brick” Group exhibition curated by Kiki Mazzucchelli - Vermelho gallery — São Paulo — Brazil (february 2008)

MonologueStone (2008) MonólogoPedra action 90’

During 90 minutes, the artist had 4 contact microphones attached to his skin, over his heart, stomach and arteries on the neck, and one hyper cardioid microphone inside his mouth. All the microphones were plugged into distorion and delay pedals, and had their sounds amplified, connected to a mix table and 5 amplifiers. The sounds of the artist's body and breath were captured, distorted and amplified, and the artist controlled his breathing and heartbeats in a way to create a speechless sound/noise environment. The artist was dressed with a black hooded top that covered his eyes, and black trousers." Performance Presente Futuro — OiFuturo — Rio de Janeiro — Brazil (august 2008)

MonologueStone (2008) MonólogoPedra action 90’

During 90 minutes, the artist had 4 contact microphones attached to his skin, over his heart, stomach and arteries on the neck, and one hyper cardioid microphone inside his mouth. All the microphones were plugged into distorion and delay pedals, and had their sounds amplified, connected to a mix table and 5 amplifiers. The sounds of the artist's body and breath were captured, distorted and amplified, and the artist controlled his breathing and heartbeats in a way to create a speechless sound/noise environment. The artist was dressed with a black hooded top that covered his eyes, and black trousers." Performance Presente Futuro — OiFuturo — Rio de Janeiro — Brazil (august 2008)

MonologueStone (2008) MonólogoPedra action 90’

During 90 minutes, the artist had 4 contact microphones attached to his skin, over his heart, stomach and arteries on the neck, and one hyper cardioid microphone inside his mouth. All the microphones were plugged into distorion and delay pedals, and had their sounds amplified, connected to a mix table and 5 amplifiers. The sounds of the artist's body and breath were captured, distorted and amplified, and the artist controlled his breathing and heartbeats in a way to create a speechless sound/noise environment. The artist was dressed with a black hooded top that covered his eyes, and black trousers." Performance Presente Futuro — OiFuturo — Rio de Janeiro — Brazil (august 2008)

Voix/Voie (2008) Voice/Pathway 2 beveled mirrors, sandblast etching 60 x 73 cm each mirror

Two beveled mirros, with the french homophonous words Voix (voice) and Voie (pathway), written on each of them back to front, in sandblast etching. The design of the mirrors was inspired by traffic signs, and the words can only be read properly when one looks at the opposite mirror. The two mirrors, mounted one in front of the other, create an "infinite space" that expands the exhibition space. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

Voix/Voie (2008) 2 beveled mirrors, sandblast etching 60 x 73 cm each mirror

Two beveled mirros, with the french homophonous words Voix (voice) and Voie (pathway), written on each of them back to front, in sandblast etching. The design of the mirrors was inspired by traffic signs, and the words can only be read properly when one looks at the opposite mirror. The two mirrors, mounted one in front of the other, create an "infinite space" that expands the exhibition space. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

Two beveled mirros, with the french homophonous words Voix (voice) and Voie (pathway), written on each of them back to front, in sandblast etching. The design of the mirrors was inspired by traffic signs, and the words can only be read properly when one looks at the opposite mirror. The two mirrors, mounted one in front of the other, create an "infinite space" that expands the exhibition space. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

Untitled - silent area/ monologue area/ dialogue area (2008) plottage in adhesive vinyl 200 x 200 cm

This work consists of three areas, digitally designed and marked on the floor (different techniques can be used, but mainly adhesive vinyl and/or acrylic paint). The areas activate the space and the public, interfering on their behaviour. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

Untitled - silent area/ monologue area/ dialogue area (2008) plottage in adhesive vinyl 200 x 200 cm

This work consists of three areas, digitally designed and marked on the floor (different techniques can be used, but mainly adhesive vinyl and/or acrylic paint). The areas activate the space and the public, interfering on their behaviour. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

Untitled - silent area/ monologue area/ dialogue area (2008) plottage in adhesive vinyl 200 x 200 cm

This work consists of three areas, digitally designed and marked on the floor (different techniques can be used, but mainly adhesive vinyl and/or acrylic paint). The areas activate the space and the public, interfering on their behaviour. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

Untitled - silent area/ monologue area/ dialogue area (2008) plottage in adhesive vinyl 200 x 200 cm

This work consists of three areas, digitally designed and marked on the floor (different techniques can be used, but mainly adhesive vinyl and/or acrylic paint). The areas activate the space and the public, interfering on their behaviour. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

Untitled - silent area/ monologue area/ dialogue area (2008) plottage in adhesive vinyl 200 x 200 cm

This work consists of three areas, digitally designed and marked on the floor (different techniques can be used, but mainly adhesive vinyl and/or acrylic paint). The areas activate the space and the public, interfering on their behaviour. "Seja marginal, seja herói" Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - France

MND (2008) Installation — mirrors, wood and subwoofer 155 x 135 x 155 cm

View of the exhibition Silêncio! — Galeria Vermelho — São Paulo — Brazil (2008) Curated by Audrey Illouz

MND (2008) Installation — mirrors, wood and subwoofer 155 x 135 x 155 cm

View of the exhibition Silêncio! — Galeria Vermelho — São Paulo — Brazil (2008) Curated by Audrey Illouz

Maurí Maurício Ianês Santos, 1973 Exposiç Exposição Individual/Solo Exhibition 2006 - Mensageiro — Vermelho gallery — São Paulo - Brasil 1996 - Programa Abra de Exposições — Abra Santo Amaro — São Paulo - Brasil Exposiç Exposições Coletivas/Group Exhibitions 2009 - MASH UP - Artspace - Auckland - Nova Zelândia 2008 - Silêncio ! — Galeria Vermelho — São Paulo — Brasil - 28ª Bienal de São Paulo — Fundação Bienal de São Paulo — Pavilhão Ciccillo Matarazzo — São Paulo — Brasil - Cícera 2008 - inauguração do projeto de Héctor Zamora — Cícera — São Paulo - Brasil - É claro que você sabe do que estou falando? — Galeria Vermelho — São Paulo - Brasil - Seja marginal, seja herói - Galerie GP & N Vallois & Galerie Natalie Seroussi - Paris - França - Performance Presente Futuro - Oi Futuro - Rio de Janeiro — Brasil - Provas de Contato — Vermelho gallery — São Paulo - Brasil - Verbo 2008 — Vermelho gallery — São Paulo - Brasil - Oidaradio - Paço das Artes — São Paulo — Brasil - Looks Conceptual ou Como Confundi um Carl André com uma Pilha de Tijolos — Vermelho gallery — São Paulo — Brasil 2007 - Verbo 2007 — Mostra de Performances — Vermelho gallery — São Paulo - Brasil - Tropical Punk - Whitechapel Gallery - Londres - Inglaterra - Intimidades - Galeria Marilia Razuk - São Paulo — Brasil 2006 - This is not a love song — Vermelho gallery — São Paulo - Brasil - Sequences — Reykjavík — Islândia - Paralela — Pavilhão Armando de Arruda Pereira PRODAN - São Paulo - Brasil - Paradise ’A Step to the Left’ - TactileBosch Studios - Cardiff - País de Gales - Verbo 2006 — Vermelho gallery — São Paulo -Brasil - Access/Denied — Little Theater — Port of Spain — Trinidad e Tobago 2005 - Verbo 2005 — Vermelho gallery — São Paulo -Brasil - Viés — Vermelho gallery — São Paulo - Brasil

2004 - Grátis — Vermelho gallery — São Paulo - Brasil - Paralela — São Paulo - Brasil 2003 - Modos de Usar — Vermelho gallery — São Paulo - Brasil - In ´vel- Vermelho gallery — São Paulo - Brasil - Sábado de Performances — Vermelho gallery — São Paulo - Brasil - Observações Sobre o Espaço e o Tempo — Unicsul — Campus Anália Franco — São Paulo - Brasil 2002 - Matéria Prima — Novo Museu — Curitiba - Brasil - Marrom — Vermelho gallery — São Paulo - Brasil 1998 - Ponto Cego — Museu da Imagem e do Som — São Paulo - Brasil 1997 - Arte/Cidade 97 - São Paulo - Brasil - Ouro de Artista — Casa Triângulo — São Paulo - Brasil - Performance “Projeto # 1 — Continuum” — FAAP — São Paulo - Brasil 1996 - Programa Abra de Exposições — Abra Santo Amaro — São Paulo - Brasil - 8 + 27- FAAP - São Paulo - Brasil - Nem Tudo Que Reluz É Ouro... — Galeria Nara Roesler — São Paulo - Brasil 1995 - Circuito Interno — FAAP - São Paulo - Brasil - Projeto Outdoor - Galeria Luisa Strina — São Paulo - Brasil - Projeto 00 - Museu De Arte Brasileira - São Paulo - Brasil 1994 - II Prêmio Talentos Michelângelo - São Paulo - Brasil prêmio/award 1994 -II Prêmio Talentos Michelângelo - São Paulo (segundo colocado) bolsas e residências — grants and residencies 2008 - Residência Cité des Arts/Faap — Paris - França 2006 - Little Theater — Port of Spain — Trinidad e Tobago