Marcius Galan _ Recent Works by marcius galan

MARCIUS GALAN _ RECENT WORKS

TRÊS SEÇÕES [THREE SECTIONS], 2011

INSTALATION AT CISNEROS FONTANALS FOUNDATION - CIFO, MIAMI

SEÇÃO DIAGONAL [DIAGONAL SECTION] - INSTITUTO IBERÊ CAMARGO, PORTO ALEGRE - RS, 2010

SEÇÃO DIAGONAL [DIAGONAL SECTION] - GALERIA LUISA STRINA, SÃO PAULO, 2008

PINTURA NAS PAREDES, CERA PARA PISO, FILTROS DE LUZ E MADEIRA [WALL PAINTING, WAX, LIGHT FILTERS AND WOOD] DIMENSÕES VARIÁVEIS [VARIABLE DIMENSIONS]

Seção diagonal (2008) propõe uma relação ativa com o espectador, causando uma reação inicial de descoberta e de surpresa, seguida de um momento que pode variar do encantamento à decepção. A obra é composta de elementos e materiais básicos, aqueles mesmos encontrados na sala de exposição e utilizados na sua construção: paredes, teto e piso; tinta, luminárias e cera. Contudo, ela propõe um deslocamento da nossa percepção ao sugerir a presença de um elemento que, afinal, não existe no espaço. A obra acontece na transformação deste espaço pela inclusão de uma linha diagonal que o divide, criando um campo de cor. A obra se confunde com a sala de exposição que a antecede e a acolhe - causando, por isso, a confusão em nossa percepção. Na obra de Marcius Galan, o ilusionismo tem papel importante, seja na imitação de objetos industriais com esmero artesanal, seja ao impor relações físicas e espaciais estranhas aos materiais, de certa maneira forjando sua transformação. Em Seção diagonal (2008), este jogo extrapola a representação e o objeto e, em última instância, faz o espectador re-examinar sua própria presença no espaço. Depois de experimentar a obra por uma vez, resta a frágil lembrança daquele momento inicial, cuja repetição é, pelo menos imediatamente, impossível. Texto de parede Instituo Inhotim, MG

Área Comum (common area) is na expression widely used in advertisements for new flats, designating those areas that can be used by all inhabitants of the same building, such as gardens, swimming pools, gyms, saunas and a range of different leisure spaces dependind on which social class the building is designed for. In Marcius Galan´s exhibition, however, the term seems to refer a common area between art and design, built and found objects, reality and fiction, perception and knowledge. In the ground floor, the artist displays a series of works built from replicating familiar objects: rectangles painted on one wall imitate those signs around fire alarms; a wooden construction looks like fluorescent lamp support slightly burned on both extremities as if by long term usage; a set of ordinary wooden stools is trapped and kept in balance by what seems to be a yellow plastic band normally used for signaling restricted areas, but is actually made out of metal. The same game of deconstructing what we understand based on familiar materials and the codes established by their use, is played in the small room on the top floor of the gallery. Entering the space, one feels certain of seeing a glass dividing it in half: a very minimal intervention that creates an empty shop window, leaving room for circulation and accessing the terrace. Very minimal, indeed. There is nothing there but the metal lines that would hold the glass, and a very precise shade of green on the walls. Our general trust in a visual decoding of the world can only be broken, by crossing the glass. Carla Zaccagnini

SEÇÃO DIAGONAL [DIAGONAL SECTION] - INSTITUTO INHOTIM, BRUMADINHO - MG, 2010 PINTURA NAS PAREDES, CERA PARA PISO, FILTROS DE LUZ E MADEIRA [WALL PAINTING, WAX, LIGHT FILTERS AND WOOD] DIMENSÕES VARIÁVEIS [VARIABLE DIMENSIONS]

Marcius Galan Galeria Luisa Strina, São Paulo Flash Art n. 260 (may / june 2008) - Flash reviews

IMOVEL/INSTÁVEL [IMMOBILE/INSTABLE], 2011

MOEDA,CONCRETO ARMADO, MADEIRA, CABOS DE AÇO E PINTURA [COIN, PAINTED CONCRETE, WOOD AND IRON CABLES] DIMENSÕES VARIÁVEIS

IMOVEL/INSTÁVEL [IMMOBILE/INSTABLE], 2011 DETALHE [DETAIL]

MOEDA,CONCRETO ARMADO, MADEIRA, CABOS DE AÇO E PINTURA [COIN, PAINTED CONCRETE, WOOD AND IRON CABLES] DIMENSÕES VARIÁVEIS

If a state of affairs typical of Brazil can be thought in the experience evoked by these works, the route remains viable in ‘Bandeira Preta’ (Black Flag). Here, not only the country, but a specific worldly scenario can be reflected in the work. What is to be seen is a thick steel sheet, painted black, which lies on the floor over a wooden rod. The iron has its shape modified by the shape of the wood, as a sheet which reveals what lies beneath, contradicting the specificities of the materials. Its shape of a flag and mast presents a structure with apparent lightness, waiting for a volunteer who endeavour to lift it, but its construction makes such gesture impossible.

In ‘Imóvel/Instável’ (Immobile/Instable), by Marcius Galan, at Galeria Luisa Strina, we find the presence of a work whose formal power is linked to content which is not less consistent and which acutely tells us about the time we live in. Such coalescence is rare and makes Galan’s work one of the most instigating happenings in the contemporary production. In the last ten years, the artist has been exhibiting series of work which only reinforce this certitude. The exhibition begins with a large installation, after which the very exhibition was named. Resembling a mobile, the structure, however, does not move. The overhanging structures are anchored on the ground, making the composition which evokes movement still. The design is made in such way that such fixity encompasses an element of crookedness. It is fixed, but there is no harmony, only unbalance. We look at the piece and it indeed has the nature of a mobile, but does not move; it is rigid, stuck and stable. The weights which hold the structure are made in the shape of pyramids and dwindle from module to module. There is a sequence which decreases from the outside in. The first weights are up to 120cmX120cm in their base, reaching the point in which the support is given by a simple coin. Note that a coin has the same role, the same function, as a large block of concrete. In the end, money is central and, even with its ‘real’ weight being negligible, is equivalent to the first, symbolically and practically. We shall notice that the entire exhibition is permeated by matters such as balance and (dis)organization. In ‘Prumo’ (Plumb-bob), the same unstable balance of the prior work is present. If we consult the dictionary, we will see that the Portuguese word for the engineering instrument used to check verticality and the axis of a solid also carries more subjective meanings, such as prudence, tact, judgement, caution and mainstay. What is seen is a work which is supported by its framework. A large nail trespasses the glass, the paper the woodwork and meets the wall. However, it does not tear any of those; it follows its path with precision, with prudence. The paper, which had the exact measure of the frame, is unbalanced by gravity, for the nail is not centralized, and the exceeding paper which crossed the limit of the frame is eliminated, creating an abstraction which is a product of chance. Note how all the materials used are simple, wood, concrete, frame, glass, nail, paper, the basic vocabulary of ‘works of art’. Galan’s work as a whole excels in such formal economy. Here, less is more. Making such economical use in the formal register, the artist makes us think of a broad spectrum of subjects. Both “Imóvel/Instável” (Immobile/Instable) and ‘Prumo’ (Plumb-bob) bring about a contradiction in themselves. The immobility of the first is associated with a sight of instability. It wants to move, walk, leave the entropic position, but something stops it, interrupts the flux. The appearance is thus ambiguous. Something ready to start moving but that, as if in a swamp, is not able to move, embarrassingly remaining midway, immobile but instable. ‘Prumo’ requires a second look; otherwise the core of the work is missed. Everything there is almost in its place, on track. Everything is simple, the colours, the materials used. Nothing is represented. What is commonly used as support for a future work is the work itself, and what makes it so is a slight inflexion, a minimal torsion which shows us how what seems to be, at a first and lazy glance, aligned is, in fact, not so. Would it be clamorous reverie to associate such works with the situation of the Brazilian society? I dare say no. Yes, it is possible to make such an association. This was the correspondence that first sprang to mind when I saw, for the first time, the studies for this work. We live in a state of natural indetermination in Brazil. In the last years, the country has undergone unquestionably positive changes, necessary but still insufficient. We need more, for more people, and deeper layers of improvement in people’s lives. However, trying to grope things in a less objective manner, there is among us a permanent sensation of entropy, a chronic state of a promise which is not completely fulfilled, a walking in circle, a balance which may always be on the verge of being disrupted. We have always lived with this feeling of everything being transitory. Not surprisingly, the image of the bodge has been largely used as an exemplary metaphor for the typical Brazilian attitude. Galan’s work rise impeccable, the opposite of the bodge, but, at a second glance, we discover that is a trick or that what appeared straight is, in fact, crooked, skew, somewhat unstable. We then start looking more attentively at what is before us. His works remind us of this indescribable, yet impacting, experience which trespasses the reality of Brazil, its culture and the choices of our society. The immobility is not a consequence of stability, but instead a sign of a swampy condition, unstable, undetermined.

‘Bandeira Preta’ (Black Flag) contains aspects which are typical of the work of Galan as a whole and allows us to create a link with broader questions. There is here something which reveals itself as a trick to the eyes. Not by chance, one of the works in the exhibition is entitled ‘Uri Gueller’. It is a sculpture in which a meticulous and illusive balance emphasizes suspicion to the eyes accentuated by the title, which makes reference to the pop illusionist/charlatan who bent silverware in front of the TV primetime spectators in the seventies. A memorable work as ‘Seção Diagonal’ (Diagonal Section), from 2008 - in which basic elements such as wall, ceiling, flooring, paint, light and wax work a magic in which there seems to be a wall between us and the other side when, in fact, there is only air – is an example of such type of procedure which repeats itself in the artist’s trajectory. In ‘Bandeira Preta’ (Black Flag) we are also haunted by what in a first instant seems to be, but is not. Between the surprise and the discovery, the experience that really matters takes place. Galan modifies our perception of the steel sheet, giving us a first impression of being fabric – all the conformation refers to something which can indeed be caught. But no, we cannot. On the one hand, the illusive register which instils a new form of perception is present. On the other, we should be attentive to the specificities of this ‘method’ in the work in question. The function of every flag is to be hoisted. Flags evoke battles, nations, parties, religions, and ways of seeing the world. Galan’s black flag seems fruit not of pure and simple nihilism, nor cynicism, recurrent ways of responding to the current state of affairs. No, the blackness and the impossibility of being hoisted here tell us more of a no to divisions, borders, battles and points of view which prescribe dogmatic ways of living than of the individualistic nihilism/ cynicism. The melancholic tone of disillusion, typical of post-utopian times like ours, is undeniable. There is this presence of a symbol of belief and struggle lowered, laid down. However, somehow, the latent desire that this ‘Bandeira Preta’ provokes makes us think that, yes, we should always have this pulsating desire for change. Not the change of historic, utopian, dogmatic nature, but a different kind, less easily defined, more fragmented, more prosaic. This fragmented, non-linear, way of being which characterizes the current times, disillusioned times, may be envisaged in the series of photographs ‘Ilhas Derivadas’ (Drifting Islands). We see yellow and white paint on tarmac. The wear and tear of time has undone the linearity, the totality, to give way to fragments, dispersion. Utopia, term created by Sir Thomas More in the sixteenth century, evokes an imaginary island where harmony and justice reign. Today’s islands are the opposite of that, we no longer have the ideal of cohesion and harmony, but instead are called to new wisdom, that of knowing to move by means of drifting among shatters, pieces, constructing something from fragments. In their original function, these colours are part of long lines which serve the purpose of giving the correct direction in the streets of a city or a road. If modernity had as premises linearity and progress, men, western as they are, should always follow a straight line towards the future, which would obviously be better than the present. In this unstoppable race, what surrounds us in the present, the prosaic – like the colours in the city’s tarmac –was, or is, driven out of sight. Turning this ordinary layer into fertile soil for poetry is something possible today. A dusky side presents itself, but so does an aurora. Who knows maybe we are more able to run more freely, looking around, wasting time in the here and the now, seeking sense in the hereafter? Having as our bearings not the cohesive and precise lines, but rather those which do not take us towards a promised land, but to the drifting islands, loose, still undone, open to a different place, still unheard of, like Galan’s. “Immobile/Instable” is an exhibition that leaves us with the reminiscence of precision, of the cohesive and acute form. But it all is built alongside doubt, the crookedness, and the unbalance amidst supposed stability. There is beauty, there is surprise, there is chance of discovery to the eyes in each of the exposed works. This simultaneity in divergence, this background contradiction which permeates all the work, is what offers us the chance to think of possible overtures, of questionings before unthinkable. The work of Marcius Galan transpires urgency and possibilities of the present, making use of extreme formal economy. All this rigor, when seen up-close, brings us closer to what dangles, floats, but does not collapse. In face of these works we are reminded of the daily art of balancing ourselves in a sort of absence, on slippery ground. Instable balance, but that, yes, moves us. Luisa Duarte

BANDEIRA PRETA, 2011

FERRO, PINTURA AUTOMOTIVA E MADEIRA [PAINTED IRON AND WOOD] 3 X 134 X 173 cm

< URI GELLER, 2011

FERRO, PINTURA AUTOMOTIVA E MADEIRA [PAINTED IRON AND WOOD] 102 x 96 x 130 cm

PRUMO, 2011

MOLDURA DE MADEIRA E VIDRO, PAPEL, PREGO [WOODEN FRAME, GLASS, NAIL AND PAPER] 83 X 63 X 8,5 cm

PRUMO, 2011

MOLDURA DE MADEIRA E VIDRO, PAPEL, PREGO [WOODEN FRAME, GLASS, NAIL AND PAPER] 83 X 63 X 8,5 cm

On Rigor in Science . . . In that Empire, the Art of Cartography reached such Perfection that the map of one Province alone took up the whole of a City, and the map of the empire, the whole of a Province. In time, those Unconscionable Maps did not satisfy and the Colleges of Cartographers set up a Map of the Empire which had the size of the Empire itself and coincided with it point by point. Less Addicted to the Study of Cartography, Succeeding Generations understood that this Widespread Map was Useless and not without Impiety they abandoned it to the Inclemencies of the Sun and of the Winters. In the deserts of the West some mangled Ruins of the Map lasted on, inhabited by Animals and Beggars; in the whole Country there are no other relics of the Disciplines of Geography. (Suárez Miranda: Viagens de Varões Prudentes, livro quarto, cap. XIV, 1658.) - Jorge Luis Borges (O Fazedor)

At first sight, the plastic result of Marcius Galan’s work raises reflections about sculpture, geometry and space. However, the artist acquired these notions through informality, from the traps that a category or even a form of representation can contain within itself. Irony and illusion tend to characterize his works, which, though made in substantial materials, such as cast concrete, iron, glass and wood, suggest movement, fleetingness and even imminence. In Ponto em escala real, Galan makes literal the representation of a place on the map of the city. He multiplies its perimeter from the stated scale of 1 to 130 thousand and concludes that, obeying these proportions, the marked area would cover a radius of 130 m, of which he constructs in concrete the “lowermost” section of 30 m2. A similar obedience to scale used in mapmaking is applied by the artist in Entre, a set of eight microphotographs of border zones and conflict flashpoints across the world. Enlarged thousand times, the images of these borders acquire topographical features lost in ink and paper, becoming interstices that can only be inhabited in the imagination. Texto do catálogo da 29a Bienal de São Paulo - Há sempre um copo de mar para um homem navegar, 2010

PONTO EM ESCALA REAL [POINT IN REAL SCALE], 2010

VISTA DA MONTAGEM NA [EHXIBITION VIEW] 29a BIENAL DE SÃO PAULO CONCRETO ARMADO E PINTURA EPOXI [DRAWINGS ON PAPER, CONCRETE, IRON AND EPOXI PAINTING] 50 x 500 x 600 cm

PONTO EM ESCALA REAL [POINT IN REAL SCALE], 2010

VISTA DA MONTAGEM NA [EHXIBITION VIEW] 29a BIENAL DE SÃO PAULO CONCRETO ARMADO E PINTURA EPOXI [DRAWINGS ON PAPER, CONCRETE, IRON AND EPOXI PAINTING] 50 x 500 x 600 cm

As imagens do trabalho ENTRE foram obtidas por microscopia eletrônica em um laboratório nos Estados Unidos, utilizando uma pequena parte de papel que continha a linha da fronteira e a ampliação obedecia a escala do mapa afim de se conseguir uma proporçnao de 1:1, ou seja, a escala real. The images of the work Entre were obtained by electronic microscope in a laboratory in the United States. A small sample of paper (map) containing the border line was amplified as many times as necessary to obey the scale use in the map as to reach the proportion of 1:1, that is to say, the real scale.

ENTRE, 2010

ESTADOS UNIDOS DA AMÉRICA / MÉXICO [UNITED STATES OF AMERICA / MEXICO] 32° 31’ 30” N, 117° 2’ 0” W ESCALA DO MAPA DE ORIGEM [SCALE OF THE ORIGINAL MAP] 1:5.000 AMPLIAÇÃO [MAGNIFICATION] 5.000X ESCALA [SCALE] 1:1 IMPRESSÃO JATO DE TINTA EM PAPEL DE ALGODÃO [PHOTOGRAPH - INKJET ON RAG PAPER] 70 x 100 cm (cada imagem [each])

ENTRE, 2010

LÍBIA / SUDÃO [LIBYA/SUDAN] 21 ° 55 ‘0 “N, 24 ° 59 ‘0 “E ESCALA DO MAPA DE ORIGEM [SCALE OF THE ORIGINAL MAP] 1:6.000 AMPLIAÇÃO [MAGNIFICATION} 6.000X ESCALA [SCALE] 1:1 IMPRESSÃO JATO DE TINTA EM PAPEL DE ALGODÃO [INKJET ON RAG PAPER] 70 x 100 cm (cada imagem [each])

ENTRE, 2010

VISTA DA MONTAGEM {EHXIBITION VIEW] 29a BIENAL DE SÃO PAULO, 2010 IMPRESSÃO JATO DE TINTA EM PAPEL DE ALGODÃO [INK JET ON RAG PAPER] 70 x 100 cm (cada imagem [each])

“In the late 1960s the legibility of the city appeared near a threshold of oblivion. Discourses on urbanism multiplied seemingly in inverse proportion to the dissolution of the city’s coherence. It was a moment in which the Western city, beset by one ‘crisis’ after another, increasingly became a function of networks and forces surpassing it; a time after which the city retained and objective shape only if obsolete maps were used” Jonathan Crary, “J.G. Ballard and the promiscuity of forms” In Michael Feher e Sanford Kwinter (orgs.), Zone ½: The contemporary city. N. York: Zone Books, 1987, p. 159.

“...The majority of works were made through a subtraction of information or a withholding of facts and observations. Marcius Galan’s Foco (Focus, 2004), two framed white surfaces dotted with clusters of red pins, seemed to represent a concentration of crime scenes or some other grim statistic. But there was no legend to this map, nor any lines or boundaries. A piece that at first promised to provide statistical information turned out to be a kind of voodoo or acupuncture on paper. ...” Frieze, Fragmentos e Souvenirs paulistanos v1 review

MAPA-MUNDÍ POLÍTICO - ESCALA 1:1 [POLITIC PLANISPHERE – SCALE 1:1 (detalhe [detail]), 2010 CLUBE DA GRAVURA - MAM SÃO PAULO IMPRESSÃO OFFSET [OFFSET PRINTING] 70 x 100 cm

FOCO [FOCUS], 2004

MADEIRA, PINTURA ESMALTE E ALFINETES DE MAPA [WOOD, PUSH PINS AND PAINT] 70 x 100 cm

CARTOGRAFIA ABSTRATA [ABSTRACT CARTOGRAPHY], 2012 PINOS DE MAPA SOBRE MADEIRA PINTADA [PUSH PINS ON PAINTED WOOD] 180 x 100 x 5 cm

UMA LINHA CONTÉM INFINITOS PONTOS [LINE CONTAINS INFINITE POINTS], 2011 PINOS DE MAPA SOBRE MADEIRA PINTADA [PUSH PINS ON PAINTED WOOD] 200 x 300 x 12 cm

FRAGMENTO DE PONTO [PIECE OF POINT], 2010

CONCRETO ARMADO E RESINA [REINFORCED CONCRETE AND RESIN] 60 X 70 X 70 cm

TRÊS PONTOS [THREE POINTS, 2011 CONCRETO E PINTURA [CONCRETE AND PAINT] 105 X 70 X 12 cm

EXPANSÃO [EXPANSION], 2012

CONCRETO E TINTA ESMALTE [CONCRETE AND ENAMEL PAINT] 13 X 135 X 100 cm

ÁREA COMUM [COMMON AREA], 2008

CONCRETO E TINTA ESMALTE [CONCRETE AND ENAMEL PAINT] 13 X 150 X 150 cm

Archipelago is a monument to neutrality. It gathers items from current urban references usually unnoticed: traffic lights, lampposts, walls, bushes. The sculptural work provides dignity to common things. Marcius Galan has explored the conventions of neutral. He makes it clear that we are surrounded by plastic and visual elements which dictate our actions without our awareness to their presence such as borders and lines in printed official forms, the rounded edges of toilets’ porcelain, or even light bulbs behind backlights. He dissects these objects, takes out all adornment leaving raw the structure once invisible. Archipelago gains environmental nature when penetrated by the spectator. The private garden from previous times invites for a ride around the planted bed. When circulating around the center the spectator creates a meditative trail using the space as a cloister. The lightening of the work, however, demystifies the scene: lamppost’s wires unrolls on the floor. The precarious installation forbids its elements to remain neutral, opposite to the situation found in real life: all becomes attractive to the eyes. Toddling inattentive around town becomes awkward. Felipe Chaimovich – Commented works of Museu de Arte Moderna de São Paulo collection- 2007 - pg. 71

ARQUIPÉLAGO [ARCHIPELAGO], 2005

CONCRETO TUBOS DE FERRO, FIOS, POSTE DE LUZ, CAIXA DE LUZ E PLANTAS [CONCRETE, STEEL TUBES, PAINT, PLANTS, LIGHT BOX, STREET LAMP AND WIRE] DIMENSÕES VARIÁVEIS

ILHA DESERTA [DESERT ISLAND], 2006

CONCRETO TUBOS DE FERRO, FIOS, LÂMPADAS FLORESCENTES, CAIXA DE MADEIRA, SACOS PLÁSTICOS E PLANTAS [CONCRETE, STEEL TUBES, WIRE, FLUORESCENT LAMP, WOOD BOX, PLASTIC BAGS AND PLANTS] 300 X 300 X 30 cm

Bases de sustentação quebradas, apoio para aquilo que nunca será construído, formas de sinalizar oque não se sabe: ruína, inacabamento, desorientação. Alinhados em paralelo e encostados sobre a superfície ampla, os dois elementos pintados contradizem o ordenamento de propósitos que usualmente deles se espera. Broken basis, a support to what will never be built, ways of signaling what no one knows: ruin, unfinished forms, disorientation. Aligned in parallel and lying on a wide surface, the two painted elements contradict the order of purposes that is usually expected from them. (texto de parede para o Panorama da arte brasileira - Contraditório - curadoria de Moacir dos Anjos

DUAS PARALELAS QUE NÃO SE ENCONTRAM NO INFINITO [TWO PARALLELS WHICH WILL NEVER MEET IN THE INFINITE], 2004 MADEIRA E PINTURA ESMALTE [WOOD AND ENAMEL PAINT] DIMENSÕES VARIÁVEIS [VARIABLE DIMENSIONS]

Marcius Galan’s sculptures and architectural installations make strange the familiar and banal, twisting the function of objects so as to encourage a reconsideration of their form. In his ‘Isolante’ series (Insulator, 2008) the artist reconfigures commonplace elements from both domestic and urban environments – chairs, tables, building materials – into new forms and arrangements. Sinuous yellow strips, appearing flimsy and provisional yet made from steel, sometimes bind these configurations, or are elsewhere used like tape to frame areas of space. Playing with visual assumptions and evoking the colours and geometric forms employed by his neo-Concretist forebears, Galan redefines objects and the way we look at them. From the Frieze Yearbook, 2010

ISOLANTE [INSULATOR], 2007

TIJOLOS DE CERÂMICA, FERRO E PINTURA ESMALTE [CERAMIC BRICKBAT, IRON AND ENAMEL PAINT] 80 x 90 x 18 cm

ISOLANTE (ÁREA) [INSULATOR (AREA)], 2009

PREGOS, FERRO E PINTURA ESMALTE [NAIL, IRON AND ENAMEL PAINT] 100 x 100 x 5 cm

Imprestáveis para seu emprego comum, cadeiras quebradas ou gastas são isoladas de tudo. O elemento que sinaliza esse declínio e as separa do mundo desafia, porém, expectativas sobre a natureza das matérias e seus usos. Questiona assim, se os móveis são mesmo escombros ou algo mais para o que inexiste nome acordado. Useless for their common function, broken or worn out chairs are isolated from everything. The element that indicates this decline and separates them from the world challenges, though, expectations on the nature of matter and it uses. It questions, therefore, if pieces of furniture are actually leftovers or something else to wich there’s no agreed name. Texto do catálogo Contraditório: Panorama da Arte Brasileira, 2007

ISOLANTE (REPOUSO) [INSULATOR (REST)]

PREGOS, FERRO E PINTURA ESMALTE [NAIL, IRON AND ENAMEL PAINT] 78 x 42 x 5 cm

ISOLANTE (CADEIRAS) [INSULATOR (CHAIRS)]

CADEIRAS, FERRO E PINTURA ESMALTE [CHAIRS, IRON AND ENAMEL PAINT] 100 x 135 x 145 cm

ISOLANTE (LINHA) [INSULATOR (LINE)]

TIJOLO, FERRO E PINTURA ESMALTE [BRICK, IRON AND ENAMEL PAINT] 185 x 10 x 12 cm

ISOLANTE (TENSO) [INSULATOR (TENSE)]

PREGO, CONCRETO, FERRO E PINTURA ESMALTE [NAIL, CONCRETE, IRON AND ENAMEL PAINT] 160 x 40 x 80 cm

O ESCULTOR [THE SCULPTOR], 2010

BASE DE MADEIRA, ACRÍLICO E LIXADEIRA ELÉTRICA [WOOD BASE, ACRYLIC AND ELECTRIC SANDER] 130 x 50 x 70 cm

BALANÇO [BALANCE], 2010

MADEIRA E PINTURA ESMALTE [WOOD AND ENAMEL PAINT] 89 x 60 x 70 cm

QUADRO DE EMERGÊNCIA [EMERGENCY PICTURE], 2008 MADEIRA E PINTURA ESMALTE [WOOD AND ENAMEL PAINT] 100 x 75 x 4 cm

COMPOSIÇÃO DE ÁREA COMUM [COMMON AREA COMPOSITION], 2008 PINTURA ESMALTE SOBRE PAREDE [ENAMEL PAINT ON WALL] 100 x 70 cm

VISTA DA EXPOSIÇÃO DIMENSÕES VARIÁVEIS NO CENTRO CULTURAL SÃO PAULO [VIEW OF THE EXHIBITION VARIABLE DIMENSIONS IN THE SAO PAULO CULTURAL CENTER], 2010

QUADRO DE FORÇA [FORCE PICTURE], 2008

MADEIRA E PINTURA ESMALTE [WOOD AND ENAMEL PAINT] 55 x 45 x 3 cm

CAIXA DE DISTRIBUIÇÃO [JUNCTION BOX], 2009 MADEIRA E PINTURA ESMALTE [WOOD AND ENAMEL PAINT] 50 X 60 X 30 cm

INCLINAÇÃO À ESQUERDA [INCLINASION TO THE LEFT], 2008/2010 MADEIRA E PINTURA ESMALTE SOBRE PAREDE [WOOD AND ENAMEL PAINT ON WALL] 150 x 180 x 6 cm

RELEVO (SÉRIE ABSTRAÇÕES BUROCRÁTICAS) [RELIEF (FROM THE SERIE BUREAUCRATIC ABSTRACTION)], 2010 MADEIRA E PINTURA ESMALTE [WOOD AND ENAMEL PAINT]

EXTENSÃO, 2004 (VISTA DA EXPOSIÇÃO DIMENSÕES VARIÁVEIS NO CENTRO CULTURAL SÃO PAULO, 2010) [EXTENSION, 2004 (VIEW OF THE EXHIBITION VARIABLE DIMENSIONS IN THE CCSP SAO PAULO,2010)] 5.000 METROS DE CABOS ELETRICOS CONTÍNUOS, LÂMPADA E ENERGIA [5.000 METERS OF WIRE, LAMP AND ENERGY] DIMENSÕES VARIÁVEIS [VARIABLES DIMENSIONS]

SEM TÍTULO [UNTITLED], 2002

ACRÍLICO MOLDADO MADEIRA E LÂMPADAS FLUORESCENTES [MOLDED ACRYLIC, WOOD AND FLUORESCENT LAMPS] 60 x 150 x 30 cm

BACKLIGHT, 2004

FOTOGRAFIA DURATRANS MONTADA EM CAIXA DE LUZ [DURATRANS PHOTOGRAPH PUT UP IN A LIGHT BOX] 90 X 90 X 15 cm

BACKLIGHT, 2003

FOTOGRAFIA MONTADA EM CAIXA DE MADEIRA [PHOTOGRAPH IN A WOODEN BOX] 70 X 70 X 15 cm

FOTOTAXIA [PHOTOTAXIS], 2004

FOTOGRAFIA DURATRANS MONTADA EM CAIXA DE LUZ [DURATRANS PHOTOGRAPH PUT UP IN A LIGHT BOX] 40 X 30 X 14 cm

SEM TÍTULO [UNTITLED] (DISPLAY), 2004 WOOD AND ENAMEL PAINT 60 X 180 X 35 cm

FUNDO FALSO [FALSE BOTTOM], 2004

FOTOGRAFIA MONTADA EM CAIXA DE MADEIRA [PHOTOGRAPH PUT UP IN A WOOD BOX] 50 X 60 X 32 cm

FUNDO FALSO [FALSE BOTTOM], 2004

FOTOGRAFIAS MONTADAS EM CAIXAS DE MADEIRA [PHOTOGRAPHS PUT UP IN A WOOD BOXES] 200 X 300 X 32 cm

SINO [BELL], 1998 As ausências e os desencontros são tópicos recorrentes nas obras de Marcius Galan. Nos trabalhos do artista, o “sem” e o “quase” – o incompleto ou o inconcluso – diluem fronteiras, atenuam limites. As obras buscam a si mesmas na indefinição e na vulnerabilidade dos equilíbrios. Paradoxalmente, no aspecto construtivo e nos conteúdos das obras, a ausência torna-se eloqüente, e quando os encontros acontecem, parecem anularem-se perante o inevitável ou o impossível. Pois, já carregar a marca de um conflito, de uma tensão perturbadora, de uma inquietante omissão, enfatizando às vezes a premente colisão de fatores irreconciliáveis. Em Sino, que integra o Comodato Eduardo Brandão e Jan Fjeld, um fálico e ameaçante pendulo de aço permanece pendurado no interior de um frágil e transparente sino de vidro. Qualquer aproximação prepara o caminho de estrepitosas e fatais rupturas. Por esse motivo, a carga erótica da peça parece caminhar sobre a instabilidade de uma corda. A quietude é acompanhada por uma harmonia de silêncios facilmente quebrável. Os silêncios configuram uma borda através do simétrico vazio que ocupa o espaço entre o pêndulo e o sino. Esta é uma obra que se traduz em angustiante espera e letal desejo. Se o umbral conformado pela vacuidade for traspassado, se alcançaria o movimento e o som, mas se perderia irremediavelmente a forma. Não há chances para segundas oportunidades. Se conseguisse alcançar a finalidade de sino, apressaria a morte da função que lhe define, para conseguir de uma única vez a razão de ser: drástico contato com uma sensualidade marcada pela impossibilidade.

Absences and missed encounters are returning topics in Marcius Galan’s works. “Without” and “almost” – the incomplete or unconcluded – fade borders, lessen limits. The works search for themselves in the blurred and the vulnerability of balances. Paradoxically, referring to the constructive aspect and works contents, absence becomes eloquent and when encounters happen they seem to be annulled before the inevitable of the impossible. Since showing the scar of a conflict, of a disturbed tension, of a disquieting omission sometimes emphasizes the coalition of irreconcilable factors. In “Sino”, part of “Comodato Eduardo Brandão” and “Jan Field”, a phallic and scary iron pendulum remains hanging inside a fragile and transparent glass bell. Any attempt of getting closer is followed by fatal and shimmy ruptures. For this reason the erotic side of the piece seems to walk over the instability of a rope. The disquietude is followed by a harmony of silences which can be easily broken. Silences becomes the border through the symmetric empty space between the pendulum the and bell. This work is translated in anguishing wait and lethal desire.(…) If the piece could reach the bell’s finality it would anticipate the death of the purpose which defines itself, in order of acquiring once and for all its reason of being: drastic contrast with a sensuality marked by impossibility. Andres Martinez - Obras comentadas da coleção do Museu de Arte Moderna de São Paulo [Commented works MAM São Paulo collection] - 2007

DESENHOS [DRAWINGS], 2000-2005

RESÍDUOS DE DESENHOS APAGADOS ACUMULADOS POR UM PERÍODO DE 5 ANOS [RESIDUES OF THREW AWAY DRAWINGS AMASSED DURING FIVE YEARS] 20 X 15 X 9 cm

SINO [BELL], 1998

VIDRO E AÇO [GLASS AND IRON] 32 X 30 X 30 cm

VISTA DA EXPOSIÇÃO 29a BIENAL DE SÃO PAULO OBRAS SELECIONADAS - MAM, RIO DE JANEIRO [VIEW OF THE EXHIBITION 29a BIENAL DE SÃO PAULO OBRAS SELECIONADAS - MAM, RIO DE JANEIRO], 2011

VISTA DA EXPOSIÇÃO IMÓVEL/INSTÁVEL - GALERIA LUISA STRINA, SÃO PAULO [VIEW OF THE EXHIBITION IMÓVEL/ INSTÁVEL - GALERIA LUISA STRINA, SÃO PAULO], 2011

VISTA DA EXPOSIÇÃO FUNDO FALSO NA GALERIA LUISA STRINA, SÃO PAULO [VIEW OF THE EXHIBITION FALSE BOTTOM _ GALERIA LUISA STRINA, SAO PAULO, 2004

MONTAGEM DO TRABALHO ÁREA COMUM NO PARQUE ESTORIL - S. BERNARDO [MOUNTING OF THE WORK COMMON AREA - ESTORIL PARK, S. BERNARDO - SP - BRAZIL, 2012

VISTA DA EXPOSIÇÃO DIMENSÕES VARIÁVEIS NO CENTRO CULTURAL SÃO PAULO [VIEW OF THE EXHIBITION VARIABLE DIMENSIONS IN THE SAO PAULO CULTURAL CENTER], 2010

VISTA DA EXPOSIÇÃO “PARA SER CONSTRUIDOS” NO MUSAC - LEON - ESPANHA [VIEW OF THE EXHIBITION “PARA SER CONSTRUIDOS” AT MUSAC - LEON - ESPANHA, 2010