The linking of different materials allows him countless artistic possibilities, and the choice of both the material and the medium is dependent on the subject. Thus, says the artist, "the material should enter into a dialogue with the subject". — Peer Golo Willi, Curator and Art Historian, Berlin Franzão is one of the most dynamic and provocative artists among Brazil's new generation of talent. Enlightened by an early background in Literature and Communications, the work of Rodrigo Franzão reveals an incantatory discourse between the artist, his vision and his uninhibited involvement with found materials. — Robert Yahner, Curator at National Arts Club, New York
p. 2 Aquilo que ouço, 2018. [ What I hear, 2018 ]
p. 14 Contra, 2018. [ Against, 2018 ]
p. 26 Pedra Amazônica, 2019. [ Amzon Stone, 2019 ]
p. 4 Aquilo que toco, 2018. [ What I touch, 2018 ]
p. 16 Oposição, 2018. [ Opposition, 2018 ]
p. 28 Bio
p. 7 Aquilo que vejo, 2018. [ What I see, 2018 ]
p. 18 Fluxo, 2019 Flow, 2019
p. 8 Aquilo que sinto, 2018. [ What I feel, 2018 ]
p. 20 Sem título, 2018. [ Untitled, 2018 ]
p. 10 Compulsão, 2018. [ Compulsion, 2018 ]
p. 22 Sem título, 2019. [ Untitled, 2019 ]
p. 13 Vazio, 2018. [ Empty, 2018 ]
p. 24 Tudo na mesma calçada, 2019. [ All on the same sidewalk, 2019 ]
p. 29 Résumé p. 30 Press p. 31 Textos [ Texts ]
Da Hera ao Muro [ From the Ivy to the Wall ]
Série de trabalhos, que contextualiza o indivíduo por suas próprias ações, sentimentos e experiências. Com base na rotina contemporânea, as obras são inspiradas pelo sentimento de desorientação e confusão do indivíduo diante de sua atitude existencial. Desespero, ansiedade, absurdo, alienação e tédio são adjetivos trabalhados nesta série, a fim de sensibilizar o observador para encontrar uma única maneira de dar sentido à sua vida e vivê-la de uma forma sincera e apaixonante.
Series of works, which contextualizes the individual by its own actions, feelings and experiences. Based on the contemporary routine, the works are inspired by the feeling of disorientation and confusion of the individual in the face of its existential attitude. Despair, anxiety, absurdity, alienation and boredom are adjectives worked in this series in order to sensibilize the beholder to find a single way to give meaning to its life and live it in a sincere and passionate way.
Aquilo que ouço, 2018. (Moldura de madeira) Elástico, esmalte sintético, tinta permanente, tecido de algodão dobrada sobre canvas. 100 x 140 x 10cm What I hear, 2018. (Wooden frame) Elastic, synthetic enamel, ink marker, cotton fabric folded on canvas. 39.3 x 55.1 x 3.9in
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Aquilo que toco, 2018. (Moldura de madeira) ElĂĄstico, esmalte sintĂŠtico, tinta permanente, lona de algodĂŁo dobrada sobre canvas. 125 x 117 x 10cm What I touch, 2018. (Wooden frame) Elastic, synthetic enamel, ink marker, cotton fabric folded on canvas. 49.2 x 46 x 3.9in
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Aquilo que vejo, 2018. (Moldura de madeira) Elástico, esmalte sintético, tinta acrílica, tinta permanente, lona de algodão dobrada sobre canvas. 184 x 88.5 x 10cm What I see, 2018. (Wooden frame) Elastic, synthetic enamel, acrylic paint, ink marker, cotton fabric folded on canvas. 72.4 x 34.8 x 3.9in
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Aquilo que sinto, 2018. (Moldura de madeira) ElĂĄstico, esmalte sintĂŠtico, tinta permanente, lona de algodĂŁo dobrada sobre madeira. 81.5 x 81.5 x 10cm What I feel, 2018. (Wooden frame) Elastic, synthetic enamel, ink marker, cotton fabric folded on wood. 32 x 32 x 3.9in
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Compulsão, 2018. (Moldura de madeira) Elástico, esmalte sintético, tinta acrílica, tinta permanente, lona de algodão dobrada sobre madeira. 50 x 50 x 10cm Compulsion, 2018. (Wooden frame) Elastic, synthetic enamel, acrylic paint, ink marker, cotton fabric folded on wood. 19.6 x 19.6 x 3.9in
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Vazio, 2018. (Moldura de madeira) ElĂĄstico, carvĂŁo sobre papel milimetrado. 51.5x 63.5 x 10cm Empty, 2018. (Wooden frame) Elastic, charcoal on graph paper. 20.2 x 25 x 3.9in
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Contra, 2018. (Moldura de madeira) ElĂĄstico, carvĂŁo sobre papel milimetrado. 51.5x 63.5 x 10cm Against, 2018. (Wooden frame) Elastic, charcoal on graph paper. 20.2 x 25 x 3.9in
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Oposição, 2018. (Moldura de madeira) Elástico, esmalte sintético, prego, canvas sobre madeira. 74.5.5x 58.5 x 10cm Opposition, 2018. (Wooden frame) Elastic, synthetic enamel, nail, canvas on wood. 29.3 x 23.3 x 3.9in
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Fluxo, 2019. (Moldura de madeira) Elástico, esmalte sintético, lápis, canvas sobre madeira. 78.5.5x 71.5 x 12cm Flow, 2019. (Wooden frame) Elastic, synthetic enamel, pencil, canvas on wood. 30.9 x 28.1 x 4.7in
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Sem título, 2018. (Moldura de madeira) Elástico, impressão em papel couchê 250g, insulfilm, fita de LED sobre madeira. 52.5.5x 47.5 x 10cm Untitled, 2018. (Wooden frame) Elastic, printing on couché paper 250g, insulfilm, LED on wood. 20.6 x 18.7 x 3.9in
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Sem título, 2019. (Moldura de madeira) Elástico, impressão em papel couchê 250g, insulfilm, fita de LED sobre madeira. 51.5.5x 51.5 x 10cm Untitled, 2019. (Wooden frame) Elastic, printing on couché paper 250g, insulfilm, LED on wood. 20.2 x 20.2 x 3.9in
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Tudo na mesma calçada, 2019. (Áudio e vídeo) 33 min 19 seg. All on the same sidewalk, 2019. (Audio and vídeo) 33’ 19’’ https://vimeo.com/308806311
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Pedra Amazônica, 2019. (Áudio e vídeo) 5 min. Amazon Stone, 2019. (Audio and vídeo) 5’ https://vimeo.com/309841670
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Rodrigo Franzão
Nasceu em São Paulo, Brasil, 1982. [ Born in São Paulo, Brazil, 1982 ] Vive e trabalha em São Paulo, Brasil. [ Lives and Works in São Paulo, Brazil ]
Possui graduação em Artes, Letras e MBA em História da Arte e da Cultura Visual, desenvolve pesquisa como artista profissional trabalhando com pintura, escultura, vídeo e instalação. Desde 2013, ano em que começou a idealizar sua carreira artística, Franzão vem expondo seus trabalhos regularmente em exposições individuais e coletivas no Brasil e no exterior. Entre as exposições individuais, são particularmente notáveis, em 2014, "Exclusão Involuntária" no Museu do Tribunal Superior em Brasília, Brasil; em 2015, "Katharsis" no National Arts Club em Nova York, EUA e em 2016, "Surface and Abstractions" no Centro de Exposições Odivelas em Lisboa, Portugal. Entre as exposições coletivas, merecem uma menção especial, em 2015, "Between The Lines: Exploring Drawings" no National Arts Club em Nova York, EUA e em 2015, "Fibremen 5 - A Bienal Internacional da Arte Têxtil" em Scythia em Kherson, Ucrânia.
Having attained an undergraduate degree in Art, Language Arts and MBA in Art History and Visual Culture, he has been pursuing a career as professional artist working with painting, sculpture, video and installation. As from 2013, the year he began to forge his artistic career, Franzão has been showing regularly in group and solo exhibitions in Brazil and abroad. Among the artist's solo exhibitions that he attended with his work, are particularly noteworthy, in 2014, "Involuntary Exclusion" at The Superior Court Museum in Brasilia, Brazil; in 2015, "Katharsis" at The National Arts Club in New York, EUA and in 2016, "Surface and Abstractions" at Odivelas Exhibition Center in Lisbon, Portugal. Among the group exhibitions that he attended with his work, deserve special mention, in 2015, "Between The Lines: Exploring Drawings" at National Arts Club in New York, USA and in 2015, "Fibremen 5 - The International Biennial on Textile Art" at Scythia in Kherson, Ukraine.
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Educação [ Education ] 2019 - MBA História da Arte e da Cultura Visual [ Art History and Visual Culture ]. UCAM, São Paulo, Brazil. 2015 - Artes [ Arts ]. CEUCLAR, Brasília, Brazil. 2014 - Letras [ Language Arts ]. UNIMARCO, São Paulo, Brazil.
Exibições [ Exhibitions ] 2019 - Berlin Art Week: Latinoamerican Art, South Embassy Gallery, Berlin, Germany. 2019 - Creative Pride, National Arts Club, NY, USA. 2019 - Little Islands Fest, Amorgos, Greece. 2019 - South Embassy Gallery, Berlin, Germany. 2019 - Concept: the 5th Int. Exhibition on Conceptual Art. CICA Museum, Gimpo-si, Korea. 2017 - Love Inspires. Inn Gallery, São Paulo, Brazil. 2017 - Personal Structures. Casa dos Contos Museum, Ouro Preto, Brazil. 2017 - Outside the Lines: The 4th Annual NAC Drawing Invitational. Gregg Gallery, NY, USA. 2016 - Between The Lines: Exploring Drawings. Gregg Gallery, NY, USA. 2016 - Surfaces and Abstractions. Antônio Lino Gallery, Lisbon, Portugal. 2015 - The International Biennial on Textile Art - Fibremen 5. Scythia, Kherson, Ukraine. 2015 - katharsis. Galeria Marquis Gallery, New York, USA. 2015 - Involuntary Exclusion. Superior Tribunal de Justiça Museum, Brasília, Brazil. 2015 - Weaving Shapes. Anexxo Gallery. Goiás, Brazil. 2014 - Involuntary Exclusion. Anexxo Gallery, Goiás, Brazil.
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Entrevistas [ Interviews ] Paiva, Maristella. "Museu Casa dos Contos recebe a exposição Estruturas Pessoais." Tv Top Cultura, March 2017. Video. (BRAZIL) Bennellick, Mary. "Abstract Textiles" Be Creative with Workbox, Jul./Aug. 2015, p. 82-85. Print. (ENGLAND) Rotelli, Pietro. "Rodrigo Franzão." The Art Zine, June 2015, p. 1. Web. (ITALY) Aragão, Judith Luzardo de. "Rodrigo Franzão: Subtração Involuntária." Vem Comigo TV, May 2015. Video. (BRAZIL) Giusti, André. "Museu do Superior Tribunal de Justiça: entrevista." Museu do Superior Tribunal de Justiça, May 2015. Audio. (BRAZIL) Pitcher, Sam. "Rodrigo Franzão: Abstract forms." Textile Artist, Dec. 2014, p. 1. Web. (LONDON) as obras em Bienal de arte têxtil na Ucrânia, que começa dia 22 de outubro." Obras de Arte, Oct. 2015, p. 1. Web. (BRAZIL)
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Press "Museu Casa dos Contos recebe a exposição Estruturas Pessoais." Tv Top Cultura, March 2017. Video. (BRAZIL) "Espaço Cultural: Catálogo 2015." Secretária de Documentação, Memória e Cultura, Dec. 2016, p. 20. Print. (BRAZIL) "Supertition Review: Rodrigo Franzão." Arizona State University, Issue 16, Dec. 2015, p. 1. Web. (USA) "Rodrigo Franzão representa o Brasil com duas obras em Bienal de arte têxtil na Ucrânia, que começa dia 22 de outubro." Obras de Arte, Oct. 2015, p. 1. Web. (BRAZIL) "Rodrigo Franzão – O Brasil na Bienal de arte têxtil na Ucrânia." Artistas e Artes, Oct. 2015, p. 1. Web. (BRAZIL) "KATARZA I RAVNOTEŽA." DRUGI PAR GAĆA, Oct. 2015, p. 1. Web. (CROATIA) "Do espaço do STJ para Nova York". JusBrasil, Oct. 2015, p. 1. Web. (BRAZIL) "The National Arts Club presents Rodrigo Franzão - Katharsis." Guest of a guest, Sep. 2015, p. 1. Web. (USA) "Artista de Goiás é o 1º brasileiro a expor em famosa galeria dos EUA. Telas de Rodrigo Franzão vão ficar em local que já teve obras de Picasso." G1 - Globo TV, Sep. 2015, p.1. Web. (BRAZIL) "Rodrigo Franzão é o primeiro brasileiro a expor na Marquis Galeria em 117 anos: O espaço recebe dez obras do artista paulistano." Revista Brasileiros, Sep. 2015, p. 1. Web. (BRAZIL) "Rodrigo Franzão é o primeiro artista plástico brasileiro, em 117 anos, a expor na Marquis Gallery do National Arts Club, em Nova York." Obras de Arte, Sep. 2015, p. 1. Web. (BRAZIL) "Terraço Paulistano: SP-Abadiânia-NY" Veja São Paulo, Aug. 2015, p. 27. Print. (BRAZIL) "The limit is imagination: Rodrigo Franzão on his abstract art." Arts Culture, July 2015, p. 1. Web. (ENGLAND) "Rodrigo Franzão - Abadiânia, Goiás, Brazil." 365 days-365 artists, May 2015, p. 1. Web. (USA) "Rodrigo Franzão: Subtração Involuntária." Vem Comigo TV, May 2015. Video. (BRAZIL) Fernandes, Maria T. "Arte em Abadiânia." Revista Roteiro Brasília, Oct./Nov. 2014, p. 16. Print. (BRAZIL)
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Textos [ Texts ] 2015, Peer Golo Willi, Berlin
The color, the colourfulness, is the most striking feature that the viewer finds in the works of the Brazilian Rodrigo Franzão. This applies in particular to the objects in which he combines different materials, primarily textiles, but also metal objects found. Franzão woven stripes of different fabrics in powerful colors into rhythmic compositions which, by interacting with the objects of metal, move between an apparent bulkiness and extraordinary dynamics. The combination of the colors, which is often balanced, but not infrequently also on the border of the harmony, testifies to Franz's willingness to explore boundaries and, if necessary, to cross them. For his work, the artist primarily uses textiles, different fabrics, but also sewing needles, copper wire and paper, sometimes also working with oil and acrylic paints. His focus on everyday, preferably industrial, materials underlines his predilection for the materials that surround the human being, whether he is wearing it on the skin or in daily life, directly or indirectly, consciously or unconsciously. When asked why he used material, which is usually associated with the art of textiles, Franzão points to biographical experiences: that his mother, who works as a seamstress, already has the materials, the tools, and the sound from her workshop His childhood. Similar impressions refer to his father, who was active in metallurgy. From this he draws his passion and inspiration. However, his researches, art studies, color and material research are also important for Franzão. The linking of different textile materials allows him countless artistic possibilities, and the choice of both the material and the medium is dependent on the subject. Thus, says the artist, "the material should enter into a dialogue with the subject". In addition to his artistic research, which is part of his work process, his professional career, which led him to the fine arts, is also remarkable. Rodrigo Franzão has already integrated art into his work when he worked as a Portuguese teacher for several years. Subsequently, he studied architecture, psycho-pedagogy and art therapy. Currently, he is studying art history and aesthetics. Thus, what interests him at the scientific level, art in its historical, social and aesthetic context, he expands in the concept of his artistic research, color and material research, as well as a broad philosophical view of man and his role in society. . 32
In his work complex Subtração Involuntária, which Franzão has created mainly in the years 2014 to 2015, work can be categorized as panels (oil or acrylic) with applications (sewing needles, copper wire). Here, however, the viewer also encounters works that extend so far into the room that they leave the plane of the panel: objects made of interlaced, colored cloths and wires of copper, which protrude from this surface, leaving them, as it were, extensively and comparatively disorderly. Especially the objects, in which he combines textiles with copper wires, very much remind us of Eva Hesse's works. But other influences of geometric abstraction and constructivism are also evident. These objects are often installed at a certain distance from the exhibition wall, so that they search for the dialogue with the viewer as autonomous objects, sometimes free-hanging. It is for him, "says Franzão," to make the individual "what makes his life as a visible, active member of society", his "role as a consumer, and how he conceals his true being through this role" , This connection is not necessarily immediately apparent when these works, which are sometimes inaccessible at all dynamics, It is precisely through the high degree of abstraction of these works that such considerations are left to the viewer at first sight. Naturally, content access to the works is easier when figurative elements come into play. In his series of catharsis, on which Rodrigo Franzão has been working since last year, the artist presents forms in his wall objects that are familiar: human organs, stomach and intestines, kidneys and bladders, lung wings. The forms are kept simple, as they are to be found on radiographs or, in models, in medical and biological literature. They are distinguished by a red color from abstract-polychromatic background and are interspersed with laid copper wires and needles. Franzão's inspiration is clearly the human being, the human body and its biological structures. To this structural model, the artist contrasts an observation model: By contrasting the aesthetic aspects of the color composition with the aspect of the biological condition, the artist makes the viewer look less toward a general than to his own individual reality. The material, which moves in these forms and is not food, fluid and breathing air, but found metal objects, leads this work back to the abstract plane, which Franzão had already treaded in Subtração Involuntária. To this extent, Franzão reveals, on the other hand, the dialogue between consumption and its effects on the one hand, and the people in society on the other. The fact that Franzão does not want to leave it with a mere projection of his ideas with regard to man and society in the sense of a pure projection is demonstrated in Franzão's participatory approach, which according to his own data is to gain increasing importance in his future work. 33
Already, as Franzão wished, the viewer should "step in front of his works and become a part of it," and he should "create an effect that remains in his memory". His recent paintings, paintings of geometric forms, arranged in contrasting narrow stripes, create visual effects following the movement through the eyes of the viewer. In continuation, for example, Franzão is planning installations with light, which can be manipulated by the viewer. It is essential in the work of Rodrigo Franzão that the material is in dialogue with the subject, but in addition the work should also enter into an active, alternating dialogue with the viewer.
2015, Robert Yahner, New York
The National Arts Club is pleased to present the New York debut exhibition of Brazilian artist, Rodrigo Franzão. Born in São Paulo in 1982, Franzão is one of the most dynamic and provocative artists among Brazil's new generation of talent. Enlightened by an early background in Literature and Communications, the work of Rodrigo Franzão reveals an incantatory discourse between the artist, his vision and his uninhibited involvement with found materials. KATHARSIS transforms this dialogue into an exploration of the human form moving from aspects of beauty to biological condition. The grounding force of Franzão’s line combined with the vibrant play of geometric abstraction gives KATHARSIS a rhythmic power. The work is further enhanced by the artist’s facile use of mixed media and a brilliant sense of color - an echoing pulse of his native country. KATHARSIS comes to New York following the success of Franzão's breakthrough show, INVOLUNTARY EXCLUSION, presented at the The Superior Court Museum in Brasília, Brazil.
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Rodrigo FranzĂŁo rodrigofranzao.com/index.html franzao@live.com
+55 11 976115109
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