share

In her production Priscila Fernandes reflects on the impact of industrial and post-industrial contexts in the lives of individuals and their sensory perceptions. In videos, publications, drawings, paintings, performances and sound installations, the artist addresses social disputes central to the aesthetic decisions of different modern movements. At the 32^nd Bienal Fernandes presents three photographic images, a set of furniture and a film in the installation entitled GOZOLÂNDIA E OUTROS FUTUROS [Cuckoo-land and Other Futures] (2016). The mixed-media images are the result of negative prints exposed to light and altered with paint, perforations and scratches. The furniture, a set of beach chairs, invites the public for a brief but ambiguous pause, seeing as somewhere faced with the works, visitors find themselves in a state between contemplation and analysis, distraction and attention, rest and work. The film, shot entirely in Ibirapuera Park, references Cockaigne, a medieval myth about a land of plenty, a place with an abundance of food, nice weather, and no need for work. The installation articulates relationships between the aesthetic of abstraction and the work/inactivity dichotomy, updating this discussion to the context of the present day.