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To start this year, THE CLUB has introduced a new collection in Tokyo’s art market that opens up a fresh prospect, by bringing in representative art pieces of Concretismo (Concrete Art, the Brazilian Art Movement in 1930-1950). The exhibition, DIALOGUE (2018/01/20-03/24), has covered paintings of the artists among Concrete Art who have had association with living in Brazil as well as residential experiences in foreign countries with multilingual context; the four artists introduced in this exhibition are the two critically acclaimed artists of the time during the heyday of the Concretismo — Antonio Dias and Mira Schendel, and the young duo Angela Detanico and Rafael Lain. The ways of expression among this collection creates an interlocution that breaks the idea about time crossing different eras.

THE CLUB 的今年首展以巴西「具體藝術」(Concretismo, 英為Concrete Art, 流行於 1930 — 50年代)為東京藝術市場注入新的氣象。本次展覽「對話(DIALOGUE, 2018/01/20 — 03/24)」收錄了不同世代的具體藝術中與與巴西有深度淵源且有多國旅居經驗與暗多國語言的藝術家之作品, 藝術家名單包含具體藝術全盛時期極具影響力的安東尼奧・迪亞斯(Antonio Dias)與米拉・辛德爾(Mira Schendel)以及現代以雙人組創作活躍於國際的兩位年輕藝術家安琪拉・德塔尼柯(Angela Detanico)和拉斐爾・賴因(Rafael Lain)。展覽中的作品組合在這樣一個共同空間中衍生了跨越年代別的對話。

Antonio Dias (Paraíba, Brazil, 1944) lives and works between Rio de Janeiro and Milan. He has developed his conceptual style after moving to Europe to be away from Brazil’s military dictatorship in the late 1960s. His works are distinguished by his enigmatic state of uncertainty to encompass a mix of open, dynamic, sensual and ironic expressions to present his critical aspects towards the politics, political oppression, society and the art market.

安東尼奧・迪亞斯(Antonio Dias)出生於1944年巴西的帕拉伊巴州, 目前生活與工作皆介於里約熱內盧及米蘭兩城市之間。在60年代末期, 基於巴西的軍事獨裁體政, 安東尼奧移居至歐洲, 也因此在當地發展出自我的概念性創作風格。他的作品多反映對於政治、政治壓抑、社會與藝術市場方面的評判, 而鮮明的多彩謎樣風格, 融合了開放、活躍、感官與諷刺性的表現。

Antonio Dias, Cloud, 1974


Mira Schendel (1919 - 1988) is considered as one of the most significant Latin American artists of the 20th century. She was a painter, a poet and a sculptor, and has been best known for her drawings on rice paper (REF: Aesthetica Magazine: 'Mira Schendel, Tate Modern, London'). Due to her Jewish heritage and unsettled childhood, she had fled from her birth country Switzerland, to Italy and Yugoslavia to avoid fascist persecution before settling in Brazil; her difficult relationship with her mother, unsettled life and traveling experiences had been deeply reflected on her figurative style of works in the expression of language, poetry, semiotics, theology and science.

米拉・辛德爾(Mira Schendel)生歿於1919 — 1988年, 是為被推崇為二十世紀拉丁美洲藝術家中最具代表性的藝術家之一。她是位畫家、詩人亦是為雕刻家。讓她廣受人知的作品最屬在米紙上的繪畫(「drawings on rice paper」的相關照片, 請參見 Aesthetica Magazine: 'Mira Schendel, Tate Modern, London’)。她比喻性風格的作品中所展現的語言、詩、符號語言學(semiotics)、神學(theology)與科學等議題返自於顛沛流離的成長背景; 因出生於猶太家庭, 在當時有好幾年間需不斷為躲避法西斯黨的政治迫害(fascist persecution)而遷移, 在定居於巴西之前, 自離開出生國瑞士, 輾轉旅居過義大利與南斯拉夫(Yugoslavia)。

Mira Schendel, Untitled, from the series Toquinhos (Little things), 1972,「DIALOGUE」THE CLUB

The duo Angela Detanico (Caxias do Sul, Brazil, 1974) and Rafael Lain (Capias do Sul, Brazil, 1973) are Paris-based Brazilian artists, focus on the creations in relation to linguistics, semiology and graphic design. They have been working together since 1996 and have developed a practice based on the playful displacement of meaning to articulate their concepts about space and time. Their work could be related to several art trends such as the Noigandres group of poets, concrete art or digital art.

雙人組藝術家 — 安琪拉・德塔尼柯(Angela Detanico)和拉婓爾·賴因(Rafael Lain)皆出生於1974年的巴西南卡希亚斯(Caxias do Sul, Brazil), 目前以巴黎為創作基地的巴西人藝術家。兩位的創作聚焦於語言學(linguistics)、符號語言學(semiotics)和平面設計(graphic design)。自1996年聯手以來, 發展了他們特有的活潑“位移(displacement)”表達方式來詮釋兩位針對空間與時間上的概念想法。作品風格的屬性涵蓋多樣流行藝術, 如:「諾伊坎德雷斯(Noigandres group of poets; “語言藝術的詩”)」、「具體藝術(Concrete Art)」、「數位藝術(Digital Art)」。

Angela Detanico and Rafael Lain, Analenma, 2017


Angela Detanico and Rafael Lain, Sunset to sunrise, Sunrise to sunset, (Local Time), 2017


Angela Detanico and Rafael Lain, LIGHTNESS, 2017


The composition of these art pieces is harmonised by the sense of minimalism in the visual expression and the typeface selection that even the ones from the 70s still appear avant-garde in present era. The use of colours, forms and the notion behind the creation somehow also echo to the trends in today’s latest fashion where the designs focusing on the geometric forms, conceptual expression and futuristic sense of style. This brisk selection of Brazilian artists may also be a suggestion of the tendency change in Generation Y from sociological perspective.

藝廊中的這幾件作品因極簡(minimalism)的視覺表現與字體選用(typeface selection)不因年代別的差距而有違和感; 而70年代作品中的字體至今潮流的觀點來看仍具有前衛性(avant-garde)。用色(use of colours)、形式(forms)與概念(notion)也巧妙地正好與剛結束的時裝週潮流有所呼應, 特別是幾何形體(geometric forms)、概念性的表述(conceptual expression)與未來感(futuristic sense)方面的風格觀點。無論是藝術上開始蓬勃的巴西藝術家風格或時裝流行的轉變, 今年在年初之際尤其清晰地看到Y世代(Generation Y)在社會學觀點上有別於前世代的取向。



20th Jan 2018 - 24th Mar 2018


Gallery Hour: 11:00 - 19:00


地址:東京都中央区銀座6−10−1, GINZA SIX, 6 F

For the updates and further information about their exhibitions, please visit [ THE CLUB ] website.

關於藝廊的新消息與展覽的更多內容, 請參見官網 [ THE CLUB ].

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※ 此文中的圖像和資訊不開放任何其他用途。




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