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Reconstruction (...)

He climbed the building as if he was a machine
He raised it on the landing four solid walls
Brick with brick in a magic drawing
With His dull eyes of cement and tear

Chico Buarque

         We currently live such a paradoxical moment in Brazil that it is difficult not to be perplexed. With the crisis of political representation as well as other basic institutions for the full exercise of democracy, it is impossible not to recall a Chico Buarque song entitled Construction created during the military dictatorship in 1971. How to rethink the future of a country in shambles? How do we think about the role of art at a time when freedom of expression is being restrained again? How do we see sense in works that clearly reiterate the already classic genres like painting and collage in a world ever dominated by the spectacle of a contemporary art that seems to have no more borders?


The word Reconstruction appears in the literal sense of building on a land of scorched earth. When we are lost is better to look at the starlight to guide our steps, isn’t it? And yet, the present light has now been emitted light years back. The act of painting in this sense appears to these artists as an act of seeking traces in order to map the present.

He climbed the building as if he was a machine

         To occupy the space of the Counterpoint, a space always under construction is not an easy task. The imposing presence of the white Cube always puts the presence of the works in question. The paintings of Sueli Espicalquis always relate to distant aerial landscapes seen from cameras or aerodynamic artifacts. The chromatic passages subtly delineated by indefinable tones, unknown by the grammar of colours, nevertheless produce a strong spatial presence. They differ in size, but always present a large scale and occupy, without hesitation, the exhibition space. (...)

Marco Giannotti

Text from the Reconstruction Exhibition, Espaço Contraponto, São Paulo-SP, 2017