Fábio Baroli | Where the wind turns
May 06, 2022 - Jun 18, 2022




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The description of a baroque world has to be categorically baroque. In the face of a tree of life from Oaxaca, I can not make any, let us say, classical or academic categorization. Alejo Carpentier As the heir to a tradition of images that is strongly interwoven with cultural anthropology, Fábio Baroli’s most recent work represents a poetic gesture of restitution of the everyday and the vigorous musculature of the regional imaginary. His narrative, which is informed by a raw and forceful naturalism, centers its attention on rural life, its difficulties and the affective relationships that result from it. Each individual depiction is a kind of radiograph of events, a historic record, and a homage to the agrarian culture of Brazil and Latin America. In his case, the painting appears carnal, stimulates the appetite, and engenders a virtually bulimic fear of an object of desire, which is ultimately nothing other than life itself. In this way, painting confers clarity as well as significance to historical progress. If we understand traditional visual narratives as a record of the social and aesthetic conduct that characterizes a group of people who belong to a particular time, a particular place, and a particular culture, then we must acknowledge the traditional character and the traditional dimension that are anchored in the work of this extraordinary artist. The traditional genres of painting, like portrait, landscape and still life, are blended and superimposed within his work. All of this while drawing on a first-rate technique and an enormous capacity to capture the substance of any situation. In such a way, his painting can, for all intents and purposes, be thought of as a kind of cinematic practice or as a singular approach to conserving the reality he observes. Undoubtedly, both possibilities allow him to decentralize the codes of modern life, as well as to induce a crisis in the strange connection that stretches between growing technologization and a certain nostalgia for the past, or for what is, anthropologically speaking, considered inferior. Any reading represents a penetration into the reality of the other and is an indiscreet approach, which reveals the ascent and descent of the narrative, visual, and symbolic systems in connection with their historical horizon. In this respect, every reading implies the segmentation, limitation, and reduction of our world, which is observed and measured on the basis of scientific, intellectual, or artistic parameters. However, in the concrete case of Baroli, the description is not kept at an admiring distance, or limited to the usual form of expression that one encounters when dealing with the cultural values of another. On the contrary, his painting is an essential part of this reality. He conceives of himself as a part of this time and this place, and he recognizes his ties to the soul of the things that he renders and reflects. The ethnographic and colonial visions of lo latinoamericano (what is referred to as “the Latin American”) have generated oceans of pages, informed by distortions, mitigations, and omissions. Therefore, it is the case that the natural conditions and the cultural information that appear in the pictures of the artist aspire towards a new perspective on things. On the other hand, Baroli’s work does not arise from the description of the tourist or the stranger, who indulges in depicting the weakness of archetypes and typologies; rather, he achieves precision via proximity, in order to touch the naked nerve of this culture, which is subjected to these endless meaningless and superfluous assertions. Fábio paints with an absolutely convincing honesty and encodes a universe out of situations, gestures, and practices, which constitute a map on which reading yields to the act of writing. Latin America has had enough of its open and exposed veins, of so many warped and fetishistic readings, of the carnivalesque and nostalgic approaches. Fábio Baroli’s Latin America, rural and agrarian, decentralized and peripheral, presents itself under the seal of authenticity and a thirst for knowledge. The culture does not require any more instructions, any more sober prescriptions; it requires, urgently in fact, the liberation and the recovery of innovation, the magnetization of the authentic, the naturalization of its everyday rituals; rituals which were transformed into a scene of the exotic by the colonial gaze. As a direct/perverse consequence of a self-serving falsification of reality, the thirst for Western distinctiveness has displaced the role of the Latin American artist and reduced his art and its functions (as well as representations) to those of the anthropologists and ethnographers of the moment. Baroli’s surfaces display his influential links to photography and his penchant for collage as a resource that enables him to create a colorful, constantly changing vision of the world. His magnificent compositions enable the interfaces of this process of development and assembly, similar to the operation of digital software, to become visible. Moreover, at the same time, they virtually embody the idea of the palimpsest, which is one of the most apposite metaphors to describe the time and the reality of Latin America. Paradoxically, the depth and wealth of his painting is illustrated through its lightness and transparency. They demonstrate the signs of cultural resistance and the unconditionality of individual language. His painting is text and magnet. Andrés Isaac Santana (Translation from German into English: Alexandra Skwara) Imán La descripción de un mundo barroco ha de ser necesariamente barroca. Ante un árbol de la vida de Oaxaca, yo no puedo hacer una descripción de tipo, llamaríamos, clásica o académica. Alejo Carpentier Heredero de una tradición pictórica con fuertes vínculos con la antropología cultural, la obra reciente de Fabio Baroli es un gesto poético de reivindicación de la vida cotidiana y de la poderosa musculatura del imaginario regional. La suya es una narración marcada por un naturalismo visceral y descarnado que centra la atención en las infracciones de la vida campestre y en los intercambios afectivos que resultan de ella. Cada imagen es una suerte de radiografía del acontecer, un documento testimonial y un homenaje a la cultura rural brasileña y latinoamericana. La pintura, en su caso, se hace cárnica, estimula la masticación, genera cierta ansiedad bulímica hacia un objeto de deseo que no es otro que la vida misma. La pintura, así, otorga visualidad y sentido el devenir histórico. Si por narración pictórica costumbrista entendemos aquella que registra el comportamiento social y estético que caracteriza a un grupo humano perteneciente a una época, lugar y cultura determinadas, entonces tendremos que aceptar el carácter y la dimensión costumbristas asentada en la obra de este extraordinario hacedor. En ella se mezclan y se superponen los géneros tradicionales de la pintura como son el retrato, el paisaje, la naturaleza muerta y el bodegón. Todo ello bajo las exigencias de un tecnicismo impecable y de una enorme habilidad para captar lo esencial de cada situación. De tal suerte, resulta desde todo punto de vista posible pensar su pintura como una especie de ejercicio cinematográfico o una singular operatoria de taxidermia sobre la realidad que tiene frente a sí. Ambas posibilidades le permiten, sin duda alguna, el descentramiento de los códigos de la vida moderna y la puesta en crisis de esa extraña relación que se tensa entre la exacerbación de la tecnología y cierta nostalgia por el pasado o lo que, términos antropológicos, se advierte como lo subalterno y lo lateral. Cualquier lectura es una penetración en la realidad del otro, una aproximación indiscreta que revela las ascendencias y descendencias de los sistemas narrativos, visuales y simbólicos en conexión con su horizonte histórico. Por lo que, entonces, toda lectura implica la segmentación, el constreñimiento y la reducción de ese mismo mundo que se observa y que se mide desde los instrumentos científicos, intelectuales o artísticos. Sin embargo, en el caso específico de Baroli, el texto pictórico no vacila en la distancia admirativa ni en la explicitación rutinaria de los valores de la cultura del otro. Al contrario de ello, su pintura es parte esencial de esa misma realidad. Reconoce, per sé, su pertenencia y sus vínculos con ese tiempo y ese lugar, con el alma de las cosas que traduce y que refleja. Las visiones etnográficas y coloniales de lo latinoamericano, han aportado mares de páginas embelesadas en el maquillaje y en la voluntad reduccionista. De ahí que las presencias naturales y los datos de cultura que actúan en estas obras del artista se esfuerzan en producir la metamorfosis hacia la nueva visión de las cosas. La obra de Baroli, a diferencia, no se articula a partir de la crónica del turista o del extranjero tan dada a la exhibición de la debilidad de los arquetipos y de las tipificaciones; sino que asume el rigor de la cercanía para hacer latir el nervio desnudo de esa cultura sujeta a infinitas aseveraciones trilladas y superfluas. Fabio pinta desde una honestidad absolutamente convincente, cifra un universo de situaciones, de gestos y de prácticas que conforman un mapa, ese en el que la lectura cede lugar a la escritura. Latinoamérica está cansada de sus venas abiertas y expuestas, de tanta lectura distorsionada y fetichista, de tanta aproximación carnavalesca y nostálgica. La Latinoamérica, rural y campesina, descentralizada y periférica, de Fabio Baroli, se presenta bajo el sello de la autenticidad y de la avidez. La cultura no necesita de más prospectos ni de más recetas estériles; necesita, y mucho, del rescate de la invención, de la imantación de lo genuino, de la naturalización de sus rituales cotidianos, convertidos, por la mirada colonial, en escenografía de lo exótico. La sed de otredad occidental ha malversado el rol del artista y del arte latinoamericanos reduciendo sus funciones (y sus representaciones) a la del antropólogo y el etnógrafo de turno, como consecuencia directa/perversa de una distorsión interesada de la realidad. Las superficies de Baroli revelan sus vínculos subsidiarios con la fotografía y su gusto por la técnica del collage, en tanto que recurso que le permite apostar por una visión caleidoscópica del mundo. Sus hermosas composiciones evidencian las costuras de ese proceso previo de edición y de montaje muy cercano a las operaciones del software digital, al tiempo que enfatizan sobre la propia noción de palimpsesto, siendo esta última una de las más ricas metáforas que describen el tiempo y la realidad de lo latinoamericano. La riqueza de su pintura se advierte, paradójicamente, en su ligereza y en su transparencia. En ella se revelan los signos de la resistencia cultural y la pertinencia del alfabeto de lo propio. Su pintura es texto e imán. Andrés Isaac Santana



./ Participating artists


Fábio Baroli


Exhibitions overview

 
  Claudia Rogge | WARP and WEFT
Aug 27, 2022 - Oct 15, 2022


 
  Éder Oliveira | Oposición
Jun 24, 2022 - Jul 30, 2022


 
  Fábio Baroli | Where the wind turns
May 06, 2022 - Jun 18, 2022


 
  Frank Bauer | Bilder vom Verschwinden
Mar 12, 2022 - Apr 30, 2022


 
  Selection
Feb 08, 2022 - Mar 05, 2022


 
  Harding Meyer | known unknowns
Oct 29, 2021 - Dec 18, 2021


 
  Kate Waters | It takes one to know one
Aug 27, 2021 - Oct 23, 2021


 
  Giacomo Costa | Atmospheres
May 28, 2021 - Jul 03, 2021


 
  Idowu Oluwaseun | REVOLUTIONS PER MINUTE: a synthesis of time and sound
Oct 30, 2020 - Dec 12, 2020


 
  Peter Uka | Inner Frame
Aug 28, 2020 - Oct 24, 2020


 
  Harding Meyer | new works
Jun 05, 2020 - Jul 15, 2020


 
  Mary A. Kelly | Chair
Mar 14, 2020 - May 30, 2020


 
  Michael Tolloy | Solid Solidarity
Jan 17, 2020 - Feb 29, 2020


 
  Kate Waters | Love Shacks and other Hideouts
Oct 18, 2019 - Jan 09, 2020


 
  Frank Bauer | Paths of Inaccuracy
Aug 30, 2019 - Oct 12, 2019


 
  Christian Bazant-Hegemark | Kindness of Strangers
Jun 07, 2019 - Jul 13, 2019


 
  Sandra Ackermann | Escape into your Reality
May 03, 2019 - Jun 01, 2019


 
  Kay Kaul | Cloudbusting
Mar 08, 2019 - Apr 27, 2019


 
  Jurriaan Molenaar | Fermate
Jan 18, 2019 - Mar 02, 2019


 
  Harding Meyer / Humanize
Oct 19, 2018 - Jan 12, 2019


 
  Mihoko Ogaki / Soft Landing
Aug 31, 2018 - Oct 13, 2018


 
  Iwajla Klinke / ONEIRONAUTS
Jun 08, 2018 - Aug 18, 2018


 
  Peter Uka / Fragment of the Present Passed
Apr 13, 2018 - May 26, 2018


 
  Daniel Heil / Monologues
Mar 09, 2018 - Apr 07, 2018


 
  Düsseldorf Photo Weekend 2018
Feb 16, 2018 - Feb 18, 2018


 
  Sandra Senn / Zwischen Zwei Meeren
Jan 26, 2018 - Mar 03, 2018


 
  Frank Bauer / Die Gelassenheit der Dinge
Nov 17, 2017 - Jan 20, 2018


 
  Kate Waters / Whistling In The Dark
Sepr 01, 2017 - Nov 11, 2017


 
  Untitled
Jul 12, 2017 - Aug 02, 2017


 
  Davide La Rocca / 13K ( Part 1 )
May 12, 2017 - Jun 27, 2017


 
  Sandra Ackermann / Lost in Nothingness
Mar 24, 2017 - May 06, 2017


 
  Claudia Rogge / CONCENTRATION
Jan 27, 2017 - Mar 18, 2017


 
  Christian Bazant - Hegemark / The Rise and Fall of Transformative Hopes and Expectations
Nov 11, 2016 - Jan 21, 2017


 
  Harding Meyer / The Others
Aug 26, 2016 - Nov 05, 2016


 
  Crossing Borders
Jun 03, 2016 - Jul 15, 2016


 
  Sandra Senn / Flüchtiges Getriebe
Apr 08, 2016 - May 21, 2016


 
  Iwajla Klinke / Red Sandals and a Mirror for Gabriel
Feb 12, 2016 - Mar 26, 2016


 
  Corrado Zeni / Éloge de la fuite
Nov 27, 2015 - Jan 09, 2016


 
  Claudia Rogge / PerSe
Oct 16, 2015 - Nov 21, 2015


 
  Kate Waters // Tell it like it is
Aug 28, 2015 - Oct 10, 2015


 
  Visions Of Sensory Space ( by Weightless Artists Association - SPARTNIC )
May 15, 2015 - Jul 04, 2015


 
  Sandra Ackermann / Wasteland
Mar 13, 2015 - May 02, 2015


 
  Lost Scapes
Jan 30, 2015 - Mar 07, 2015


 
  Christian Bazant-Hegemark / Calibrating Aesthetics
Nov 14, 2014 - Jan 17, 2015


 
  Frank Bauer / Back to Basics
Aug 29, 2014 - Nov 08, 2014


 
  Harding Meyer // recent paintings
May 23, 2014 - Aug 23, 2014


 
  Till Freiwald - memoria
Apr 11, 2014 - May 17, 2014


 
  Quadriennale Düsseldorf 2014 / Gallery Evening
Apr 05, 2014 - Apr 05, 2014


 
  Iwajla Klinke / Ritual Memories
Jan 17, 2014 - Apr 05, 2014


 
  Giacomo Costa // Traces
Nov 22, 2013 - Jan 11, 2013


 
  DC-Open Galleries: Matthias Danberg - Inventory by Appropriation
Sepr 06, 2013 - Nov 16, 2013


 
  Christian Bazant-Hegemark // VOW OF SILENCE
May 24, 2013 - Aug 20, 2013


 
  Corrado Zeni // Generation Why
Apr 12, 2013 - May 18, 2013


 
  behind the Non-Colours
Mar 22, 2013 - Apr 06, 2013


 
  Sandra Ackermann // Running to stand still
Feb 15, 2013 - Mar 16, 2013


 
  Düsseldorf Photo Weekend 2013
Feb 01, 2013 - Feb 09, 2013


 
  Mihoko Ogaki // Star Tales - White Floating
Nov 30, 2012 - Jan 31, 2013


 
  Claudia Rogge / Lost in Paradise
Oct 12, 2012 - Nov 24, 2012


 
  Harding Meyer // features
Sepr 07, 2012 - Oct 06, 2012


 
  Summer 2012 - Part 2
Aug 10, 2012 - Sepr 01, 2012


 
  Summer 2012
Jul 06, 2012 - Sepr 01, 2012


 
  Maria Friberg // The Painting Series
May 11, 2012 - Jun 23, 2012


 
  Mary A. Kelly // Father & Child
Mar 30, 2012 - May 06, 2012


 
  Maia Naveriani // Future Wolves and Chicks so far
Feb 10, 2012 - Mar 24, 2012


 
  Düsseldorf Photo Weekend 2012
Feb 04, 2012 - Feb 08, 2012


 
  Kate Waters // The Air that I breathe
Dec 09, 2011 - Jan 28, 2012


 
  Frank Bauer / ...den Wald vor lauter Bäumen....
Nov 04, 2011 - Dec 03, 2011


 
  Claudia Rogge // Final Friday
Sepr 09, 2011 - Oct 29, 2011


 
  Davide La Rocca - STILLS
May 27, 2011 - Jul 16, 2011


 
  Giacomo Costa // Post Natural
Apr 01, 2011 - May 21, 2011


 
  Harding Meyer - to be a real vision
Feb 18, 2011 - Mar 26, 2011


 
  Shannon Rankin - Disperse / Displace
Dec 03, 2010 - Feb 12, 2011


 
  Sandra Ackermann // I look inside you
Oct 15, 2010 - Nov 27, 2010


 
  Amparo Sard / AT THE IMPASSE
Sepr 03, 2010 - Oct 09, 2010


 
  Kate Waters // The Land of Kubla Khan
Jun 11, 2010 - Jul 17, 2010


 
  Jurriaan Molenaar // Lessness
Apr 30, 2010 - Jun 05, 2010


 
  Claudia Rogge // The Paradise of the Onlooker
Mar 05, 2010 - Apr 24, 2010


 
  Ivonne Thein // incredible me
Jan 22, 2010 - Feb 27, 2010


 
  Frank Bauer // Jet Set
Nov 27, 2009 - Jan 15, 2010


 
  Michael Koch // forever more
Oct 23, 2009 - Nov 21, 2009


 
  Masaharu Sato // SIGNS
Sepr 04, 2009 - Oct 17, 2009


 
  Harding Meyer // blind date
Jun 19, 2009 - Aug 22, 2009


 
  Maria Friberg // way ahead
Apr 24, 2009 - Jun 13, 2009


 
  Claudia Rogge - The Opening
Mar 06, 2009 - Apr 18, 2009


 
  Claudia Rogge // Isolation ( aus: Segment 8 - die Blasen der Gesellschaft)
Mar 06, 2009 - Apr 18, 2009


 
  JoJo Tillmann // What you see is what you get
Jan 30, 2009 - Feb 28, 2009


 
  Sandra Ackermann // Die Wirklichkeit ist nicht die Wahrheit
Nov 21, 2008 - Jan 24, 2009


 
  Kate Waters - Getting used to the 21st Century
Oct 10, 2008 - Nov 15, 2008


 
  Mihoko Ogaki - Milky Ways
Sepr 04, 2008 - Oct 04, 2008


 
  Summer 2008 // Painting
Aug 12, 2008 - Aug 30, 2008


 
  Silke Rehberg: Stationen 1,4,6,7,11,12,13,14
Jun 13, 2008 - Jul 12, 2008


 
  Maia Naveriani: At home with good ideas
May 09, 2008 - Jun 07, 2008


 
  Justin Richel: Rise and Fall
Apr 04, 2008 - May 03, 2008


 
  Davide La Rocca - Strange Object
Feb 08, 2008 - Mar 28, 2008


 
  Frank Bauer: AkikoAlinaAlinkaAndrew....
Nov 30, 2007 - Feb 02, 2008


 
  Maria Friberg: Fallout
Oct 12, 2007 - Nov 24, 2007


 
  Harding Meyer / in sight
Sepr 06, 2007 - Oct 11, 2007


 
  SUMMER '07
Jul 17, 2007 - Sepr 01, 2007


 
  Kay Kaul - Wasserfarben
Jun 15, 2007 - Jul 14, 2007


 
  Sandra Ackermann - Point Blank
Mar 02, 2007 - Apr 28, 2007


 
  Tamara K.E.: pioneers -none of us and somewhere else
Jan 19, 2007 - Feb 24, 2007


 
  Till Freiwald
Nov 17, 2006 - Jan 13, 2007


 
  Claudia Rogge: U N I F O R M
Sepr 01, 2006 - Nov 11, 2006


 
  Kate Waters: Killing Time
May 05, 2006 - Jun 17, 2006


 
  Katia Bourdarel: The Flesh of Fairy Tales
Mar 31, 2006 - Apr 29, 2006


 
  Mihoko Ogaki
Feb 10, 2006 - Mar 18, 2006


 
  Silke Rehberg: RICOMINCIARE DAL CORPO
Jan 27, 2006 - Feb 26, 2006


 
  Sandra Ackermann
Dec 08, 2005 - Jan 15, 2006


 
  Corrado Zeni
Dec 04, 2005 - Jan 11, 2006


 
  Frank Bauer
Nov 18, 2005 - Jan 15, 2006


 
  Harding Meyer
Oct 07, 2005 - Nov 12, 2005


 
  AUFTAKT
Sepr 02, 2005 - Oct 01, 2005


 
  Claudia Rogge: Rapport
Jun 17, 2005 - Jul 20, 2005


 
 
May 13, 2005 - Jun 11, 2005


 
  Kate Waters: Solo-Exhibition in the Gallery Thomas Cohn, Sao Paulo
Apr 16, 2005 - May 20, 2005


 
  Vittorio Gui: FROZEN MOMENTS
Apr 08, 2005 - May 07, 2005


 
  Kay Kaul - ARTSCAPES
Apr 03, 2005 - May 29, 2005


 
  SEO Geheimnisvoller Blick
Mar 04, 2005 - Apr 02, 2005


 
  Claudia van Koolwijk at Museum Bochum
Feb 26, 2005 - Apr 17, 2005


 
  Corrado Zeni - Six Degrees of Separation
Nov 26, 2004 - Jan 15, 2005


 
  Maia Naveriani: What' s the difference between ME and YOU?
Oct 15, 2004 - Nov 20, 2004


 
  Tamara K.E.: MAD DONNA AND DONNA CORLEONE
Sepr 03, 2004 - Oct 09, 2004


 
  Davide La Rocca: Real Vision Reflex
Jun 12, 2004 - Jul 17, 2004


 
  Kay Kaul COLLECTORSCAPES
Apr 23, 2004 - Jun 05, 2004