[Exhibition] After the End

INTRODUCTION

The year is 2074. A sad news caught the population by surprise: it would no longer be possible to live in direct contact with the outside world. Nature has become a lethal threat to existence. The Earth's atmosphere has become harmful to man, with a reversal of natural forces. It was necessary to seek refuge in a safe, controlled environment, where it would still be possible to fuel some hope for the future.


Through the fictional narrative that gives life to the exhibition After the End, the public is invited to enter the Iberê Camargo Foundation, in Porto Alegre, now transformed into a space of isolation, research and contemplation; an environment to shelter the civilization that still lives and try to project another world, perhaps a better world. Here, from the work of local, national and international artists, nature, man and architecture can relate.

ATRIUM


The video of Nelton Pellenz, the meteorite of Michel Zózimo, the bronze of Rodolpho Bernardelli and the intervention of Eduardo Haesbaert all serve as traces and indications of the events that led the civilization to seek shelter within this bunker, protected and isolated from the outside world. Outside, the guardhouse of Elaine Tedesco refers to the idea of ​​an outpost of protection, from where one can observe the interior and exterior of this new place. Together, these works inform the visitor of the little traces of history that the building now houses.


When going up the ramps to the other exhibition spaces, the visitor comes across sculptures by Francisco Stockinger. Frightened children, with hands over their eyes, afraid of what they saw, unable to look forward.

2nd FLOOR - ROOM 1


In this first room, we see works that portray survival in time. Leonardo Remor presents a drinking fountain in the exhibition space, water necessary for survival, but a natural resource that is increasingly scarce.


The photos of Katia Prates and Fernanda Gassen talk about the erasure of memory and the fleeting existence of man. The notion of disappearance and the relationship between man and nature are strongly present here, provoking the reflection of the spectator on his present and future actions.

2nd FLOOR - ROOM 2


In this space, you'll find objects that carry out and tell stories. They are items made to last, that accumulate layers of time and also bring an affective correlation between the people and their belongings.


The largest wall on the left is assembled with works by different artists, such as Leopoldo Gotuzzo, Cláudio Tozzi and Luiz Carlos Felizardo, representing through paintings, serigraphs and photographs the themes and issues that were strongly imposed within the modern ideas.

2nd FLOOR - ROOM 3


The video presented in this room, by Cinthia Marcelle and Tiago Mata Machado called The Century, can be understood, within the context of After the End, as a synthesis of the destruction caused throughout the twentieth century and also of the current political tension of the streets , as well as moments of shock and revolution of the past.

2nd FLOOR - ROOM 4


The painting of Iberê Camargo, which depicts a body on the ground, represents within this nucleus the disaster as destiny, defeat, the body knocked down and inert, without action. The other objects that occupy the room, such as the Victorian-style reclining reading armchair and Elaine Tedesco's Blue Node, signal a certain futurism, a new way of thinking about man's relation to design, architecture and functionality of objects. They also deal with the idea of ​​a utopian discussion about the future.

2nd FLOOR - RAMP


At the beginning of the ramp, the video of Jorge Macchi and David Oubina, echoes his audio around the building. An insistent beep, a countdown that never ends, creating an atmosphere of urgency emphasizing the dilation of the end. An end that never comes, but at the same time is always present.

3rd FLOOR - ROOM 1


In this first room, Luiz Roque's video, Vera Chaves Barcellos's series of photographs and the work of Romy Pocztaruk all talk about body and nature, with science fiction as the gravitational axis. Armor to house the body, samples of human material or ideas of fiction, which seek to narrate the story of this man, now confined and in search of a new way.

3rd FLOOR - ROOM 2


The works presented in this second room are evidence of history, as well as experiments and survival mechanisms. The work of Rodolpho Parigi, called Jewel, presents an urban figure: the slides as a weapon carried by transvestites to protect themselves from possible attacks. It also symbolizes a grenade used as a weapon of defense by the inhabitants of this bunker.


The work of Iberê Camargo, the painting Nucleus in Expansion, on the other hand, appears here as one more simbol of the disorganization of the bodies from the abstractions and the lack of perspective of future.

3rd FLOOR - ROOM 3


Rosângela Cortinhas, with the work Ceiling, presents a type of clothing for street dwellers, a mantle that works as a house of clothing, that provides protection and shelter. In the words of the artist, an anthroposophical object intended for people adrift, at risk.


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3rd FLOOR - ROOM 4


The third and last room carries within itself a certain aura of temple, or a place to project the future life. The work of Hercules Barsotti, placed at a certain height on the wall, makes a certain allusion to the mystical load of the triangles, which flow from the mathematics of Pythagoras to his presence in different religions. Saint-Clair Cemin's No-Words sculpture, half-ghost, half religious icon, looks up into this new world's tample.


The other works arranged in the room, such as that of Patrício Farias or TV Totem by Cristiano Lenhardt, appear as the presence of this confined man, experimenting and seeking to build a new world.


On the way out of the room, Carnival of Animals by Romy Pocztaruk also symbolizes the polarizations of the world today.