Marina Rheingantz


Oct 29, 2022 – Jan 21, 2023


Oct 29, 3 pm–6 pm


Rua James Holland 71
São Paulo



Essay by Tiago Mesquita (PT)

Ensaio Crítico por Tiago Mesquita (EN)

Press release (PT)

Press release (EN)

Fortes D’Aloia & Gabriel is proud to present Sedimentar, an exhibition of new works by Marina Rheingantz at Galpão, in São Paulo. The show is a landmark in the artist’s trajectory, a decisive dive into abstraction – from large-format paintings, sometimes of a monumental scale, to small and medium-format watercolors, embroideries, and tapestries. There is a new visceral use of impasto blotches, in discontinuous, brittle masses, like wounds on the pictorial surface.


Rheingantz’s tapestries and embroideries are translations of her canvasses onto another support, decomposing the ample gestures of the paintings into weaving’s rhythmic and iterative techniques. Embroidery stitches reappear in the paintings in short brushstrokes, while other elements remit to wefts and brocades. The schematic partition between disciplines and practices gives way to a hybrid pictorial procedure. These works fill in the paths between the larger-scale pieces like anchor points in the turbulent spatiality of the exhibition.


Marina Rheingantz: up close and afar1

By Tiago Mesquita


In her new exhibition, Marina Rheingantz doesn’t make things easy. She creates dense compositions, heavy with paint. For the first time, it seems possible to associate her work with the abstract expressions of informal art. The paintings are expansive, made of the relations between organic blotches of paint in a heterogenous space. The impasto is stained and dirty, forming color fields that contaminate one another. Though they are not unequivocally so, these paintings approach abstraction.


Space is punctuated by thick, discontinuous blotches. They indicate what is beneath and what is above; what is closer up and what is further behind. These markings, however, are not docile points ready to form an outline, a contour, designating a form. They seem more residual, like cracking, amorphous mineral shards, broken off from something that had once been a representation of a well-defined solid, bathed in light.


Curiously, some kind of horizon announces itself between one stain and another. When we look at the paintings up close, the canvasses seem dotted with these short, voluminous markings. It is as if a textile warp and weft were unweaving, unmaking the image or the pattern’s regularity.


From afar, paintings like Sensação (2022), Rastro (2022) and Suspiro (2022) become more atmospheric, remitting to landscapes by Alberto da Veiga Guignard as much as to the white-out backgrounds of Cy Twombly. There is some ample and vaporous space projected inward through the canvas, but the image is frayed and vestigial. The view is diluted, almost lost, but something of it remains and settles. The stark stains of paint are what we see up close, the panorama is what we see far away. Side by side, they form the conflicting complementarity that is so compelling in the exhibition.






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