Francesco João, who lives and works between São Paulo, Brazil and Milan, Italy, is among the most fascinating inventive personalities of current years. His analysis is outlined across the consciousness of the conceptual features of the pictorial follow, such because the procedural ones and the constructions that articulate portray, declining it now and again, in its varied types.

By deconstructing the pictorial gesture, the artist questions its ideas and means, analyzing not solely its primary components, such because the canvas, but additionally its temporal dimension, in a return to the zero diploma of portray. The exhibition consists of a collection of works investigating the language of the seven phase show—the digital show gadget for displaying decimal numerals—which within the Seventies constituted the frequent picture of a future time, due to the primary digital LED units that adopted its graphic mixtures.

Alongside these twelve gouache and acrylic on uncooked canvas, a collection that João began investigating in 2016—he presents a brand new collection of sculptures and ready-mades, in varied supplies. With this huge set up, the artist declines the themes of transcendence, economic system, time and performance in a sculptural kind.

The artist states:

“The aesthetic of the seven phase show evokes an thought of future seen from the previous: for me it’s a topic that represents a pretext for making ‘portray,’ as a result of I see portray as a medium that, all through the course of historical past, is consistently projected ahead (avant-garde?) since caves occasions the place, nonetheless, ‘avant-garde’ was changed by a ‘perform,’ in that case, propitiatory to looking and due to this fact financial. I’ve at all times been within the relationship between transcendence and economics.”

A collection of objects rigorously chosen by the artist are organized within the frescoed room to research data and information not mediated by consciousness and never illuminated by deciphering and contextualizing their that means. What do the DreamCast—a videogame console produced within the late Nineteen Nineties by SEGA—and a tipiti—a straw weave press used to dry manioca roots within the Amazon areas of Brazil—have in frequent? They’re objects which, by nature, will last more than our oblivion. ¹

Fondazione Zimei at Palazzo Cavallarini Lazzaroni, Rome
till 2 September, 2023