{"id":194773,"date":"2018-05-22T16:27:54","date_gmt":"2018-05-22T18:27:54","guid":{"rendered":"https:\/\/anba.com.br\/?p=194773"},"modified":"2018-05-22T19:20:07","modified_gmt":"2018-05-22T21:20:07","slug":"solo-exhibit-french-tunisian-artist-opens-sao-paulo","status":"publish","type":"post","link":"https:\/\/anba.com.br\/en\/solo-exhibit-french-tunisian-artist-opens-sao-paulo\/","title":{"rendered":"Solo exhibit by French-Tunisian artist opens in S\u00e3o Paulo"},"content":{"rendered":"

S\u00e3o Paulo \u2013 May 22 through July 22 will see venue Espa\u00e7o Cultural Porto Seguro host Instrumentos, the first solo show ever in Latin America by the French-Tunisian visual artist Isma\u00efl Bahri. Featuring nine video installations, the exhibit has been curated by Marie Bertran, in a coproduction from company Expomus Exposi\u00e7\u00f5es, Museus, Projetos Culturais Ltda. Admission is free, and the show will be open from Tuesdays to Saturdays, 10 am to 7 pm, and on Sundays and public holidays, 10 am to 5 pm.<\/p>\n

\"\"
Isma\u00efl Bahri was born in Tunis, Tunisia.<\/figcaption><\/figure>\n

The videos feature simple movements and elements; a pulsing vein, a separating line, hands that crumble (like in the picture above<\/em>), the wind that blows, the fire that burns. Water, paper and ink go from being commonplace objects to being protagonists. Bahri sets out to investigate objects, scales, angles and languages.<\/p>\n

There is an established plotline to the video installations, and this lends power to the artworks as a whole. Issues like memory, territory, belonging and involvement are approached in a way that is at once emotional, personal and sober, and this might give off an odd impression.<\/p>\n

\u201cIn my work I value the quest for simplicity. The challenge lies in finding a way to approach a personal issue in order to address a problem everyone has,\u201d a press release quoted the artist as saying.<\/p>\n

The ephemerality of the phenomena observed through Bahri\u2019s lenses often forces viewers to adjust their perception and the extent of their gaze. The absence of sound in many of the pieces enhances the density of the oeuvre, taking spectators on an inner journey, through the recognition of self and of everyone in a seemingly commonplace action.<\/p>\n

The exhibition unfolds in a crescendo; the plane, which at first comprises a drop spanning no more than three millimeters, enlarges until it accommodates an entire landscape. The same holds true of the content, which starts out on the material, figurative end of the spectrum and ends up fluid and abstract.<\/p>\n

(Story continues after gallery)<\/em><\/p>\n