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Galerie Canizares | UFBA

Salvador da Bahia (Brazil) - 2008

Gonzague's installation is interactive and uses the visitor's body as a medium to reveal the images. It includes a series of 10 drawings and photographs made by the artist in Salvador during his regular trips on the Pituba R1 line. The images are projected on the floor of the gallery, but the focus of the image is to be elaborated by the hand of the visitor. In this installation, the image does not exist or rather it is in the process of being revealed. 


Here, the support that reveals the image is none other than the hand of the visitor who, after entering the exhibition space, is invited to find the focus of the image and to move his or her hand in order to obtain a total and clear vision of the images shown. This hand, by uniting with 10 other hands, is thus able to embody them totally and to metamorphose the blurred image projected on the ground. 


At the same time that the visitor's body gradually reveals the image, it is also connected to a thread. When the thread of one of them becomes intertwined with an another one, the visitors of the installation are therefore invited to negotiate their movements and their position in the space, in the same way as it happens in a public bus, where the space is, in Brazil, adjusted between the passengers, the peddlers, the salesmen of all kinds of articles, the fervent preachers, the carriers of bags, the children and others.


The method is rigorous, the choice is clear, however, the improvisation, even the play of chance has an obvious role in this work. Collaborating with chance, deliberately including it, proposing new ways of perceiving reality is a task that Gonzague proposes to the public in his creations and installations. 


Espaço Bavna

Salvador da Bahia (Brazil) - 2010

Where do the words that escape from our mouths end up?

       How to look at the word pronounced in a space?

                How to locate materially the trace of its voice in space?


The installation Toute porte a pour gardien un mot (Every door has a word as its guardian) offers an answer to these questions. It revives Gonzague's interest in anechoic chambers.

Here, the visitor is invited to trace his voice in a space, notably in a small narrow corridor, usually reserved for the gallery's service staff.


By writing a word with fresh paint, with a specific color, on a balloon, the visitor can, thereafter, observe, on the surface touched by the balloons which deflated henceforth, the traces of its voice with that of the others which another color distinguishes.


In addition to marking the space, the constellation of words, henceforth "liquefied by the breath", also becomes the object of a cartography of the voices, of the displacement of the voices in the space and thus revives a poetic or religious word which would come to transcend the space. 

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