#14: Can you also remain a toddler institution?|#28: Make Contracts.|#19: Have fun at the exhibition.|#36: We support production separately.|#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#132: Things will always look weird when you’re the first doing it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#92: We’re a learning organisation.|#53: Immaterial support for artists is important.|#119: Be a space of production.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#82: Clean and sterile looks professional, but really boring.|#10: Don’t be obsessed with numbers.|#98: The success of it will not lie in the result but in the process.|#54: What about disabled artists?|#14: Can you also remain a toddler institution?|#28: Make Contracts.|#19: Have fun at the exhibition.|#36: We support production separately.|#84: The White Cube is a lie.|#127: Remain practical: what happens to the work in an endless exhibition?|#112: Spaces today don’t need to be curated, but occupied.|#75: A building is a capricious thing: it is inhabited and changed, and its existence is a tale of constant and curious transformation.|#24: We invest long-term in individual artists’ careers, working over time in different contexts. This also applies to designers / web-developers / photographers / volunteers /…|#56: Take a lunch break.|#6: Demand that visitors are active.|#21: Live with the exhibition, spend time with it.|#47: Artists need to be supported more than ever in the development of their practice due to the gaps that have been created in the field of fine art|#132: Things will always look weird when you’re the first doing it.|#70: Have the office space inside the exhibition space, it reminds of you what you are doing.|#92: We’re a learning organisation.|#53: Immaterial support for artists is important.|#119: Be a space of production.|#130: Be a uniquely charged and curated gallery that is an artwork in itself.|#64: Arrange a distribution of forces.|#90: The best systems have a failure or ‘a hole’ in them…|#82: Clean and sterile looks professional, but really boring.|#10: Don’t be obsessed with numbers.|#98: The success of it will not lie in the result but in the process.|#54: What about disabled artists?|
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Opening: 05.04.2019 – 19:00

05.04—12.05.2019

Exhibition

Daniel de Paula:
«estrutura insuperável»

For its second exhibition inside Kunsthal Gent, KUNSTHALLE São Paulo invites Brazilian artist Daniel de Paula, whose work and investigations reflect upon the production of space in our everyday lives as the reproduction and affirmation of dynamics of power and dominance, thus revealing critical concerns upon the political, social, economic, and historical structures that shape and govern places and relationships.

By means of a variety of strategies such as extensive negotiations within institutions, as well as the appropriation, displacement, and recontextualisation of preexisting narrative-embedded objects and images, his installations, sculptures, actions, and videos are concerned with the underlying operating systems of the world and emphasize the indivisibility between materials and the contexts from which they arise.

Finally, on the occasion of the exhibition at KUNSTHALLE São Paulo, the artist displays an accumulation of works within a conceptual schema entitled estrutura insuperável, yet without use of individual titles, dates, or immediately discernible and delimited frontiers between the wide-ranging sculptural manifestations. High-frequency trading antennas, conveyor belts, geotechnical core-samples, inscribed fragments of marble, a lunar rock, ballast water, and images of flare inspections at petroleum and gas refineries symbiotically coexist alongside viewers and architectural specificities that inhabit the exhibition space, all in an attempt to concentrate and correlate presumably dissociable objects in order to highlight the complex social forces concealed within materiality.


About the artist

Daniel de Paula (Boston, 1987) is a Brazilian artist currently working at the Jan van Eyck Academie and based between the Maastricht, Netherlands and São Paulo, Brazil.

Daniel de Paula:
«estrutura insuperável»

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EXHIBITION VIEWS
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