Beto Shwafaty
Remediações. Instalação, dimensões variáveis, 2014
Tripartida Reunida. Escultura, 93 x 63 x 57 cm. 2013
A Disputa pelos sinais. Escultura, 43 x 40 x 14 cm. 2019
Aculturação (não) é Integração [Vale do Rio Doce - Mariana]. Escultura, 125 cm x 55 cm diam. 2015
Estrutura operacional para campo conceitual: Centro direzzionale (diagrama transformado em estrutura) Escultura, 2,05 x 2,4 x 0,05 m cada módulo. 2013
El Museo Imposible de las Cosas Vivas - Departamento de Integración pan-continental (área de contato triangular) Instalação, dimensões variáveis. 2014
OSPB. Escultura, 122 x 80 x 52 cm. 2019
Vista da exposição, 2019. Obras: Verde Exército P302 - Amarelo Pote de Ouro R608 (“O novo grupo verde e amarelo”), pintura mural, dimensões variáveis, 2019. E Aculturação (não) é Integração [Transamazônica], Escultura, 110 x 60 x 60 cm, 2016.
Amanhã não lembrarei de nada, 2019. 30 x 50 x 1 cm
Choque, Escultura. 141 x 67 x 40 cm, 2019.
1% = 48% [amarelo verde] 2a versão. Pintura e serigrafia, 47,2 x 62,8 cm. 2019-2023
Matriz Fantasma (antigas estruturas, novas glórias). Intervenção escultórica, dimensões variáveis, 2016.
Projeções VIII (Planos em Progresso). Esquadro de plástico, compensado de sumaúma, tinta a óleo, laca automotiva (cinza BR). 98 x 98 x 5 cm
São Paulo, SP, 1977. Lives and works in São Paulo, SP.
Master degree in Visual Arts and Curatorial Studies from the Nuova Accademia di Belle Arti (Milan, Italy, 2010) and accompanied Simon Starling’s group at the Staedelschule (Frankfurt, Germany, 2010/2011). He has been involved with collective, curatorial and spatial practices since the early 2000s, and as a result, his projects are connected to the contemporary spheres of critical design, spatial politics, the knowledge economy and visual culture. Thus, Beto develops research-based works about spaces, histories and visualities, in which he seeks to formally and conceptually connect political, social and cultural issues that are converging to the art field.
In his practice, the artist employs printed materials, video essays, objects, wall paintings and sculptures that are normally combined in installational environments or materialized through intervention strategies. Using a diversity of materials and methodologies (such as curatorial thinking and institutional critique, field work and archival research) his artworks embody the notions of appropriation, displacement and translation. His artistic process also combines a strong concern with material procedures, aesthetic manifestations and functions that art can assume. His main interests lie, in the end, in the way in which historical episodes and sociocultural constructions leave traces in contemporary visual culture, echoing in objects, spaces and sociocultural structures, which consequently reproduces meanings and behaviors that are publicly shared.
He has participated in residencies at Gasworks (London); Villa Vassilieff (Paris); Lugar a Dudas (Cali); JACA (Minas Gerais); Residency Unlimited (New York); RES-O, (Turin). His work has been exhibited in collective exhibitions and festivals, in Brazil and abroad, among which highlights include the 33rd and 35th Panoramas of Brazilian Art (MAM, São Paulo), 9th Mercosul Biennial in Porto Alegre (2013), Love and Hate to Lygia Clark at Zacheta National Gallery in Warsaw (2014), Conversations Pieces at NBK in Berlin (2013), Condemned to be Modern in Los Angeles (2017), 38th EVA in Limerick (2018), MAC International in Belfast (2017) , among others. He held solo exhibitions such as: Contrato de Risco (2015) and Tomorrow I Will Not Remember Nothing (2019) at Galeria Luisa Strina, Hablemos de Reparaciones at Prometeo Gallery in Milan (2016), Remediações (2014) at the Paço das Artes exhibition program, Fundamentals of Design Substance at Oca Ibirapuera (2016); Monument to Imbalances and Disappearances (2010) at CCSP, and participated in collective and solo presentations at fairs such as Miami Art Basel, SP Arte, Arte Rio, Parc Lima and Artissima in Turin. His work is present in several public and private collections, such as Fundação Kadist in San Francisco, Kaviar Factory in Norway, MAR in Rio de Janeiro, Museu Nacional da República in Brasília, MAMM in Medellin, IPHAN – Paço Imperial in Rio de Janeiro, Guggenheim Museum in New York, Casa de Las Américas in CUBA, among others
