{"id":8819,"date":"2025-11-06T14:01:18","date_gmt":"2025-11-06T14:01:18","guid":{"rendered":"https:\/\/acervocarlitocarvalhosa.com.br\/?post_type=texto&p=8819"},"modified":"2025-11-06T21:37:00","modified_gmt":"2025-11-06T21:37:00","slug":"a-metade-do-dobro","status":"publish","type":"texto","link":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/texto\/a-metade-do-dobro\/","title":{"rendered":"A Metade do Dobro"},"content":{"rendered":"\n\n\n<\/p>\n\n\n\n

Tomie Ohtake Institute<\/strong><\/p>\n\n\n\n

The Half of the Double is an exhibition that aims to explore the folds, reflections, and impermanences in the work of Carlito Carvalhosa (S\u00e3o Paulo, 1961-2021). Carvalhosa\u2019s trajectory predominantly involved the languages of installation, painting and sculpture: in the early 1980s, he joined the Casa 7 studio, alongside Fabio Miguez, Nuno Ramos, Paulo Monteiro and Rodrigo Andrade, in which he made large-scale paintings and intense exploration of pictorial gesture. From 1986 onwards, Carvalhosa began to explore encaustic as a matter in his works. In the 1990s, he developed works in the sculptural field, using materials such as plaster, ceramics and wax, and multiplied the material repertoire of his paintings, incorporating waxes, resins and encaustics. A decade later, it was the mirrors and struck aluminum plates that began to receive his paintings, while he also began to develop installations, marked by the use of materials such as fabrics, lamps, wooden poles and sound, in works that tension the relations between space and time. <\/p>\n\n\n\n

We have gathered here a wide range of his works, spanning his four decades of production, in the first retrospective dedicated to the work of Carlito Carvalhosa. The pieces are arranged in such a way as to make different moments and researches of the artist perceptible and, at the same time, create juxtapositions and fluid passages between these stages. <\/p>\n\n\n\n

Carvalhosa made the manipulation of translucent and reflective, luminous and sound materials the fabric of his poetics. Relations of opposition and complementarity between the optical and the haptic are at the center of Carvalhosa\u2019s poetics and guide the way in which the exhibition space is organized. The optical, related to the gaze and the light, returns to the viewer a fragmented and multiplied image. The reflexivity of some materials chosen by the artist interrupts static perception and puts us in a game of distances, in which what we see is always on the verge of dissolving. On the other hand, haptics \u2013 touch and contact with matter \u2013 are activated by the presence of dense and malleable surfaces. These surfaces bear the marks of the artist\u2019s gesture and body, evoking an intimate encounter between the hand and the matter. Together, these aspects of the work create a tension between what is seen and what is touched, between the light it reveals and the matter it conceals. <\/p>\n\n\n\n

To the visitor who walks through encounters such as that of shapeless and malleable sculptures, made of wax and resin, with more rigid and perennial pieces of plaster, here is an opportunity to wander connecting the gaze and the body to the thickness of the matter \u2013 sometimes approaching reflective surfaces that bring the image itself into the work, sometimes observing volumes in which light and shadow intertwine. <\/p>\n\n\n\n

Curators<\/strong><\/p>\n\n\n\n

Ana Roman <\/p>\n\n\n\n

Lucia K. Stumpf <\/p>\n\n\n\n

Luis P\u00e9rez-Oramas<\/p>\n\n\n

\n\n\n\n<\/p>

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