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Arjan Martins

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Open a larger version of the following image in a popup: Arjan Martins, O Estrangeiro IX, 2017
Open a larger version of the following image in a popup: Arjan Martins, O Estrangeiro IX, 2017
Open a larger version of the following image in a popup: Arjan Martins, O Estrangeiro IX, 2017
Open a larger version of the following image in a popup: Arjan Martins, O Estrangeiro IX, 2017

Arjan Martins

O Estrangeiro IX, 2017
acrílica sobre tela [acrylic on canvas]
200 x 230 cm [78 3/4 x 90 1/2 in]
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Further images

  • (View a larger image of thumbnail 1 ) Arjan Martins, sem tíulo, 2011
  • (View a larger image of thumbnail 2 ) Arjan Martins, sem tíulo, 2011
  • (View a larger image of thumbnail 3 ) Arjan Martins, sem tíulo, 2011
  • (View a larger image of thumbnail 4 ) Arjan Martins, sem tíulo, 2011
View on a wall
Pode-se imaginar a razão pela qual o artista decidiu pintar o navio de cabeça para baixo. Para Martins, essa pergunta soa quase como uma convenção, já que dentro da história...
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Pode-se imaginar a razão pela qual o artista decidiu pintar o navio de cabeça para baixo. Para Martins, essa pergunta soa quase como uma convenção, já que dentro da história da arte tantas transgressões “poéticas” foram desenvolvidas. Portanto, é uma licença poética para abordar dessa maneira esses “superobjetos” que cruzam mares e oceanos. A figura do menino revela uma imagem que é a realidade de muitas crianças de diferentes partes do mundo, destacando a cartografia da fome, especialmente na África, onde as crianças são as primeiras vítimas dela. O artista é capturado pela expansão dessas imagens, pelo que elas podem trazer e reportar.

One may wonder the reason why the artist decided to paint the ship upside down. To Martins that question sounds almost like a convention, since within the art history so many „poetic” transgressions have been developed. Therefore it’s a poetic license to approach this way these „super objects” that cross seas and oceans. The boy figure reveals an image that is the reality of many children from different parts of the world, pointing out the hunger cartography especially in Africa, where the children are the first victims of it. The artist is captured by the expansion of these images, by what they can bring and report.
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