ABRE ALAS #18
Denis Moreira, sem título III, 2022
impressão sobre papel algodão
[printing on cotton paper]
[printing on cotton paper]
30 x 42 cm
[11 3/4 x 16 1/2 in]
[11 3/4 x 16 1/2 in]
Edition of 10
Further images
Na série Conquistador, o personagem militar de alta patente se mostra através de suas vestes e feitos pátrios, considerado herói por suas conquistas. As insígnias em seu peito configuram os...
Na série Conquistador, o personagem militar de alta patente se mostra através de suas vestes e feitos pátrios, considerado herói por suas conquistas. As insígnias em seu peito configuram os países conquistados pelo colonialismo europeu. A junção entre a imagem do conquistador com o buquê de rosas secos em volta de cassetetes, remete ao toque, ao cheiro, dialoga com o tempo e a memória. Lógica que acompanha o personagem sem boca e sem olhos, mas que exala ódio. A obra fala também de uma rendição contemporânea, um estado de perda e de total entrega, seja pelo formato da bandeira destituída de vigor, seja pelo isolamento do personagem, um colonialista derrotado.
In the Conquistador series, a high-ranking military character shows himself through his robes and homeland deeds, considered a hero for his conquests. The insignias on his chest configure the countries conquered by European colonialism. The combination of the image of the conqueror and the bouquet of dried roses around the truncheons refers to the touch, the smell, and dialogues with time and memory. An idea that accompanies the character with no mouth and no eyes, but who still exudes hatred. The work also speaks of a contemporary surrender, a state of loss, whether by the shape of the flag devoid of vigor, or by the isolation of the character, a defeated colonialist.
In the Conquistador series, a high-ranking military character shows himself through his robes and homeland deeds, considered a hero for his conquests. The insignias on his chest configure the countries conquered by European colonialism. The combination of the image of the conqueror and the bouquet of dried roses around the truncheons refers to the touch, the smell, and dialogues with time and memory. An idea that accompanies the character with no mouth and no eyes, but who still exudes hatred. The work also speaks of a contemporary surrender, a state of loss, whether by the shape of the flag devoid of vigor, or by the isolation of the character, a defeated colonialist.