ABRE ALAS #18
Cyshimi, Roupa de Treino I, 2020
tecido sublimado e unhas em acrílico
[sublimated fabric and acrylic nails]
[sublimated fabric and acrylic nails]
150 x 50 x 3 cm
[59 x 19 3/4 x 1 1/8 in]
[59 x 19 3/4 x 1 1/8 in]
Further images
Indumentária da performance Roupa de Treino I e Roupa de Treino II. Essa obra expõe a representação de unhas de treino em um elemento vestível, representado pelo vestido de gala...
Indumentária da performance Roupa de Treino I e Roupa de Treino II. Essa obra expõe a representação de unhas de treino em um elemento vestível, representado pelo vestido de gala - que representa luxo e opulência - e através dos rituais e processos das primeiras construções de alongamento de unha na tal fase de “treinamento” realizado pela artista. Percebemos uma inversão e deslocamento de sentido, quando colocamos esses dois elementos em jogo: a formalidade e a ostentação do vestido de gala e o lugar em que o treino de manicure é colocado no imaginário do senso comum, como algo a ser escondido e oculto até que o resultado do alongamento seja impecável.
Clothing from the performance Roupa de Treino I and Roupa de Treino II (Training Clothes I and Training Clothes II). This work exposes the representation of training nails in a wearable element, a gala dress - the embodiment of luxury and opulence - and through the rituals and processes of the first nail lengthening constructions in such a "training" phase performed by the artist. We perceive an inversion and displacement of meaning when we put these two elements into play: the formality and ostentation of the gala dress and the place in which manicure training is located in the popular imagination, as something to be hidden and concealed until its results are impeccable.
Clothing from the performance Roupa de Treino I and Roupa de Treino II (Training Clothes I and Training Clothes II). This work exposes the representation of training nails in a wearable element, a gala dress - the embodiment of luxury and opulence - and through the rituals and processes of the first nail lengthening constructions in such a "training" phase performed by the artist. We perceive an inversion and displacement of meaning when we put these two elements into play: the formality and ostentation of the gala dress and the place in which manicure training is located in the popular imagination, as something to be hidden and concealed until its results are impeccable.