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BEPPE KESSLER
SIGNS OF LIFE

CELIO BRAGA
THE YEARS. THE TEARS. THE RAINBOW. THE ENDLESS SEA

OPENING ON
SATURDAY 15TH OF SEPTEMBER, 15.00-17.00
ARTIST TALK BETWEEN THE ARTISTS 14.00
MODERATOR ROBERTA BURCHARDT

THE EXHIBITION RUNS UNTIL 6TH OF OCTOBER


BEPPE KESSLER:

 


 

 

 

 


CELIO BRAGA
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In the exhibition Signs of life, Beppe Kessler shows jewellery, drawings and paintings. There is a strong interaction between the drawings/paintings and the jewellery. A painting or drawing can be the starting point of a brooch and vice versa.
In paint on aluminium, she draws lines with an etching needle. Scratching deep into the metal, the needle leaves traces and causes the surface to shimmer and shine. The painted image becomes spatial, making it float as if it is three dimensional.
Materials carry a wealth of meanings, but Beppe Kessler is looking for a more universal kind of poetry. The mixed materials she uses for the compositions are often plain and of no value. She gives them new meaning to enter a rhythmic line play together. On the one hand, it is a constant searching for the most minimal form, and on the other, a feast of bringing different materials together that call out for the viewer to touch them.

Beppe Kessler is an artist living and working in Amsterdam, The Netherlands. She graduated from Gerrit Rietveld, the Textile Department, 1979. Since then she has been exhibited worldwide, awarded for her excellent work and purchased to a number of collections.

In the exhibition The Years. The Tears. The Rainbow. The Endless Sea. Célio Braga transforms personal and fragile materials into pieces that together deliver a landscape over our transient bodies and the passing of time, a landscape of love and sorrow.
A dialogue between Braga's artistic practice and contemporary jewelry has always been present, a body-related art-form where both the physical properties of the materials and the techniques employed, shape embodied, intimate and personal meanings.
The pieces´ crafted forms come through in a process of transformation, transgression and care. The inscription of hours, days and years in our lives, the essential aspect in Célio Braga´s work, is done through techniques that demand time, concentration, repetition, constantly adding meaning to the material, to the work.

Célio Braga is an artist living and working both in Amsterdam, The Netherlands and São Paulo, Brazil. He graduated from Gerrit Rietveld, 2000 and before that he studied at The Boston Museum School of Fine Arts, USA. August - October 2018 he is an artist in Residence at Iaspis studios in Stockholm.
This exhibition is his second at Platina in Stockholm.


 

Longer texts:

Célio Braga
The Years. The Tears. The Rainbow. The Endless Sea
Text by Roberta Buchardt, 2018


In The Years. The Tears. The Rainbow. The Endless Sea. Célio Braga transforms personal and fragile materials into pieces that together deliver a landscape over our transient bodies and the passing of time, a landscape of love and sorrow.
14 pendants with tears made from porcelain and white, embroidered cloth, count 105 Tears. A Rainbow of 7 beaded strings, count its 7 colors. A string of chains is made from medicine information leaflets and cloth. Pendant crosses in porcelain, wax and cloth, count 7. One long work in 12 parts, is made from medicine boxes, golden glitter and dried flower petals. One big drawing in colored pencil on paper, hangs low on the wall, an Endless Sea. And the blue silk shirt, worn vestige from the artist himself. The collection of numbers, the telling of time. This is the environment we are given at Célio Braga´s exhibition at Platina.
A dialogue between Braga's artistic practice and contemporary jewelry has always been present, a body-related art form where both the physical properties of the materials and the techniques employed, shape embodied, intimate and personal meanings.
The pieces´ crafted forms come through in a process of transformation, transgression and care. The inscription of hours, days and years in our lives, the essential aspect in Célio Braga´s work, is done through techniques that demand time, concentration, repetition, constantly adding meaning to the material, to the work.
His language engenders the substance of time, like a dripping repetition: seconds becoming minutes, making hours. One tear becomes two, then three…14 pendants hold 105 tears. They reflect a rainbow; they roll onto an endless sea. Empty medicine boxes that held a promise of healing and stalled a growing disease are covered, or sit upright on a glittered surface. The blue silk shirt, worn vanity, worn memories, shaped and embroidered on, Braga himself personified, a piece on this landscape. Time is told and forged, through his materials - the glitter that is not gold, the color that fades, and the petals, their bodies fragile, their attraction dimming - and through his techniques - coloring, beading, embroidering, dedicated stitches on fabric.
In a resisting act connoting queer narratives and vanitas, Célio Braga unpacks the infinite minutes of finite lives, the abyssal notion of our vulnerable and impermanent bodies.

Beppe Kessler
Signs of life 2018


In the exhibition Signs of life, Beppe Kessler shows jewellery, drawings and paintings. There is a strong interaction between the drawings/paintings and the jewellery. A painting or drawing can be the starting point of a brooch and vice versa. In paint on aluminium, she draws lines with an etching needle. Scratching deep into the metal, the needle leaves traces in and causes the surface to shimmer and shine. By drawing with the etching needle, the painted image becomes spatial, making it float as if it is three dimensional.
This is a technique that she also uses for brooches. At the back of one that she calls, Traces, a text is written: 'a piece of aluminium plate; by scratching life into the material, you wear life, as a brooch' - This is the core thought of the whole series of aluminium brooches, she says.
In the exhibition, there is also a necklace and a drawing, belonging together. The parts of the necklace are cut out in the drawing. Her work process is intuitive and investigative. The possibilities pile up in an endless number of strips of material and notes to herself, until the pieces of the puzzle fall into place. It is an ongoing process of searching for new interventions in materials. Using both new, self-invented techniques as well as re-inventing old techniques; playing with them until they become her own.
Apart from drawing on metal, Beppe Kessler uses a variety of thin strips of material and bundles of threads. They are attached to each other in a rhythmic way, as messengers from another world, as if the sharp scratches in metal ask for some sort of softness as a counterbalance.
The brooches usually present an abstract image. Just horizontal stripes, thick and thin aligned next to one another; with your eyes occasionally resting on a larger surface, making it seem like you are looking in the distance. In the encounters brooches, elements are grouped together, like fake gemstones.
Materials carry a wealth of meanings and are often connected to personal memories, but Beppe Kessler is looking for a more universal kind of poetry. The mixed materials she uses for the compositions are often plain and of no value. It can be anything: frays, thread, slate, pieces of textile, pieces of wood; in short: that which remains. In the process of re-arranging the materials, she gives them new meaning to enter a rhythmic line play together. They are signs, pattern-cards of memory, evoked by the texture and color of the different qualities. On the one hand, it is a constant searching for the most minimal form, and on the other, a feast of bringing different materials together that call out for the viewer to touch them.


 

 

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