A MEDIDA DA VOZ

Eight voices are reverberated from the inside out of eight clay pots (which carry the approximate measurement of the body), arranged in a circle and buried to the surface, seeking to speak of a movement that is continuous. They are voices spoken within the earth and amplified by the clay. The voice addressed at the work does not use the word, has no speech, language or culture. The voice seeks to speak of her own breath, in all its power and precariousness. It deals with the individual breath, and how it exists together. When a person's breath ends, another begins, like voices that continue in each other, like a breath that restart with each voice, from the inside out of the earth. The voice, the breath that is naturally finite, as a unit of time for a larger seam, of indeterminate time.

The selection of voices that make up this work took place within my circle of friends, and in it I sought to guarantee a greater diversity of possible tones to guarantee an acoustic result that allowed the differentiation between voices belonging to different individuals.

However, it is important to guarantee the time, organization and necessary resources to carry out the work and its exhibition. A medida da voz has as genesis the set of the installation in a space suitable to its aspects (an open space is necessary, a dirt floor, without many roots or stones, a land that can be opened as the case of Parque Lage, the area behind the OCA), and the making of a film/work containing fine and sound experiments, and recording the work process.

In 2019, I performed a Pilot Experience at the School of Visual Arts Parque Lage. An important prospect that helped me to understand both poetic issues and technical, logistical and structural details, allowing me to experiment with processes and tools for carrying out this work. Thus, many aspects of the work were understood, developed, tested and deepened, and the unfolding of this experience, generated the series Imersão (composed of two sequences of photographs, a triptych and a polyptych).

Over the past fifteen years, I have been developing and producing works that seek to relate in a poetic and sensitive way with elements such as breath, the air and the earth, with the space of the body and with the time of the matter.

below I leave some references of other works that dialogue with the proposal:

Por onde passamos, 2019 - http://marialaet.com/obra/1175/

Sem Título (Casa), 2013/ 2018 - http://marialaet.com/obra/sem-titulo-casa-2013-2018/

Pneuma, 2010/ 2016 - https://vimeo.com/198604665

Terra (Canudos), 2015 - http://marialaet.com/obra/canudos/

Sopro, 2013 - http://marialaet.com/obra/sopro/

Poente, 2013 - http://marialaet.com/obra/long_way/

Diálogo (Sopro), 2008 - 1 - http://marialaet.com/obra/serie_dialogo_sopro_foto/
Diálogo (Sopro), 2008 - 2 - http://marialaet.com/obra/serie_dialogo_sopro/

Fôlego, 2005 - http://marialaet.com/obra/folego/

Essay: Poro, by Frederico Coelho, written for the book of the same name, edited by Cobogó in 2018, containing works from 2005 to 2018 - http://marialaet.com/textos/poro/

Brazilian artist, lives and works in the city of Rio de Janeiro. Her works subtle dynamics with elements of nature such as air, time, light and energy, which constitute a unique glossary. By a deep breath the artist creates an inventory of listens and actions that link earth and body to timeless experiences. The dialogue with multiple materialities, the space of aspiration between the volumes of life, habit, balance, intuition and fluidity are amplified in photographs, installations, sculptural objects and videos, which manifest in the works of Maria a unique sensory experience. In her empirical studies, Maria points out oscillations, the freedom, the gestures and the memories that melt in between silences and noises, cycles that bend one body or stretch layers of another. The density of the multiple city spaces is rearranged by the artist, as with an ephemeral flair transforms what touches into seams and weaves pierced by fugacities and prolongations.

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In 2019 she held the solo exhibitions “Quase um Nada” at the Institute of Contemporary Art in Villeurbanne/Rhône-Alpes, France and at the Gallery 3 + 1 in Lisbon, and “Sobrecéu” at Gallery do Lago - Museu da Republica in Rio de Janeiro, Brazil. She took part in group exhibitions “Matters of Concern”, at the Foundation D'entreprise Hermès, Brussels, Belgium, “Apuntes para un tiempo geológico” at Gallery Ángeles Baños, Spain, “Play-list 2” at Gallery Martine Aboucaya and “Correspondance, autour de Jacques Roubaud” at Gallery Martine Aboucaya, both in France, “I Remember Earth” at Magasin des Horizons - Center National d'Art Contemporain, in Grenoble, France, “Bauhaus: Utopia in Crisis”, at Camberwell Space, Camberwell College of Arts, London, “Tecer Mundos” at the Sesc Quitandinha, in Petrópolis and “Da Linha, o Fio”, at Espaço Cultural BNDES, in Rio de Janeiro. She also took part in the 33rd Bienal de São Paulo in 2018 and the 18th Sydney Bienalle in 2012. In 2014 she joined the “Residency Unlimited” in New York, “Carpe Diem Arte e Pesquisa” in Lisbon, Portugal in 2010, and “Schloß Balmoral” in Germany in 2009.

Her work are part of the collections Gilberto Chateaubriand, MAM Rio Rio de Janeiro, Brasil; MAC Niterói, Brasil; 49 Nord 6 est – Frac Lorraine, Metz, France; MSK, Ghent, Belgium; Colección Patricia Phelps de Cisneros; AGI, Verona, Italy; Maria Cristina Masaveu Peterson Foundation, Madrid, Spain; Figueiredo Ferraz Institute, São Paulo, Brasil; MoMA, New York; Special Collections, The Getty Research Institute; Rare Books and Special Collection, Princeton University; The Bienecke Rare Book and Manuscript Library, Yale University; Ivorypress Artist’s Books Collection, Madrid; Uría Menéndez Collection, Spain; MAR, Rio de Janeiro.