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EVERYTHING THAT I DID IN MY LIFE HAS BEEN GUIDED BY DRAWING. EDUARDO BERLINER
Eduardo Berliner has been developing, over the last twenty years, a solid and powerful body of work. Strongly dialoguing with the tradition of Western painting and engaging himself in the specificities of the medium and its expressive possibilities, he achieved to provide new chapters and possibilities, affirming the power of this support nowadays. Through a remarkable technical and colorist virtuosity, Berliner stamps disturbing images on his canvases, inhabiting the borderline space between the dream and the real, the imagined and the watched, constantly questioning, on the surface of his paintings, the distinctions between these registers.
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House, 2019
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Duas crianças / Untitled
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Hammer, 2017
THE ESTRANGEMENT CAUSED BY THESE HYBRID IMAGES MAKES US TO LOOK AT THE WORLD FROM NEW INTERESTS WHILE THE LIMITS OF OUR PERCEPTIONS ARE QUESTIONED, IN AN ACTION THAT PRODUCES IMAGES FULL OF POSSIBLE NARRATIVES. STORIES THAT SOMETIMES SUGGEST NIGHTMARES, DREAMS, ALMOST FORGOTTEN MEMORIES OR DARK DESIRES. THE POTENTIAL OF HIS IMAGES REAFFIRMS THE CURRENT EXPRESSIVE POSSIBILITIES OF FIGURATION, A FIELD LITTLE EXPLORED BY ARTISTS OF HIS GENERATION; REALITY AND FICTION OVERLAPPING IN A PARTICULAR AND UNIQUE UNIVERSE. FOR HIM, PAINTING IS AN OPEN FIELD FOR THE DEVELOPMENT OF INTIMATE OBSESSIONS. HIS DRAWINGS, IT MUST BE SAID, FORM THE FOUNDATION ON WHICH HIS PAINTING WORK RESTS. THEY ARE THE SENSITIVE BONES OF HIS PRIVATE UNIVERSE. LESS KNOWN THAN HIS CANVASES, THEY REVEAL THE ARTIST'S CREATIVE PROCESS, OPENING UP TO THE VIEWER THE SUBMERGED FIELD OF HIS WORK.
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Parque, 2020
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Urubu, 2021
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Untitled, 2020
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THIS EXHIBITION PRESENTS MORE THAN THIRTY OF HIS DRAWINGS, MANY OF THEM UNSEEN, WHICH REVEAL HIS IMAGE CONSTRUCTION PROCESSES AND STRATEGIES. THEY RECORD HIS EVERYDAY IMPRESSIONS AND INTERESTS, ACTING AS A VISUAL DIARY IN WHICH ELEMENTS OF HIS ARTISTIC VOCABULARY SIMULTANEOUSLY ORGANIZE AND BREAK DOWN. STRIPPED OF THE VIRTUOSITY OF HIS PAINTINGS, THEY REVEAL HIS CREATIVE DAILY LIFE, THE PATIENT CONSTRUCTION OF HIS DISTURBING NARRATIVES, BRINGING US BACK TO REALITY WITH NEW EYES, FREED FROM THE OBSTACLES AND LIMITATIONS IMPOSED BY OIL PAINTING.
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Anotações n. 2, 2021
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Véu, 2020
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Caminhando, 2020
His drawings reveal the history of his gaze, of the paths taken by his subjectivity between the act of seeing and perceiving and the fixation on the role of perceptions arising from these actions. Skulls, birds, snakes and imaginary or mythical beings are mixed with observed images, corners of a room, portraits or curious objects minutely registered, creating a plastic universe of great expressiveness and tension. A universe in which nothing is what it appears to be.
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Lula, 2020
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Anotações n. 1, 2021
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Red sky in the morning Sailor’s Warning, 2015
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Eduardo Berliner (1978, Rio de Janeiro, Brasil. Lives and works in Rio de Janeiro, Brazil). Selected solo exhibitions: A Forma dos Restos, Casa Triângulo, São Paulo, Brazil (2019); Corpo em Muda, curated by Priscyla Gomes and Felipe Kaizer, Casa Triângulo, São Paulo, Brazil (2016); A Presença da Ausência, curated by Marcio Doctors, Fundação Eva Klabin, Rio de Janeiro, Brazil (2015); Pinturas, curated by Hans-Michael Herzog, Casa Daros, Rio de Janeiro, Brazil (2014); Centro Cultural Banco do Brasil, Sala A Contemporânea, Rio de Janeiro, Brazil (2013); Casa Triângulo, São Paulo, Brazil (2010).
Selected group exhibitions: 1981/2021: Arte Contemporânea Brasileira na Coleção Andrea e José Olympio Pereira,curated by Raphael Fonseca, Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil (2021); Com Título e Sem Título, Técnicas e Dimensões Variadas, Museu Oscar Niemeyer, Curitiba, Brazil (2019); Utopia de Colecionador o Pluralismo da Arte, curated by Ricardo Resende, Fundação Marcos Amaro, Itu, Brazil (2019); Projeto Cavalo: Quadrivium 8 patas, Instituto Tomie Ohtake, São Paulo, Brazil (2018); Bestiário, curated by Raphael Fonseca, Centro Cultural São Paulo, São Paulo, Brazil (2017); Os Muitos e o Um: Arte Contemporânea Brasileira, curated by Robert Storr, Instituto Tomie Ohtake, São Paulo, Brazil (2016); A Cor do Brasil, curated by Paulo Herkenhoff and Marcelo Campos, MAR - Museu de Arte do Rio, Rio de Janeiro, Brazil (2016); Dark Mirror: Lateinamerikanische Kunst Seit 1968, Kunstmuseum Wolfsburg, Wolfsburg, Germany (2015); E se quebrarem as lentes empoeiradas?, Instituto Tomie Ohtake, São Paulo, Brazil (2015); Pangaea II: News Art From Africa and Latin America, Saatchi Gallery, London, England (2015); 30ª Bienal de São Paulo, curated by Luis Pérez-Oramas, São Paulo, Brazil (2012).
Awards: finalist for Prêmio Pipa, Brazil; Prêmio CNI_SESI Marcantônio Vilaça, Brazil.
Public collections: MoMA - Museum of Modern Art, New York, USA; K 11 Art Foundation, Hong Kong, China; Daros Latinamerica AG, Zurich, Switzerland; Coleção Gilberto Chateaubriand/Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil; Coleção Banco Itaú S.A., São Paulo, Brazil; Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Museu de Arte do Rio, Rio de Janeiro, Brazil; and Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
