January 12, 2011 - It's taking over!

In the second installment of Henrique's video diary he talks about the work he's completed in just two days as well as shares his plans for what's next.

Henrique shares his insights

We spoke to Henrique this morning and asked if he would be interested in collaborating on a video diary of his time here at the museum so starting today (and everyday) he will be sharing thoughts on his work, the exhibition or anything on his mind.

Please enjoy this fascinating look inside the process of not only an artist but of his work as well.

He's here!

And even though it’s a snowy Saturday afternoon, Henrique and I are sitting in the gallery.  His flight arrived with no problem Friday morning and after a minor hiccup with the hotel, he was able to recuperate a bit before coming to the museum.

It was a productive afternoon.  Henrique met with staff, primarily the installation and production guys.  He got a first look at the paints and stains we have on hand, visited our impressively outfitted carpentry shop, and mostly surveyed the gallery.  Steve Mellor (NMAfA’s Chief Conservator and Assistant Director of Facilities and Production), Kevin Etherton (Installation Coordinator), Don Llewellyn (who along with Melvin Vega builds all the platforms, cases and phenomenal display structures you see in our galleries), and stood around with Henrique and talked about what the walls were made of, where the sprinklers were located, and tried to trouble shoot to help Henrique think through the possibilities of what he could make.  We reviewed his schedule, confirmed how many helping hands he’d need and when, and talked through what supplies he might need.  Henrique snapped some photos of the space and with help from Jeremy Jelenfy of the Design department, we got them printed out and Henrique started sketching out ideas of what he might like to do in the gallery.  I am pretty impressed by what he came up just hours after a crowded overnight flight! 

Henrique says he likes to sketch a few hour each day rather than in a continuous stretch.  That way, each day he can review his ideas with fresh eyes.  We’ll be here for the afternoon and then decide about tomorrow.  Fortunately, we were able to get a camera installed in the gallery, so if he starts sketching on the walls, etc., I’ll be able to flip on a switch and start the time-compressed video of Henrique making the art work that we’ll post to the exhibition website. Stay tuned…

Henrique arrives tomorrow!

Showtime folks.  Henrique Oliveira is en route to the airport in Sao Paulo as I type.  Tomorrow, he will arrive in Washington D.C. and swing by the museum after a bit of recovery in his hotel.  Unfortunately, neither his artworks nor the trademark weathered wood, "tapumes," that he uses in his installations will be here yet.  We anticipate that they will arrive on Tuesday.

One of the greatest challenges in mounting exhibitions that include international artists and artworks is getting the people, art, and materials here.  It's expensive.  And, it's complicated.  Henrique works with "tapumes" -- essentially sheets of plywood used as fencing material around construction sites throughout Sao Paulo, Brazil.  Through months of rain, blazing sun and dust, the sheets of wood serve as fencing material.  Then, battered, peeling and marked with fungus, Henrique gathers them up.  He takes these weathered strips of wood and separates each layer until it looks like the stroke of a paintbrush writ 3-dimensional and builds massive installations that evoke the feeling of walking inside a painting.  The problem is, US customs isn't so keen on importing unidentified woods or, possibly, unknown molds and fungi.  We've had to get certification that the scrap wood has been fumigated and treated.  And that's only one of the problems.  Another has been that a work of art that Henrique has made specifically for the museum and this exhibition is enormous.  Too big, in fact, to fit on any airplanes that land near DC.  It's taken us months to contract for crates to be built, and now that they are, we are flying them to Miami and from there they will be trucked up to DC.  It's throwing a bit of a wrench into our schedule.  So, Henrique comes to the museum tomorrow surveys the gallery to survey the resources that are here.  The weekend he gets to spend thinking about and sketching the site-specific installation he will be making in the gallery.  The plan is that he will mark onto the sheets of flexible plywood ("benderboard") we already have in-house the cuts he wants to have made so that he can begin to build the armature that will support his installation first thing Monday morning.  To learn more about how he's been developing his ideas for the installation, watch the video of him sketching in his studio in Brazil. Not so bad for having been shot on my (curator Karen Milbourne) iPhone!

Getting the ball rolling...

As we near the holiday season, I find myself once again whirring to keep up with all the demands and details of opening an exhibition.  Artists in Dialogue 2: Sandile Zulu and Henrique Oliveira “goes live” on February 2, 2011 and a lot needs to happen between now and then: artworks and supplies have to be shipped in from 2 continents while trying to accommodate the challenges of holiday closures and unseasonable weather; travel arrangements and accommodations must be made for artists coming from Africa and South America to create new works of art that will need to meet government safety codes and be finished on time; and, as the curator, I am trying to write labels, brochures and an exhibition catalogue and attend to other details  for works that haven’t yet been finished – and in one case, even begun.

Artists in Dialogue is a unique series of exhibitions in which the distinctive styles and techniques of two artists are united in a visual call and response.   In this second installation (for more on the first, Artists in Dialogue: António Ole and Aimé Mpane, visit the museum’s website: http://www.nmafa.si.edu/exhibits/dialogue09/intro.html#edu), the National Museum of African Art invited two artists, Sandile Zulu and Henrique Oliveira, each of whom works with unconventional materials that imaginatively extend notions of the canvas and painting.  The conversation into which these two artists have entered is not determined by geography or nationality but by the creativity with which each employs his distinctive materials – fire in the case of Zulu and weathered strips of wood for Oliveira – and their overlapping interest in the contours and mysteries of the human body. 

I first encountered the work of Sandile Zulu in the exhibition, Liberated Voices in New York in 2000.  At that time, I was mesmerized by the manner in which he created compositions to hang on the wall of oh-so-carefully charred newspapers or rhythmically arranged tufts of burnt grasses.  For years I have waited for the right project with which to work with him.  When I saw Henrique Oliveira’s extraordinary installations of weathered wood, I knew I had found the right project.

Work on this exhibition began almost as soon as the first Artists in Dialogue closed.  At that time, I contacted both Sandile Zulu and Henrique Oliveira to ask if they would be interested in creating new work in response to one another.  Fortunately, they both agreed. 

In the 18 months that have followed, the artists have both come to Washington DC to see the museum and gallery space, and to meet one another.  In addition, I have traveled to South Africa where I met with Sandile, visiting his studio and looking at works of art by him in various collections in Johannesburg. 

I also went to Rio de Janeiro to see a solo exhibition by Henrique Oliveira at Galerie Silvia Cintra + Box4 before continuing on to São Paulo, where the artist is based. 

In the ensuing months, the artists identified a shared interest in breaking with mainstream treatments of painting, extending wall-based artwork into three-dimensions, creating installations and exploring a mutual fascination with the workings and malfunctions of the human body.  Although the initial plan had been to include a combination of new and older works of art in the exhibition, in the end all but one painting was created expressly for this exhibition.  At one point, the artists even discussed creating a work together. 

Pulling off an exhibition of new and primarily site-specific works of art poses a number of challenges.  Right now, the museum’s registrars are tackling the difficulties of shipping two paintings, three massive components that will come together to form the new Xilonoma Chamusquius, and roughly 500 lbs. of weathered, pealing driftwood.  Our editor is making sure my words are perfect while our designer has just finished a funky new invite and press preview card.  We are still working on getting enough images for the press – which is challenging when the works aren’t yet finished and the artists aren’t local – and making sure we have the rights to use what photographs do exist.  The guys in the shop are ordering supplies to make sure we have enough screws, flexi-plywood and unprocessed wood for Henrique to create a new installation.  In short, the tasks are diverse and many.  Stayed tuned for updates.

Welcome to Artists in Dialogue 2

Artists in Dialogue II:

Sandile Zulu and Henrique Oliveira

Dates: February 2, 2011 – December 4, 2011

Exhibition Description: The Smithsonian’s National Museum of African Art (NMAfA) is organizing the exhibition, “Artists in Dialogue: Sandile Zulu and Henrique Oliveira,” as the second in a series of exhibitions in which exciting artists (at least one of whom is African) are invited to a new encounter – one in which each artist responds to the work of the other, and resulting in original, site-specific works at the museum. The exhibition will also include a selection of works by each artist to reflect who they are coming into the encounter, and will be accompanied by a small, full-color publication.

The first exhibition in this series featured the works of António Ole of Angola and Aimé Mpane of Congo. Based in neighboring nations, each of these artists created works deeply indebted to their sense of place and use of materials. In this second installation of the series, two artists from different continents – Henrique Oliveira of Brazil and Sandile Zulu of South Africa – are asked to continue their imaginative extensions of the canvas – “painting” with such unlikely materials as driftwood and fire to create new work, each inspired by the other. In so doing, traditional artistic notions of surface and materials are challenged at the same time that audiences are inspired to consider provocative ecological and societal issues and see how materials and concepts unite diverse individuals, cultures and places.

The Artists:

Sandile Zulu:

South African artist Sandile Zulu received his Bachelors of Fine Arts with Honors from Johannesburg’s prestigious University of Witwatersrand in 1993. Since then, his two and three dimensional works have been featured in prominent international exhibitions from South Africa to New York, Atlanta, Paris, and London. Best known for his canvases in which he manipulates fire, water, earth and air, his charged creations defy traditional concepts of painting. His works are grounded in ritual and infused with political and ecological meaning. Seductive patterns flicker across canvas panels and two dimensional surfaces erupt into tufted rhythms of burned grasses, barbed wire and crackling layers of newsprint. In each work, the notion of the surface is transformed. These works also poetically draw attention to the blighted landscape of South Africa’s underprivileged citizens and challenge us to recognize and utilize the constructive power of such destructive forces as fire. In recent years, Zulu has also undertaken work in new media such as print-making and installation. The National Museum of African Art looks forward to placing this innovative multi-media artist in dialogue with rising star Henrique Oliveira in order to highlight the important contributions of African and South American artists to the world of art and such current debates as environmental resource management and the human capacity for change.

Henrique Oliveira:

Based in Sao Paolo, Brazilian artist Henrique Oliveira is little known in the United States. This is soon to change. His extraordinary “canvases” – walls “painted” with undulating waves of colored and bent driftwood – are simply put, stunning. At once recalling the aesthetic splendor of Abstract Expressionist canvases, the technical sophistication of ship building, and the societal and environmental issues related to resource management, Oliveira’s work will both captivate new audiences and resonate profoundly with the works of South Africa’s Sandile Zulu. The National Museum of African Art is thrilled to introduce this emerging talent to new audiences. Born in 1973 and already exhibited on three continents, this artist is sure to be a sensation.