The exhibition, Sotaques Paulistanos da Bauhaus / (Bauhaus inflections in São Paulo) by Leonardo Finotti, presents a series of black and white images of 1×1 meter in the spaces of the house designed by Gregori Warchavchik in 1927.
The dialogue between the spaces of the first modern construction in Brazil and the records of some examples of architecture of "Bauhausian inspiration" allows a unique poetic immersion that improves the perception of the concepts and principles of the school program present in the landscape of São Paulo.
The dialogue between the spaces of the first modern construction in Brazil and the records of some examples of architecture of "Bauhausian inspiration" allows a unique poetic immersion that improves the perception of the concepts and principles of the school program present in the landscape of São Paulo.
“Sotaques Paulistanos da Bauhaus” (Bauhaus inflections in São Paulo) is a new solo show by São Paulo-based photographer Leonardo Finotti. Held at Casa Modernista, the exhibition is curated by the architect Marcos Cartum, director at Museu da Cidade, and designed by the architect Michelle Jean de Castro. The selection presents 20 photographs in the city of São Paulo that was likely influenced by the German school of design, but at the same time have their own local accent.
Sotaques… combines different interests: first of all, Finotti’s consistent work throughout his entire career, revisiting again and again Latin American modern architecture, drawing attention to sometimes ignored masterworks. From the curator’s side, the aim is to reestablish the role of architecture in the field of culture, as a part the city's history. Finally, the design of the exhibition was conceived as a site-specific installation, an interplay between Gregori Warchavchik’s iconic house (considered the first modern architecture in São Paulo) and the pictures exhibited in there.
The exhibit features black and white square photos of Vilanova Artigas’ Santa Paula Boat Garage, Lina Bo Bardi’s Sesc Pompéia, Décio Tozzi’s Villa-Lobos Park, among several others, shown in different spaces of the empty house. As a public asset, Casa Modernista building can’t be modified or adapted for the exhibit: thus, the show has to be adapted for the house. Each picture finds its place in the dialogue between Warchavchik’s space and Finotti’s artworks, supported by scaffoldings gripped to both the floor and the ceiling. The position of each work is determined by the particularities of the image: aerial photographs are arranged horizontally; some images face the windows while other pictures are set against the natural light.
Sotaques… combines different interests: first of all, Finotti’s consistent work throughout his entire career, revisiting again and again Latin American modern architecture, drawing attention to sometimes ignored masterworks. From the curator’s side, the aim is to reestablish the role of architecture in the field of culture, as a part the city's history. Finally, the design of the exhibition was conceived as a site-specific installation, an interplay between Gregori Warchavchik’s iconic house (considered the first modern architecture in São Paulo) and the pictures exhibited in there.
The exhibit features black and white square photos of Vilanova Artigas’ Santa Paula Boat Garage, Lina Bo Bardi’s Sesc Pompéia, Décio Tozzi’s Villa-Lobos Park, among several others, shown in different spaces of the empty house. As a public asset, Casa Modernista building can’t be modified or adapted for the exhibit: thus, the show has to be adapted for the house. Each picture finds its place in the dialogue between Warchavchik’s space and Finotti’s artworks, supported by scaffoldings gripped to both the floor and the ceiling. The position of each work is determined by the particularities of the image: aerial photographs are arranged horizontally; some images face the windows while other pictures are set against the natural light.
Gustavo Hiriart
