Until the end
Group show Exhibition


Until the end

MASSIMO is pleased to announce SUPER-NATURAL, Until the end, an exhibition that will take place between September 16th and 26th, 2021. The group show brings together seven videos by artists Adriano Amaral (Brazil), Nídia Aranha (Brazil), Vitória Cribb (Brazil), Débora Delmar (Mexico), Ilê Sartuzi (Brazil), Wisrah Villefort (Brazil), and Janaina Wagner (Brazil) whose research engages in questions around the speculative dimension of the dissolution of the nature-culture binomial, especially considering the modern heritage of the construction of these concepts.

In @ilusão (2020), by Vitória Cribb, the repetition of images guides the reflection on the states of ecstasy, anxiety, stress, tiredness, and loneliness that continuously affect us when interacting with the other and with the algorithm, the one

that determines our hierarchical position in the digital environment through the curves of engagement. In the face of current events, the artist confronts two extremes of repetition in our society, drawing
a parallel between the one of violence, and its investigation of the content loopings to which we are exposed daily amid early virtual socialization and algorithmic racism.

In Milking (2020), Nídia Aranha documents the extraction and monitoring of the breast milk flow from her own body, that of a synthetic woman, in the artist’s words. This process is part of a biohacking investigation conducted on the

possibilities of induced lactation in transvestite bodies through specific hormonal diet and mechanical extraction stimuli. The research reveals an almost fictional reality that resides in the limiting hegemonic inconsistency about the corporeality of the species.

BAG (2021) is a video essay by Wisrah Villefort. In the work, a parallel is built between the fact that several marine animals have been using plastic waste as shells and the evolution of the Anglo-Dutch oil multinational Shell logo to address the

relationship between pretrocapitalism and the plastic industry.
Mariposa (2020), by Débora Delmar, shows a white cabbage butterfly trapped in the artist’s kitchen in London trying to escape the

room without success. The species, now very common in southern Great Britain, had its population accidentally established in the region especially by the migratory movements of farmworker populations from Asia, Africa, and the Americas. The Small White butterfly, as it is known in the UK, however, is ironically considered a pest and a commercial threat to crops of cruciferous vegetables such as kale, cabbage, and broccoli.

With Caput (2021) Ilê Sartuzi weaves an associative tissue of links and references between the image of Walt Disney’s head and the decapitated heads that were portrayed by Caravaggio. This two-channel video-essay establishes two distinct narratives, in parallel, having the relationship with death and the visual proximity of an

iconography of the decapitated head as the core of this approximation. The work maps a trajectory of

ideas in overlapping layers speculating, ultimately, about cryogenics, virtualization and death.
Rurais (2017), by Adriano Amaral, features night shots of the artist’s grandparents’ farm. Filmed with a drone, the footage of storage sheds,

empty spaces and abandoned farming utensils conjures a post-apocalyptic scenario reminiscent of the pictures taken by robots during the Fukushima nuclear disaster. Known as ASMR (Autonomous Sensory Meridian Response), the accompanying audio is designed to elicit physical sensations in the listener’s body, not unlike a sound-tact kinesthesia phenomenon.

Licantropia (2019) atonement by Janaina Wagner of the figure of the werewolf, a creature shaped by men-kind as a scapegoat to give contour to cruel acts perpetrated by humanity through the course of history. Narrated by the moon

during the course of a night and merging fiction and reality, the film is a collage of 16mm, digital, engravings, texte and anonymous testimonies. The werewolf, a hybrid being, operates always “in between”, transitioning around the limits of reality and invention, lie and truth, history and stories: it is an amalgam that merges in one single image the human and the animal, operating as an approachatble bridge to investigate civilizing processes of domination through history.

Invited to write a text in response to the project currently being exhibited in São Paulo, Lívia Benedetti and Marcela Vieira point to an existing relationship between the works presented at the exhibition and the universe of the artist Kanye West, something that can equally be elaborated in the video works now exhibited. The parallel built by Benedetti and Viera possibly resides in the fact that the work of
the artists in SUPER-NATURAL exist at the intersection between fascination and criticism - something that Mark Fisher qualified as a juxtaposition of hypernaturalist kynicism when analyzing Spaceship, signaled by Fisher as the heart of the rapper’s first album. In São Paulo, SUPER-NATURAL was organized by Ilê Sartuzi, Wisrah Villefort and OLHÃO. In Europe, the exhibition takes place in a partnership between MASSIMO (Milan, Italy), OLHÃO (São Paulo, Brazil), and BPA (Cologne, Germany).

Vitória Cribb

Cribb is a graduate student in Industrial Design at ESDI, UERJ Superior School of Industrial Design, daughter of a Haitian father and Brazilian mother, the artist has been creating in recent years digital and visual narratives that permeate techniques such as the creation of 3D avatars, filters in augmented reality and immersive environments, using the digital environment as a means to explain their investigations and current issues traversed by their subconscious. The artist investigates the behaviors and developments of new visual/social technologies and transposes her thoughts through the immateriality present in the digital. In 2021 “@ilusão”, the artist’s film and digital installation, were mentioned and gained prominence in reviews such as the XR panel in The Art Newspaper. Among exhibitions are Futuração (Galeria Aymoré, Rio de Janeiro, 2021) stand out; Disembodied Behaviours (bitforms gallery, New York and Platform, online, 2020), The Brazil I Want (Centre d’Art Contemporain Genève, online, 2020), AINDAMTNADA (online, 2020), Are you seeing me? Are you listening to me? (Casa Niemeyer, online, 2020), Beginning of the Century (Galeria Jaqueline Martins, São Paulo, 2019).

Nídia Aranha

Nídia Aranha was born in Itaguaí, in the lowlands of Rio de Janeiro. The artist studied Product Design & Visual Communication (UFRJ) and also works as an art director and researcher in the visual anthropology segment. Her artistic practice involves the construction of subversive visual narratives with fictional + documentary elements, which touch on gender disobedience relations; Critical and speculative design assuming the most varied supports: laboratory devices, prosthetics and surgical instruments making use of jewelry techniques. Biohacking practices, with performativity and its registers (painting, photography, digital manipulation and videography) as an affirmation of these experimental scientific methodologies.

Wisrah Villefort

Wisrah Villefort (Buritizeiro, 1989) lives and works in São Paulo, Brazil. Within their work, the artist incorporates sound, sculpture, text, photography, and video in installations and hypermedia works that explore the relationship between nature and capital considering modernity and colonialism. Institutional collections and commissions include Kadist, France; and Instituto Moreira Salles, Brazil. In 2020, the artist participated in the Pivô Research residency program. Recent exhibitions include solo shows at Goswell Road, Paris; and GUAVA, Brasília; and group shows at the 14th Curitiba Biennale and OLHÃO, São Paulo. Forthcoming projects include SALTS, Basel; Centre d’art Waza, Lubumbashi; and a residency at La Becque, Tour-de-Peilz for which the artist was awarded the Swiss Arts Council Pro Helvetia Residency Grant.

Débora Delmar

Débora Delmar (1986, Mexico City) lives and works in London where she completed the Postgraduate Programme at the Royal Academy of Arts. She previously attended the School of Visual Arts in NY. Delmar’s work investigates the effects of globalisation on everyday life in relation to consumer culture and society. She is particularly focused on the societal consequences, such as issues of class, cultural hegemony and gentrification. This is born from the omnipresent influence of the United States in Mexico, and in the wider world. Her work examines the contextual value of goods, analyzing their production, distribution, consumption and disposal. Within her installations Delmar references corporate architecture, non-places and multinational chains that utilize homogenized minimalist aesthetics. These are commonly composed of a variety of media ranging from photographic prints or modified appropriated objects, to commissioned hand painted signs and carved sculptures. She often also incorporates immaterial components within exhibitions such as sound, scent and situations. The work of Débora Delmar has been presented in solo and group exhibitions including the 9th Berlin Biennale (Berlin), Museo Universitareo del Chopo (Mexico City), Modern Art Oxford (Oxford, UK), Museum of Modern Art (Warsaw), Museum of Contemporary Art Denver (Denver), Museo de Arte Contemporaneo de Oaxaca- MACO (Oaxaca), Bikini Wax (Mexico City).

Ilê Sartuzi

Ilê Sartuzi (1995, lives and Works in São Paulo) is an artist who graduated from the University of São Paulo (USP). His research involves sculptural objects, mapped video projections, installations, and theatrical plays addressing issues related to the idealized image of the body, often fragmented or constructed from different parts; but also the absence of this figure in proto-architectural and virtual spaces. He participated in exhibitions at institutions such as Videobrasil (2021); Instituto Moreira Salles (2020); SESC (Ribeirão Preto, 2019; Distrito Federal, 2018); CCSP – São Paulo Cultural Center (2018); MAC-USP Museum of Contemporary Art (2017); Ribeirão Preto Art Museum (2017; 2015); Maria Antônia University Center (2019); Galeria Vermelho (2017; 2018, 2019); the three in collaboration with the research group After the End of Art that he has been part of since 2015. He presented theatrical plays performing video-mapping projections in spaces such as Oficina Oswald de Andrade (2018, 2020); Itaú Cultural (2019); Container Theater (2019), and TUSP (2019). Working for more than a year on a specific project, Sartuzi debuted his play without actors’ hollow head doll’s foam at Firma (São Paulo, 2019). In 2020 he was invited by IMS – Instituto Moreira Salles to produce a commissioned work resulting in the production of a video constructed with computer-generated images (CGI) that dialogues with a late text, Worstward Ho!, by Samuel Beckett. He also held a residency at Olhão (2020), developing another similar video, Night and Day, which was later awarded Itaú Cultural’s incentive.

Adriano Amaral

Adriano Amaral’s work encompasses an examination of the nature of things – the stuff of the world; it’s substance, value, materiality and mutability. Blurring the boundaries between object and space; composition and dispersion; painting and sculpture, Amaral creates site-specific installations, responding to the spatial and architectural elements of the exhibition space. After finishing his Master’s degree in London’s Royal College of Art in 2014, Adriano took an art residency in De Atelier, Amsterdam in 2016 and was granted the Mondrian Fonds Work Contribution Proven Talent in 2017. His recent exhibitions include solo projects at Witte de With Center (Rotterdam, Netherlands), Vleeshal Zusterstraat (Middelburg, Netherlands), Bielefelder Kunstverein (Germany) and Galeria Jaqueline Martins (São Paulo), Brazil. Group shows include projects in Sixty Eight Art Institute (Copenhagen), Modern Art Museum (Moscow) and Beelden Aan Zee (The Hague, Netherlands). Adriano Amaral is supported by the Mondriaan Fund.

Janaina Wagner

Janaina Wagner (São Paulo, 1989) works with the relations of limit, control and contention that human-kind establishes with the world. Searching for contact points between the human character and the constructions that he himself edifies, Wagner investigates the forms and ways that his efforts represent issues that refer to his finitude in itself. Her work aims to present a critical and questioning imagery narrative around the structural, concrete and subjective human fragility towards the universe that he inhabits.BA both in Fine Arts and in Journalism, and a middle school video teacher, many of Wagner’s references derive from the procedures through which mankind registers and articulates it’s progress and legacy. Journalism’s sociological bias functions for her as a manner of approaching the mechanisms that validate a story as a true one – a constellation of tales, facts and images. Janaina develops her plastic work in a “decoupage” process, rearticulating images and texts that are already inserted in media circulation. Currently pursuing a PhD at Le Fresnoy-Studio National des Arts Contemporains (FR), Janaina lives and works between Roubaix and São Paulo.