Mano Penalva (Salvador de Bahia, Brasil, 1987), lives and works in São Paulo.

Mano Penalva documents the material culture, behavior changes and globalization. His artwork are deliberately nonrepresentational, allowing materials to dictate form and come together on their own. He holds a degree in Social Communication (PUC-RJ), where he also studied Social Sciences with an emphasis on Anthropology. He attended 6 years of free art courses at (EAV) Escola de Artes Visuais - Parque Lage.

Mano Penalva documents the material culture, behavior changes and globalization. His artwork are deliberately nonrepresentational, allowing materials to dictate form and come together on their own.

The Mano Penalva process involves his interest in anthropology and cultural education, which materializes in this urgency to appropriate common articles found and purchased on the street, popular markets and travel to compose his own works. Thus, one can recognize a breakdown of frontiers into a globalized language proposed by the meeting of the materials used in the works, either in the appropriation of a national family iconography, or in the juxtaposition of it to other iconographies in different parts of the world, often subvert the values nd meanings and stitching social and philosophical discourses that are evidenced by the forms of created objects.

The artist explores the poetry obtained by the displacement of materials and objects from his everyday context, working with different media such as painting, photography, sculpture and installation. Its production includes appropriations, in which it develops a study of the common object inserted in the culture, realizing a long collection of articles found in the street and in popular markets. In creating the works, it subverts the value of everyday objects, proposing new aesthetic groupings based on the relationship of the retail sale strategies and their collection experiences.

His work brings reflections on the character of objects, how they transit the world, exchange relationships and trade agreements between countries. They acquire different layers of meanings when used by different cultures, impacting on the formation of the customs of a society. Mano emphasizes with his works the idea that the exponential proliferation of objects and images are not intended to train perception or consciousness, but insist on merging with them.

"I like to think that my work is about things in the world where improvisation, reuse and reconfiguration are at stake. I am interested in the daily form of urban construction, decorative and practical use of the material, which in some way reflect the socio-economic and cultural realities of a people."

Among the individual exhibitions are: TRUK (ə) (Soma Galeria, Paraná, curator Josué Mattos); Project for Monument (Cultural Passport, Mexico City, Curator Yunuen Sariego); Andejos (Art Museum of Ribeirão Preto - São Paulo - text Olivia Ardui); South State (Camelôdromo, Porto Alegre, Curator Franck Marlot); Balneário (Central Gallery, São Paulo, text Bernardo Mosqueira); Displacement (Which House, São Paulo, text: Tarcísio Almeida).

Among the group exhibitions that have taken place are: Blockchain (B [x] Gallery, Pia Coronel Curator, The Marvel of Things (Sancovisky Gallery, Curator Julie Dumont), Beauty and the Beast (Central Gallery, made the trap (Hangar, Barcelona, Curated Maykson Cardoso); Things are escoram tortas (Division of Plastic Arts of Uel, Londrina, Curadoria Danilo Villa and Ricardo Basbaum), Area (Space Saracura, Rio de Janeiro, Curadoria Omar Porto); (SAO Espaço de Arte, São Paulo, Curação Caroline Carrion), 41th SARP (MARP, São Paulo), Arrangement (SAO Espaço de Arte, São Paulo, Curacao Maykson Cardoso); Paulo, Text Mariana G. Leme), Simphony of Hunger: Digesting FLUXUS in five movements (A PLUS The Gallery, Venice, Curator September Collective), CONTRAPROVA (Paço das Artes, São Paulo, Curatorship: Hermes Visual Arts); Praia Grande (São Paulo), 40º S ARP (MARP - São Paulo); L'imaginaire de l'enfance (Cité Internationale des Arts, Paris, Curator Carlotta Monttaldo); VIDI ARTE (Mirador do Arvrão, Rio de Janeiro, Curadoria Roberta Fernandes); Yf you see something, say something (Lot 45, New York, Curation Group BR). Among the prizes he received are: 41º SARP-Salão de Arte de Ribeirão Preto (2015).

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CV

Mano Penalva (Salvador / BA, 1987), lives and works in São Paulo. He holds a degree in Social Communication (PUC-RJ), where he also studied Social Sciences with an emphasis on Anthropology. He attended 6 years of free art courses at Parque Lage.

INDIVIDUAL EXHIBITIONS

2018

REQUEBRA (Frédéric de Goldschmidt Collection - Belgium) - Curator Julie Dumont

Truk (ə) ((Soma Galeria - Curitiba) - Curatorship: Josué Mattos

2017

- Proyecto para Monumento (Cultural Passport - Mexico City) - Curatorship: Yunuen Sariego

- Southern State (Camelódromo POP Center - Porto Alegre) - Curatorship: Franck Marlot

- Andejos (Art Museum of Ribeirão Preto - São Paulo) - Text: Olivia Ardui

2016

- Balneário (Central Gallery - São Paulo) - Text: Bernardo Mosqueira

2015

- Displacement (Qual Casa - São Paulo) as part of the Projeto Mesmo Lugar Hermes Artes Visuais

 

COLLECTIVE EXHIBITIONS

2018

- Bienal das Artes, Sesc Distrito Federal, Curators: Jacob Klintowitz, Enock Sacramento, César Romero, Rinaldo Morelli and Maurício da Silva Matta

- Blockchain / Alternative barter: A new method of exchange ?, B [x] Gallery, Brooklyn, Ny, Curator: Pia Coronel

The wonder of things, Sancovisky Gallery, São Paulo, Curatorship: Julie Dumont

 

2017

- The Beauty and the Beast, Central Gallery, São Paulo, Curated: Leda Catunda

- Library of Love, Contemporary Arts Center of Cincinnati, Ohio (USA), Organization: Sandra Cinto

- Area, Saracura, Rio de Janeiro, Curatorship: Omar Porto

- Things are a bit crooked, Federal University of Londrina, Paraná, Curated: Danillo Villa and Ricardo Basbaum

- Made the law, made the trap, Calçada da Gloria, Rio de Janeiro, Curated: Maykson Cardoso

- Made the law, made the trap, Hangar - Barcelona, Curated: Maykson Cardoso

- 45th Luiz Sacilotto Salon, Santo André - São Paulo

- 49th Saloon of Piracicaba - São Paulo

- UNS, Space BREU - São Paulo

Arrangements, SAO Art Space, São Paulo, Text: Mariana Leme

 

2016

- Commensals, Project A MESA, Rio de Janeiro, Curatorship: Maykson Cardoso

- Secretariat of Public Insecurity, SAO Espaço de Arte - SP, Curator: Caroline Carrion

- 41º SARP, Art Hall of Ribeirão Preto, MARP - São Paulo

- Arrangement, SAO Art Space - São Paulo, Text: Mariana Leme

 

2015

- Simphony of Hunger: Digesting FLUXUS in five movements, A PLUS The Gallery - Venice, Italy, - - Curatorship: September Collective

- CLEANING & CLEANING - Chennai

- 22º Salão de Praia Grande - São Paulo

- 40º SARP, Art Hall of Ribeirão Preto, MARP - São Paulo

- L’imaginaire de l'enfance, Cité Internationale des Arts - Paris, France, Curatorship: Carlotta Montaldo

Education:

- Megamorfosis with Eduardo Abaros in Soma México - 2017

- Extension Course in Art History Museum of Image and Sound - São Paulo (2012)

- Extension Course in Art History São Paulo Art Museum (2011)

- Graduation in Social Communication - Pontifical Catholic University of Rio de Janeiro (2008)

- Free Art Courses at EAV - Escola de Arte do Parque Lage, Rio de Janeiro (2005 - 2010)

Residences:

- Penthouse Art Residency - Brussels (Belgium) 2018

- R.A.T - Art Residence by Exchange Mexico City (Mexico) 2017

- Pop Center - Camelódromo Porto Alegre (Brazil) 2017

- Conartist - New York (USA) 2014

Collections:

- Collection - MARP, Museum of Art of Ribeirão Preto

- Acervo da Laje - Salvador - Bahia

- Frédéric de Goldschmidt Collection - Brussels - Belgium

Awards:

- 41º SARP, Art Exhibition of Ribeirão Preto. His work is part of the MARP collection

"A few years ago, Mano has been dedicated to researching the formation of Brazilian culture and the ways in which it manifests itself in different contexts. The popular commerce, the street and the house have been their great interests of study. The main procedure in his work is the gambiarresca union, precise and unusual of fragments and objects often reused. The results, usually of great visual impact, make us feel as if we were dealing with something that was domestic and that, in some mysterious way, came to life. And now, when we look at them flaunting their own mutations, we are graced with symptoms of the plasticity of culture. "Bernardo Mosqueira

"I think that in the work of Mano Penalva this quality of skin and movement are attenuated, and the body of the artist seems to negotiate with the stilt bodies everywhere he goes, and there is a constant exercise in exposing himself to these forces from the outside In this case, it seems opportune to problematize a type of exercise conquered by the arduous work in dribbling the dictates of a quotidian. centered from the self to catapult itself to new dimensions of the body itself, a body shaped by the landscape, which is seen as an integral part of the medium and allows the admirable crossing that only the improbability of events is capable of offering. There is in this mode of walking only a duty: that of understanding life, or art, as the very sculptural gesture of doing. "Tarcisio Almeida