Title: Trembling State of Affairs

Preview: Thursday 28th June 2018, 6pm til 10pm

Exhibition: 28th June to 27th July 2018

Artist: Martin Brausewetter

Curatorship: Ana Magalhães from the Museum of Contemporary Art of the University of São Pau


Martin Brausewetter, b. 1960, lives and works between São Paulo and Vienna

Graduated at the Hochschule für angewandte Kunst, Vienna, 1987.


Brausewetter started out, mainly as a painter, working on compositions of multiple layers of egg-tempera paint, often scratching their surface with a razor blade, so as to investigate the constitution of matter itself, and of space. Deriving from his interest in Quantum Physics and new studies on the function and composition of black holes in the universe, his paintings were searching to convey the various dimensions of reality in which we live. He is keen to think about how this affects our everyday life, and how certain structures of matter might be reflected in organic forms as well as in  human-built forms, architecture being the main one.


His recent works evolved after he spent 3 months in Los Angeles, California, in 2016. Here he started what he titled his “LA TICS” works on paper. “LA TICS” is an acronym for “Los Angeles The Inner Coffee Series”. Brausewetter was playing with the expression from Viennese dialect, “Das ist mein Café” (This is my coffee), to say that something is someone’s own business. To him, it reflected a double trip into deeper, inner layers of reality - both his own and its connection to the extremely contrasted reality in Los Angeles. The paintings selected for the exhibition were made after his trip to Los Angeles. They are variations of compositions of stripes, depicting the actual underground movement of the earth in the region, threatened by constant earthquakes due to the San Andreas Fault.


His new series of works on paper, though continuing to use the same kind of lexicon he had created for the “LA TICS” series, are now dealing with his experience in São Paulo. Contrary to the Los Angeles works, the background of light stripes here stands for the speed of the city and the ashes melting into the air. They are thus displayed in diagonals and in various directions to convey this movement.


Brausewetter’s intention is to use this lexicon as an event in itself, or as matter in itself. The display of a combination in a cluster, of works on paper, digital prints, cut-outs, and other images he created, is a way for him to show how he is dealing with the concepts of matter, of time, of space, and of dimension. His work is thus deeply connected to the idea of matter as something that happens and, if ever permanent, gains various shapes and appearances, reflecting the immanence of transparent fragility, when we take a closer look at the immense distances between subatomic particles.



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