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Possession State: Notes For An Aesthetic Of Torture

São Paulo  |  Brazil  | 

Possession State: Notes For An Aesthetic Of Torture

The moraes-barbosa collection presents Possession State: Notes For An Aesthetic Of Torture – the first exhibition in their new location in São Paulo. In November 2021, cmb inaugurated its own space, that is dedicated to hosting shows, talks, and screenings.

The moraes-barbosa collection (cmb), founded by Brazilian engineer and former bond trader Pedro Barbosa and executive Patrícia Moraes, has dedicated the last 20 years to more than gathering artworks but to reflecting the changes and fluctuations of the art world. The starting point in 1999 focused on Brazilian avant-garde of the 1950s, later inclining towards international and local contemporary artists, and most importantly, towards conceptual art in general, becoming the main interest of the collection, with an important role of the partnership with Italian author and curator Jacopo Crivelli Visconti in that development. 

Since its founding, it has become clear that the collection alone could not capture the dimension of contemporary art, often in connection and collaboration with other art forms such as dance, performance, experimental music, visual and sound poetry, apart from the numerous other materials that the art circuit produces, such as announcement cards, posters, and publications. For this reason, the moraes-barbosa archive was formed 8 years ago, not only to house but also to encourage the creation of content and critical texts that better reflect the current situation of contemporary art as a dynamic, interrelated, and often unclassifiable field. 

More recently, cmb has taken steps toward a larger contact with the public, artists, educational institutions, and researchers, tackling initiatives such as a grant program that has archive materials as a catalyst for poetic and critical productions. In November 2021, cmb inaugurated its own space in São Paulo, that is dedicated to hosting shows, talks, and screenings. Possession State: Notes For An Aesthetic Of Torture, the first event to take place, was curated by Cris Ambrosio and Deyson Gilbert, both of which have experience with working at the archive and with artistic practice. 

Displaying only pieces of the collection with a non-venerative approach, creating compositions of overlapping documents of various rarity degrees, works of art, publications, and sometimes even everyday objects, the exhibition proposes an understanding of art and culture that surpasses the more generalised idea that art represents positive values and uses in society. Works like Tony Cokes’s 2011 Evil.16 (Torture.Musik) and the 1939 book Por qué hice las chekas de Barcelona. Laurencic ante el Consejo de Guerra [Why did you make the checas in Barcelona? Laurencic facing the war council] by R.L. Chacón, published in Franco’s Spain, tell stories about pop music and the modern avant-garde being instrumentalized in military contexts as tools of torture. That, along with Theodor W. Adorno and Max Horkheimer’s reading of Odysseus tied to his vessel’s mast to both prevent his killing and enjoy the siren’s chant, that loses its purpose and becomes art, were the gravitational axis of the show’s concept. The works also include stanley brouwn, Hito Steyerl, Cildo Meireles, Iman Issa, Iole de Freitas, Marcel Broodthaers, Antonio Dias, among others. 

Presenting the moraes-barbosa collection on IC for the first time, in this Online Exhibition, we feature artwork and installation images all from Possession State: Notes For An Aesthetic Of Torture.

 

Vito Acconci, Following Piece, 1969; Clara Ianni, Abstract work, 2010; Wlademir Dias-Pino, Poster for the 14th São Paulo Biennial, 1977; Antonio Dias, The idea of a body, 1972; Guaita, Stanislas de. Templo de Satã. São Paulo, Editora Três. 1973; Anver Bilate e Jorge Audi. in Revista Cruzeiro: Le Cocq vingado [Le Cocq avenged]. year XXXVII, number 3. 1964
Vito Acconci, Following Piece, 1969; Clara Ianni, Abstract work, 2010; Wlademir Dias-Pino, Poster for the 14th São Paulo Biennial, 1977; Antonio Dias, The idea of a body, 1972; Guaita, Stanislas de. Templo de Satã. São Paulo, Editora Três. 1973; Anver Bilate e Jorge Audi. in Revista Cruzeiro: Le Cocq vingado [Le Cocq avenged]. year XXXVII, number 3. 1964
Kathleen Haven, Marcel Duchamp’s MoMA Retrospective poster, 1973; Marcel Duchamp playing chess in Schwarz, Arturo (org). The complete Works of Marcel Duchamp. Harry N. Abrams, 1970; Iole de Freitas. “Introvert/Penetrate/Extrovert”, 1973; Sarah Rapson, “Ad Reinhardt Untitled (Black). Oil on canvas. 60’ x 60’. Photograph courtesy of the Jewish Museum, New York”, 2016
Kathleen Haven, Marcel Duchamp’s MoMA Retrospective poster, 1973; Marcel Duchamp playing chess in Schwarz, Arturo (org). The complete Works of Marcel Duchamp. Harry N. Abrams, 1970; Iole de Freitas. “Introvert/Penetrate/Extrovert”, 1973; Sarah Rapson, “Ad Reinhardt Untitled (Black). Oil on canvas. 60’ x 60’. Photograph courtesy of the Jewish Museum, New York”, 2016
Chacón, R.L. Por qué hice las chekas de Barcelona. Laurencic ante el Consejo de Guerra. Barcelona: Solidaridad Nacional, 1939; excerpt of The Friar’s Way in Neto, João Cabral de Melo. Auto do frade. José Olympio Editora, 1984; Robert Barry, A volitional state of mind transmitted telepathically, 1969 - 2009; Vito Acconci, Following Piece, 1969; close to the ground: drawing in Wittgenstein, Ludwig. Lectures and conversations: Aesthetics, psychology and religious belief. University of California Press, 1967
Chacón, R.L. Por qué hice las chekas de Barcelona. Laurencic ante el Consejo de Guerra. Barcelona: Solidaridad Nacional, 1939; excerpt of The Friar’s Way in Neto, João Cabral de Melo. Auto do frade. José Olympio Editora, 1984; Robert Barry, A volitional state of mind transmitted telepathically, 1969 - 2009; Vito Acconci, Following Piece, 1969; close to the ground: drawing in Wittgenstein, Ludwig. Lectures and conversations: Aesthetics, psychology and religious belief. University of California Press, 1967
Tony Cokes, Evil.16 (Torture.Musik), 2009 - 2011
Tony Cokes, Evil.16 (Torture.Musik), 2009 - 2011
Wlademir Dias-Pino, Poster for the 14th São Paulo Biennial, 1977; On the bricks: Valerie Steele. Fashion. Sex & Power. Oxford University Press, 1996; Lygia Clark, “Tunnel”, 1966; Gustave Doré in Raspe, Rudolf Erich. The Adventures of Baron of Münchhausen
Wlademir Dias-Pino, Poster for the 14th São Paulo Biennial, 1977; On the bricks: Valerie Steele. Fashion. Sex & Power. Oxford University Press, 1996; Lygia Clark, “Tunnel”, 1966; Gustave Doré in Raspe, Rudolf Erich. The Adventures of Baron of Münchhausen
Cildo Meireles, Zero cent, 1974 - 1978
Cildo Meireles, Zero cent, 1974 - 1978
Installation view
Installation view
Installation view
Installation view
Four Statements Non-Anthropomorphic Art by Four Young Artists : Joseph Kosuth, Christine Kozlov, Michael Rinaldi, Ernest Rossi. Lannis Gallery, 1967; André Leblanc in Lobato, Monteiro. Aritmética da Emília, Editora Brasiliense, 1959; Nikolai Andreiev, Sketch for Josef Stalin’s portrait (1922) in KING, David. The Commissar Vanishes: The Falsification of Photographs and Art in Stalin’s Russia. Tate Publishing & Enterprise, 2014; Marcel Broodthaers, Interview with a cat 1970
Four Statements Non-Anthropomorphic Art by Four Young Artists : Joseph Kosuth, Christine Kozlov, Michael Rinaldi, Ernest Rossi. Lannis Gallery, 1967; André Leblanc in Lobato, Monteiro. Aritmética da Emília, Editora Brasiliense, 1959; Nikolai Andreiev, Sketch for Josef Stalin’s portrait (1922) in KING, David. The Commissar Vanishes: The Falsification of Photographs and Art in Stalin’s Russia. Tate Publishing & Enterprise, 2014; Marcel Broodthaers, Interview with a cat 1970
Marcel Duchamp playing chess in Schwarz, Arturo (org). The complete Works of Marcel Duchamp. Harry N. Abrams, 1970; anonymous illustration (back cover) in Chacón, R.L. Por qué hice las chekas de Barcelona. Laurencic ante el Consejo de Guerra. Barcelona: Solidaridad Nacional, 1939
Marcel Duchamp playing chess in Schwarz, Arturo (org). The complete Works of Marcel Duchamp. Harry N. Abrams, 1970; anonymous illustration (back cover) in Chacón, R.L. Por qué hice las chekas de Barcelona. Laurencic ante el Consejo de Guerra. Barcelona: Solidaridad Nacional, 1939
Guaita, Stanislas de. Templo de Satã. São Paulo, Editora Três. 1973; Anver Bilate e Jorge Audi. in Revista Cruzeiro: Le Cocq vingado [Le Cocq avenged]. year XXXVII, number 3. 1964
Guaita, Stanislas de. Templo de Satã. São Paulo, Editora Três. 1973; Anver Bilate e Jorge Audi. in Revista Cruzeiro: Le Cocq vingado [Le Cocq avenged]. year XXXVII, number 3. 1964
Dennis Oppenheim, Reading position for a second degree burn, 1970; Hito Steyerl, Guards, 2012; At the bench: Cildo Meireles (with Alessandro Costa e Leo Correa), Macabre Exhibition, 1998, Intervention on the 24th Venice Biennale Catalog, Giulio Paolini, Galeria Banco Exhibition announcement, 1976, Marcel Duchamp, Infra-thin text and magazine cover in View: The Modern Magazine Duchamp Issue, Serie V, No. 1, 1945; Tattoo based on Herbert James Draper’s painting Ulysses and the sirens; Décio Pignatari e Reinaldo Moraes, Album cover of All the eyes by Tom Zé, 1973
Dennis Oppenheim, Reading position for a second degree burn, 1970; Hito Steyerl, Guards, 2012; At the bench: Cildo Meireles (with Alessandro Costa e Leo Correa), Macabre Exhibition, 1998, Intervention on the 24th Venice Biennale Catalog, Giulio Paolini, Galeria Banco Exhibition announcement, 1976, Marcel Duchamp, Infra-thin text and magazine cover in View: The Modern Magazine Duchamp Issue, Serie V, No. 1, 1945; Tattoo based on Herbert James Draper’s painting Ulysses and the sirens; Décio Pignatari e Reinaldo Moraes, Album cover of All the eyes by Tom Zé, 1973
Robert Barry, A volitional state of mind transmitted telepathically, 1969 - 2009; Vito Acconci, Following Piece, 1969; close to the ground: drawing in Wittgenstein, Ludwig. Lectures and conversations: Aesthetics, psychology and religious belief. University of California Press, 1967; Clara Ianni, Abstract work, 2010
Robert Barry, A volitional state of mind transmitted telepathically, 1969 - 2009; Vito Acconci, Following Piece, 1969; close to the ground: drawing in Wittgenstein, Ludwig. Lectures and conversations: Aesthetics, psychology and religious belief. University of California Press, 1967; Clara Ianni, Abstract work, 2010
Installation view
Installation view
Sarah Rapson, Ad Reinhardt Untitled (Black). Oil on canvas. 60’ x 60’; On the bench: Four Statements Non-Anthropomorphic Art by Four Young Artists: Joseph Kosuth, Christine Kozlov, Michael Rinaldi, Ernest Rossi. Lannis Gallery, 1967; André Leblanc in Lobato, Monteiro. Aritmética da Emília, Editora Brasiliense, 1959; Nikolai Andreiev, Sketch for Josef Stalin’s portrait, 1922; Marcel Broodthaers, Interview with a cat 1970
Sarah Rapson, Ad Reinhardt Untitled (Black). Oil on canvas. 60’ x 60’; On the bench: Four Statements Non-Anthropomorphic Art by Four Young Artists: Joseph Kosuth, Christine Kozlov, Michael Rinaldi, Ernest Rossi. Lannis Gallery, 1967; André Leblanc in Lobato, Monteiro. Aritmética da Emília, Editora Brasiliense, 1959; Nikolai Andreiev, Sketch for Josef Stalin’s portrait, 1922; Marcel Broodthaers, Interview with a cat 1970

Photos: Ding Musa, courtesy of moraes-barbosa collection