Bertô
1992, Guarulhos, São Paulo
Bertô
1992, Guarulhos, São Paulo
Sangue em toda a terra do Egito [Blood across of Egypt’s land], 2023
Stone and watercolor16 x 7 x 11 cm
6 1/4 x 2 3/4 x 4 3/8 in
|
Oil on linen
| 200 x 160 cm |
| 78 3/4 x 63 in |
CV
Education
2016 – 2018
Technologist, Visual Arts, Panamericana, São Paulo, Brazil.
2013–2014
Technologist, Film director, Academia Internacional de Cinema, São Paulo, Brazil.
2011–2014
Bachelor’s degree, Social communication, Faculdade Cásper Líbero, São Paulo, Brazil.
Solo exhibitions
2023
Ouro, prata e bronze; púrpura violeta e escarlate, carmesim, linho fino e pêlos de cabra; peles de carneiro tingidas de vermelho, couro fino, e madeira de acácia; azeite para a lâmpada, aromas para o óleo de unção e para incenso aromático; pedras de ônix e outras pedras preciosas para serem incrustadas no colete sacerdotal e no peitoral [Gold, silver and bronze; purple, violet, and scarlet, crimson, fine linen, and goat’s hair; rams’ skins dyed red, fine leather, and acacia wood; oil for the lamp, spices for the anointing oil and for fragrant in- cense; onyx stones and other precious stones to be set in the priest’s vest and breastplate], HOA Galeria, São Paulo, Brazil.
2021
quando alguém constrói um muro logo se preocupa em passar cal [when someone builds a wall, they are immediately concerned with whitewashing], HOA Galeria, São Paulo, Brasil.
Group shows
2023
Do vôo às narinas respirar, braços largos, mensagens ao vento [From flight to nostrils, breathe, arms wide, messages in the wind], curated by Guilherme Teixeira and Nathalia Grilo, HOA Galeria, São Paulo, Brasil
2022
Possible Agreements, curated by Thiago de Paula Souza, Mendes Wood DM Brussels, Belgium
2021
HOA Galeria, 1-54 Contemporary African Art Fair, Christie’s, Online.
Dizer Não, curated by Adriana Rodrigues, Thais Rivitti and Érica Burini, Ateliê 397, São Paulo, Brasil.
Aqui Estou y Mantenho, HOA Galeria, São Paulo, Brasil.
Ginga, HOA Galeria, Online.
2020
Monster High, Online.
Cânticos terrenos sob odores aquáticos colossais, HOA
Galeria, SP-Foto, Online.
Mulatis, Enganastes, Delirastes, Risastis, Cômicus, HOA Galeria, ArtRio, Online.
SP-Arte Viewing Room, HOA Galeria, Online.
2019
Pensa Rápido, curated by Eduarda Freire, São Paulo, Brazil.
Parabéns, curated by Guilherme Teixeira, São Paulo, Brazil.
Mostra dos Grupos de Estudo da Escola Entrópica, Instituto Tomie Ohtake, São Paulo, Brasil
Graduation Collective Show, Escola Panamericana, São Paulo, Brasil.
2018
Artes Plásticas Novos Talentos curated by Cláudio Tozzi, Escola Panamericana, São Paulo, Brasil.
Mostra dos Grupos de Estudo da Escola Entrópica, curated by Paulo Miyada, Instituto Tomie Ohtake, São Paulo, Brasil.
Vesícula, curated collaboratively. Espaço Breu, São Paulo, Brazil.
Festival de Pintura, curated collaboratively, Unesp, São Paulo, Brasil.
AEANFDC. Feira Tijuana, São Paulo, Brasil.
Estúdio Pilha. Feira Plana, São Paulo, Brasil.
2017
Ego: Abismo. Escola Panamericana, São Paulo, Brasil.
Festivals
2019
Festival de Cinema Luso-Brasileiro – Curta metragem “As Coisas Infinitas: Menino Com Boné”, Santa Maria da Feira, Aveiro, Portugal.
Festival Passage with the short film “As Coisas Infinitas: Menino Com Boné”, Cotê de Nacre, Caen, France.
2016
Festival Internacional de Curtas Metragens de São Paulo [São Paulo’s short film international Festival], with the short film “Belo Fim”. São Paulo, Brazil.
Laboratórios
2020
FIDLab – Longa metragem “Túnel Invisível”, FIDMarseille, Marseille, France
Representação, imaginário e imagens da população negra, facilitated by Rosane Borges. Instituto Tomie Ohtake, São Paulo, Brazil.
2018
Laboratório de Projetos – Curta metragem “O Beijo”, Curta Cinema, Rio de Janeiro, Brazil.
2018–2019
Escola Entrópica, facilitated by Paulo Miyada and Pedro França. Instituto Tomie Ohtake, São Paulo, Brazil.
Trevas espessas, que possam ser apalpadas [Thick darkness that can be felt], 2023
Oil on linen200 x 200 cm
| 78 3/4 x 78 3/4 in |
“I am a filmmaker and a visual artist. In my research I investigate brushstrokes, color, texture, contrast, space, Christianity, the oneiric, subjectivity, masculinity, everyday life, decoupage, blackness, and silence. My creation process works as a sort of edited diary that expresses subjectivities of reality, my works end up permeating subjects that can be complementary or dichotomous, as for example: a fan that brings relief but also tension to a character.
Initially, I realized that my painting had a flirtation with a narrative structure close to the plan of a movie, and currently, working with diptychs and triptychs, I understand that there is a dialogue closer to the logic of the comics page. These two universes, however, produce effects that end up crossing each other, since I am interested in the association between the micro and the macro, which both media make possible through decoupage. In this way, I establish the painting as a point of visual intersection between cinema and comics, which ends up straining the image to a place of familiar strangeness.
The debate, both formal and discursive, as well as looking at a form of reality not always socially and historically recognized, which is imprinted in the production of some artists considered as outsiders, is also a major influence on my work. If on the one hand the production of artists like Frank Walter, Bill Traylor, Sister Gertrude Morgan, James Castle, James Deeds, William Edmondson, Bispo do Rosário, and Joe Minter has been categorized in
a pejorative way (despite their complexities) on the other hand, such plastic discomfort still signals a noise in contemporary parameters of analysis. Thus, I use this type of image, which surpasses the knowledge instituted by the art systems, as an object of ethical, aesthetic, political, and poetic study.”
Initially, I realized that my painting had a flirtation with a narrative structure close to the plan of a movie, and currently, working with diptychs and triptychs, I understand that there is a dialogue closer to the logic of the comics page. These two universes, however, produce effects that end up crossing each other, since I am interested in the association between the micro and the macro, which both media make possible through decoupage. In this way, I establish the painting as a point of visual intersection between cinema and comics, which ends up straining the image to a place of familiar strangeness.
The debate, both formal and discursive, as well as looking at a form of reality not always socially and historically recognized, which is imprinted in the production of some artists considered as outsiders, is also a major influence on my work. If on the one hand the production of artists like Frank Walter, Bill Traylor, Sister Gertrude Morgan, James Castle, James Deeds, William Edmondson, Bispo do Rosário, and Joe Minter has been categorized in
a pejorative way (despite their complexities) on the other hand, such plastic discomfort still signals a noise in contemporary parameters of analysis. Thus, I use this type of image, which surpasses the knowledge instituted by the art systems, as an object of ethical, aesthetic, political, and poetic study.”
— Bertô
Bertô (b. 1992 Guarulhos, São Paulo, Brazil) has a degree in Social Communication from Faculdade Cásper Líbero and in Film Directing from the Academia Internacional de Cinema. He has been a filmmaker since 2013 and started dedicating himself to painting in 2016. Between 2018 and 2019, he participated in the study groups of Escola Entrópica at Instituto Tomie Ohtake (São Paulo, Brazil), consolidating his studies in visual arts. Over the last few years, he has been deepening his artistic research into the relationships between Christianity, the oneiric, and everyday life. In his work, he uses a colorful and mysterious imagetic universe to express the subjectivities of reality, its complexities, and contradictions.
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Bertô (b. 1992 Guarulhos, São Paulo, Brazil) has a degree in Social Communication from Faculdade Cásper Líbero and in Film Directing from the Academia Internacional de Cinema. He has been a filmmaker since 2013 and started dedicating himself to painting in 2016. Between 2018 and 2019, he participated in the study groups of Escola Entrópica at Instituto Tomie Ohtake (São Paulo, Brazil), consolidating his studies in visual arts. Over the last few years, he has been deepening his artistic research into the relationships between Christianity, the oneiric, and everyday life. In his work, he uses a colorful and mysterious imagetic universe to express the subjectivities of reality, its complexities, and contradictions.
Uma peste muito grave sobre os rebanhos [A very serious plague on the herds], 2023
Oil and charcoal on linen
94 1/2 × 78 3/4 in
200 × 240 cm
SOLO EXHIBITIONS
Ouro, prata e bronze; púrpura violeta e escarlate, carmesim, linho fino e pêlos de cabra; peles de carneiro tingidas de vermelho, couro fino, e madeira de acácia; azeite para a lâmpada, aromas para o óleo de unção e para incenso aromático; pedras de ônix e outras pedras preciosas para serem incrustadas no colete sacerdotal e no peitoral [Gold, silver and bronze; purple, violet, and scarlet, crimson, fine linen, and goat’s hair; rams’ skins dyed red, fine leather, and acacia wood; oil for the lamp, spices for the anointing oil and for fragrant in- cense; onyx stones and other precious stones to be set in the priest’s vest and breastplate], HOA Galeria, São Paulo, Brazil, 2023.
Feridas purulentas, úlceras pestilentas [Purulent sores, festering ulcers], 2023
Oil on linenDiptych; 150 x 100 cm [39 3/8 x 59 in] (each)
Devastadora chuva de pedras [Devastating rain of stones], 2023
Oil and demographic pencil on linen200 x 240 cm
| 94 1/2 x 78 3/4 in |
Uma nuvem de gafanhotos, de certo vento oriental [A cloud of locusts, from an east wind], 2023
Oil on linen
Triptych; 180 x 100 cm [39 3/8 x 70 7/8] (each)
Foram apedrejados, serrados ao meio, mortos ao fio da espada, 2022
Oil on linen85 × 100 cm
A filha, 2017
Acrylic on canvas
20 x 30 cm
Acrylic on canvas
20 x 30 cm
Graça/Grace, 2022
Oil on linen85 x 100 cm
Homem caminhando sem roupa, 2021
Oil on canvas
30 x 70 cm