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Jonathas De Andrade

Um pra um / One to one, 2019, 227 clay bars, each measuring 50 x 3 x 3 cm with 2 iron hooks, Installation with variable dimensions, Clay bars produced by Valdik Graciano, artisan who lives in Tracunhaém, Pernambuco, Brazil. Photo Nathan Keay, © MCA Chicago

Jonathas De Andrade

Um pra um / One to one, 2019, 227 clay bars, each measuring 50 x 3 x 3 cm with 2 iron hooks, Installation with variable dimensions, Clay bars produced by Valdik Graciano, artisan who lives in Tracunhaém, Pernambuco, Brazil. Photo Nathan Keay, © MCA Chicago

Jonathas De Andrade

Fome de Resistência – Fundamento Kayapó Menkragnoti (da série Infindável Mapa da Fome) / Hunger of Resistance – Kayapó Menkragnoti Foundations (from the series Endless Hunger Map), 2019, Painted wall and texts, mixed media, various dimensions. Photo Nathan Keay, © MCA Chicago

Jonathas De Andrade

Jogos dirigidos (Directed games), 2019, 2K. 60 minutes. 5.1 sound.

Jonathas De Andrade

Jogos dirigidos (Directed games), 2019, 2K. 60 minutes. 5.1 sound.

Jonathas De Andrade

Voyeuristico, 2018, video in full HD, 4: 24min, Camera: Jonathas de Andrade, Edition: Tita and Pedro Melo Sound: Mauricio D'Orey.

Jonathas De Andrade

O espírito das águas / The water spirits 4, 2017, pigmented inkjet print on Hahnemunle Fine Art Photo Rag Baryta 215g paper, 63 x 100 cm.

Jonathas De Andrade

O espírito das águas / The water spirits 6, 2017, pigmented inkjet print on Hahnemunle Fine Art Photo Rag Baryta 215g paper, 63 x 100 cm.

Jonathas De Andrade

O espírito das águas / The water spirits 7, 2017, pigmented inkjet print on Hahnemunle Fine Art Photo Rag Baryta 215g paper, 63 x 100 cm. 

Jonathas De Andrade

Eu, mestiço / Me, mestizo Project, 2017, UV print on Falconboard 16 mm, variable dimensions. Photo Ela Bialkowska, OKNO Studio

Jonathas De Andrade

Eu, mestiço / Me, mestizo Project, 2017, UV print on Falconboard 16 mm, variable dimensions. Photo Ela Bialkowska, OKNO Studio

Jonathas De Andrade

Exercicio Construtivo para uma Guerrilha Sem Terra Constructive / Exercise for a Landless Guerrilla, 2016, 14 prints in Hahnemuhle paper, 38 x 26 cm each.

Jonathas De Andrade

Exercicio Construtivo para uma Guerrilha Sem Terra Constructive / Exercise for a Landless Guerrilla, 2016, 14 prints in Hahnemuhle paper, 38 x 26 cm each.

Jonathas De Andrade

What’s left of the 1st horse race of downtown Recife, 2012-2014, maquette in mdf (210 x 110 cm), pins, 47 photographs mounted on Dibond, 15 contracts on A4 paper, 1 index mounted on Dibond, 20 Portuguese texts printed on canvas, 20 English translations in vynil, 85 acrylics engraved numbers, pamphlet of the horse race, newspaper mounted on Dibond. Photo Ela Bialkowska

Jonathas De Andrade

What’s left of the 1st horse race of downtown Recife, 2012-2014, maquette in mdf (210 x 110 cm), pins, 47 photographs mounted on Dibond, 15 contracts on A4 paper, 1 index mounted on Dibond, 20 Portuguese texts printed on canvas, 20 English translations in vynil, 85 acrylics engraved numbers, pamphlet of the horse race, newspaper mounted on Dibond. Photo Ela Bialkowska

Jonathas De Andrade

What’s left of the 1st horse race of downtown Recife, 2012-2014, maquette in mdf (210 x 110 cm), pins, 47 photographs mounted on Dibond, 15 contracts on A4 paper, 1 index mounted on Dibond, 20 Portuguese texts printed on canvas, 20 English translations in vynil, 85 acrylics engraved numbers, pamphlet of the horse race, newspaper mounted on Dibond. Photo Ela Bialkowska

Jonathas De Andrade, born in Maceió in 1982, studied communications at the Universidade Federal de Pernambuco, Recife, the city in which he now lives and works. It’s an interesting city that is full of contrasts between an old colonial past and the wave of modernism that inspired Brazilian architecture and town-planning in the late twentieth century. 
De Andrade works with installation, photography and video to explore the effects of power dynamics in society, the development of humanity, and ethics in order to communicate the lasting consequences of modernist culture, something that has profoundly changed Brazilian society due to various politic decisions taken in the twentieth century.
Often in De Andrade’s work, found material or repurposed representations of objects are used to illustrate the processes of certain human relationships. Reflections on memory, modernity, community and societal dynamics are tangible in much of his work, examples being works like: "The water spirits / O espírito das águas" 2017, which represents a metaphor for the relationships between ourselves as well as with nature and "Fome de Resisténcia – A mão Kayapó Menkragnoti" 2020, a work which presents now obsolete maps from the Brazilian authorities marked and painted upon by indigenous Menkragnoti Kayapó women. 
"Eu, mestiço / Me, mestizo" 2017 is part of a wider project by the artist, the point of departure of which was a study entitled “Race and Class in Rural Brazil”, carried out in the 1950s by Columbia University and sponsored by UNESCO. For the work the artist engaged with this study and decided to photograph participants evoking emotions and reactions, accompanying each set of photos with sentences words taken from Race and Class in Rural Brazil. He tried to recreate something of the atmosphere and the racial and class tensions on which the study focused, and possible parallels and similarities with life today.
Since 2007, De Andrade has collaborated with the artist’s collective A Casa como Convém (The House as It Should Be), a collective that he co-founded in Recife, Brazil. He completed a mural in the city in 2012, "Nostalgia, a Class Sentiment (Nostalgia, Sentimiento de Class)" 2012, that with its composition of geometric tiles displayed next to manifestos about modern life from the 60s and 70s, provokes comprehension of Brazil’s imposed twentieth century modernising projects and their failure to enact sustainable and durable change.

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