inkjet print on photographic paper
30 x 38 cm
18,81 x 14,96 inch
USD 5.000 (plus tax, if applicable)
Marcelo Cidade reproduces tabs of LSD with images of recent clashes between protesters and repressive police force. The delirium proposed by the LSD tabs is not actually delusional, since the cards are placebos, are empty. Instead of fantasizing about the action that the picture shows, we are confronted with the reality of the facts.
Marcelo Cidade was born in São Paulo in 1979, where he lives and works.
Through an often subversive and informal practice, the artist questions the ideals of modernist architecture, appropriates urban spaces and, by means of various aesthetic operations, invents new idioms, constructing fresh and surprising spaces.
The intimate bond which, for Cidade, holds together art and life authorizes the artist to explore the continual oscillating flow between the social and the personal sphere.
One of Cidade’s interests is the public space generated in the urban and technological flux of the surveillance society.
He concentrates on one place to reach another one, setting in motion a process of dislocation from the historic-geographic to the poetic.
The city is the privileged site of events, and it is here that the artist looks for his work materials. Streets, walls, flyovers, squares, shutters are a challenge for his gaze.
A selection of the most recent solo shows includes “Ministry of All” (Storefront for Art and Architecture, New York, 2019); “Marcelo Cidade: Subtotal” (Museu Brasileiro da Escultura e Ecologia, São Paulo, 2017); “Somewhere, Elsewhere, Anywhere, Nowhere” (Kadist, San Francisco, 2014). Among his most recent group shows “No habrá nunca una puerta. Estás a dentro” (Santander Art Gallery, Madrid, 2019); “Do Disturb” (Palais de Tokyo, Paris, 2018); “Latinoamérica: volver al futuro” (MACBA, Buenos Aires, 2018); “Sonic Rebellion: Music as Resistance” (Museum of Contemporary Art Detroit [MOCAD], Detroit, 2017); “Das Loch” (Künstlerhaus Bremen, Bremem, 2016); “(re)(de)contruct” (Bronx museum, New York, 2015).