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	<title>andrenacli</title>
	<link>https://andrenacli.com</link>
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	<pubDate>Fri, 12 Nov 2021 15:11:21 +0000</pubDate>
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		<title>PAISAGENS INTERIORES</title>
				
		<link>https://andrenacli.com/PAISAGENS-INTERIORES</link>

		<pubDate>Wed, 10 Nov 2021 15:36:19 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

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		<description>PAISAGENS INTERIORES - ANDRÉ NACLI E MIGUEL BAKUN
Galeria Simões de Assis - São Paulo - Novembro de 2021

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PAISAGENS INTERIORES
“Paisagens
Interiores” estabelece diálogos poéticos e imagéticos entre a obra de Miguel
Bakun, pintor paranaense cuja trajetória foi marcada por um apreço profundo
pela paisagem, e de André Nacli, que, pela fotografia, tenta registrar um outro
tempo – o das eras geológicas, do crescimento das árvores, do correr dos rios.
De um lado, encontramos uma pintura discretamente solar, bastante lavada,
marcada pelo uso de verdes, amarelos e azuis pouco saturados e meio manchados;
as figuras são pouco definidas, sem contorno, e a urgência da pincelada se faz
evidente pelas nesgas de tela que aparecem por detrás, intocadas. De outro,
algumas fotografias nítidas trazem recortes da natureza em dias de luz branca e
difusa, nas quais a textura dos elementos orgânicos do ambiente se faz
intrincadamente visível pela lente; já em outras, apesar da imagem cristalina,
há uma névoa densa por toda a superfície que cria uma veladura a embaçar a
vista.



Em comum, Nacli
e Bakun parecem buscar olhar para os mesmos elementos: as típicas araucárias da
paisagem paranaense, a mata embaralhada, enquanto também procuram
enquadramentos inusitados, ora em composições de pouco ou nenhum céu, ora em
perspectivas verticais que recortam apenas um vislumbre da cena. Também em um
traço compartilhado pelos dois artistas, os trabalhos sugerem uma certa
atmosfera melancólica, talvez pela ausência quase total de figuras humanas ou
animais (elementos que, naturalmente, poderiam habitar essas paisagens). Desse
modo, mesmo em tempos distintos – afinal, estão distanciados por, praticamente, meio século –, parecem olhar para um mesmo ambiente, um mesmo contexto, um mesmo
momento suspenso, que não carrega outras marcas e indícios de civilização que
não uma ou outra casinha, e que não revela sua brasilidade a não ser pela
espécie de pinheiro típica da região sul do país.






Desse modo, é
possível notar como tanto o fotógrafo quanto o pintor transmitem em suas obras
uma leitura de um lugar, das naturezas que encontram, reproduzindo suas
impressões nubladas e suas emoções nostálgicas em cada trabalho. É por isso que
a interlocução estabelecida como cerne de “Paisagens Interiores” trata
simultaneamente de espaços imaginários e reais, líricos e concretos, imutáveis
e fugidios, passados e futuros e, igualmente, sem tempo definido, congelados no
gesto da pincelada e no segundo do clique. Bakun e Nacli, mesmo que separados
pelo suporte, pela biografia e pela circunstância, encontram-se nessa exposição
lado a lado, refletindo sobre o papel da paisagem na construção de uma ideia de
lugar, mais do que de um lugar em si.






JULIA LIMA
2021


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		<title>TEMPO MATÉRIA - LIVRO</title>
				
		<link>https://andrenacli.com/TEMPO-MATERIA-LIVRO</link>

		<pubDate>Fri, 12 Nov 2021 15:11:21 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

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		<description>LIVRO TEMPO MATÉRIA
 Fotô Editorial 2021
Edição e Texto / Editing and Text
Eder Chiodetto
Co-Edição / Co-editing
Fabiana Bruno
Design Gréfico / Graphic DesignLetícia Lampert
Coordenação Editorial / Publishing Coordination
Elaine Pessoa
Produção Gráfica / Graphic Production
Lili Goes
Publisher&#38;nbsp;
Eder Chiodetto
Vendas:

https://fotoeditorial.com/produto/tempo-materia/






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		<title>VÃO</title>
				
		<link>https://andrenacli.com/VAO</link>

		<pubDate>Sun, 27 Jun 2021 23:00:30 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

		<guid isPermaLink="true">https://andrenacli.com/VAO</guid>

		<description>VÃOGaleria Simões de Assis - Curitiba - Fevereiro de 2021




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	VÃO 
O Vão é uma palavra que dentre os seus conceitos no dicionário pode ser algodesprovido de fundamento, separatista, inútil e um vazio. Contudo, ao que diz respeito aarquitetura o termo vão é uma fenda, uma passagem entre paredes que faz com que o are claridade entre. Duas estruturas que sustenta algo, que pode ser remetido como umaponte ou um portal. Que de modo simbólico pode se entender como uma travessia, talcomo a alegoria a Caverna de Platão 1, como a saída do indivíduo a luz para compressãodo mundo dito “real”, ao mesmo tempo que novos códigos imagéticos se reconfigurame se impregnam de enigmas, ao serem captadas pelo olhar. E que se justapõe, em umacomparação a “Filosofia da Caixa Preta” 2, como posto também pela a autora SusanSontag. Onde a luz se abre do obturador e capta através deste feixe de luz umainterpretação do mundo 3, tal como opera as lentes de André Nacli.Um obturador que absorve paisagens e lastros de memórias, em um tempo tácito, emque há uma “duração interior” 4, com resquícios de uma reminiscência que se prolongaem um passado, presente 5, ou em um futuro possível, onde há vestígios de um ser queum dia habitou, mas que hoje apenas resta fragmentos ao meio natural. As fotografiasde Nacli nos coloca também em um momento pós, em um futuro enigmático. Posto porum presente que insere neste instante de incertezas, e por forças naturais que semostram em sua total magnitude, principalmente com relação ao homem. Em umaobjetiva em que ressoa resquícios estéticos do sublime, ao captar um natural e suascomplexidades que adentram antigas habitações em uma simbiose, que transcende oconceito do belo, e se opõe ao racionalismo. Justamente por suas imagens indagar nossoolhar sobre um vazio ontológico, tal como em o viajante sobre o mar de névoa 6 , e suainsignificante pequenez do ser humano frente à imensidão da natureza e suas forças 7.Assim, a exposição Vão, na Simões de Assis adentra no obturador interrogativo deAndré Nacli, por uma luz que aciona em nosso olhar o tempo, espaço e um ser, mesmoque este, o ser, não seja representado, mas está enquanto essência. Em uma lente que sejustapõe conceitualmente entre a pintura e fotografia historicamente entrelaçados na artee na estética. E nos projetam entre tempos, em jogos alegóricos que caminha emsilencio e reinterpreta o mundo. E cria diversos vãos em suas recodificações imagéticase dentre o conceito do vazio.

Ana Paula Lopes
2020





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		<title>INTERIOR ANTERIOR</title>
				
		<link>https://andrenacli.com/INTERIOR-ANTERIOR-1</link>

		<pubDate>Sun, 27 Jun 2021 23:15:26 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

		<guid isPermaLink="true">https://andrenacli.com/INTERIOR-ANTERIOR-1</guid>

		<description>INTERIOR ANTERIORMuseo Emilio Caraffa - Cordoba - Argentina - Ago18




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LA TREGUALa fotografía de André Nacli se desarrolla a partir del litigio entre la cultura y la naturaleza; una tensión no planteada en términos de dialéctica conciliadora, sino en clave de diferencia. El ser humano se desmarca del medioambiente y se opone a él mediante diversos enfrentamientos que tienen resultados contingentes y desiguales: alianza o destrucción, capitulación, revancha, creación de terceros espacios o pura marcación de límites. La cultura cuenta con expedientes distintos para elaborar su vieja pugna con la naturaleza; la producción de imágenes es uno de esos expedientes; la construcción arquitectónica es otro.El encuentro con la naturaleza asume el doble sentido de coincidencia y conflicto. La obra de Nacli maneja ambos. Por un lado registra paisajes que se levantan, imponentes, ante la mirada, preservando su distancia y conservando su plenitud. Por otro, se refiere a la invasión llevada a cabo por la cultura que hace retroceder la línea del horizonte de una naturaleza cuyos bosques, aguas y tierras se repliegan. Pero hay un tercer momento que menciona cierto desagravio del ecosistema, que avanza, amenazante, para recuperar sus derechos avasallados e imponer la fuerza de sus ciclos vitales. En esos casos, los árboles y las piedras, el infinito horizontal del agua quieta o la potencia de las olas que regresan a la tierra recuerdan el talante de un medioambiente que se afirma ante la diminuta figura humana e irrumpe en sus lugares o en las ruinas de sus construcciones.Por un lado, la omnipotencia de la cultura humana que sojuzga la naturaleza y le obliga a someterse a sus objetivos. Por otro, la insignificancia y la vulnerabilidad del sujeto ante la desmesura de un planeta que es, primordialmente fuerza viva, naturaleza. Acá nos encontramos cerca del concepto kantiano de “sublime”, basado justamente en el caso de fenómenos naturales desmedidos, inabarcables por ninguna forma, indomables en su impulso vital; inatajables en su energía generadora o destructiva.Por eso la fotografía de Nacli no permanece en la pura descripción de paisajes potentes; sus imágenes sugieren el antagonismo antiguo entre la creación y el deterioro; entre la potencia de la materia y la finitud que marca el tiempo. La naturaleza es sometida al designio humano pero, en parte, se rebela contra él: indómita, reconquistando sus espacios, resistiendo a la cultura tecno-instrumental, menguando sus esplendores y sus frutos.Pero este esquema no sigue el destino forzoso de la tragedia: la propia mirada humana es capaz, si no de revertir, sí por lo menos de reducir la adversidad del vínculo entre el hombre y su entorno. La fotografía recorta, fragmenta, se aleja para presentar todo lo que cabe en la mirada, se acerca para analizar el detalle, el vestigio o la huella de la selva o del mar en retirada. La fotografía de Nacli no sólo presenta los espacios inmensos de una selva intacta, sino los indicios de una escena amenazada por la extinción de especies, por la devastación del hábitat, por la contaminación y el saqueo de los recursos ambientales.Hay otra salida ante el fatalismo del edén perdido: la construcción de espacios mediadores, la arquitectura que inventa obras abiertas al paisaje, las ciudades que conviven con sus pinos con los que litigan el terreno con cierta gentileza: con toda la que puede ofrecer una civilización insaciable.Ticio EscobarJulio de 2018






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&#38;nbsp;</description>
		
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		<title>VORAZ</title>
				
		<link>https://andrenacli.com/VORAZ</link>

		<pubDate>Mon, 28 Jun 2021 18:54:05 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

		<guid isPermaLink="true">https://andrenacli.com/VORAZ</guid>

		<description>
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		<title>TEMPO MATÉRIA</title>
				
		<link>https://andrenacli.com/TEMPO-MATERIA-1</link>

		<pubDate>Sun, 27 Jun 2021 23:07:34 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

		<guid isPermaLink="true">https://andrenacli.com/TEMPO-MATERIA-1</guid>

		<description>TEMPO MATÉRIAPalacete dos Leôes - BRDE - Bienal de Curitiba - Set17


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TEMPO MATÉRIA
A rock formation is a sculptural event formed by successive geological processes, which over a long span of time confer it concreteness, texture, shape and color. By a whim of the creative power that generated this material, the rock is sitting over a portion of water and sand. The water, affected by the emission of the sun’s rays, waits for a moment when the wind subsides in order to become a mirrored surface that duplicates the image of the rock, as though drawing its underground part that we cannot see in the landscape. The sand is the rock’s future and past. Time, rock, sun, water, wind, sand, and the underground realm are, therefore, in a constant process of contact and change. Nature is skilled at projecting an inert appearance to illude our vain perception of the state of things.Tempo Matéria [Material Time] consists of never-before-shown works that unfold André Nacli’s poetic investigation, already present in his previous shows – Pós-Poste [Post-Pole] and Simbiose Sim [Symbiosis Yes] – in relation to the gaps that exist between nature and culture. This time, however, the vestiges left by human activity arise in a more subtle way, insofar as the artist’s lenses have begun to more intensely perceive the silent clashing between materials that sculpt themselves with the passage of time. Now it is no longer the utilitarian and functional time of man, but rather the immemorial time of the enigmas which refer to the creation of the planet.The sculptural events produced by the action of the wind, the water, and the cycles that rule the pulse of all organic matter are overlaid and made to yield to the rational action that we impose on the landscapes. The artist’s playful research thus emphasizes the transformative point of contact of the elements of nature perceived through a contemplative and silent point of view. The mysteries of creation and the constant re-creation of the cosmos gain powerful symbols gathered by Nacli on the crest of a wave, in a fog, in the silhouette of a flock of birds against the blue sky: magnificent events that the harried contemporary gaze tends to no longer perceive in the landscape, but which the attentive artist makes present in unique images that reconnect us with what is really essential, magical and transcendent.His research begins with the contemplative observation of the world and invokes instants at which the artist is dissolved in the elements that circumscribe the features of the universe. These photographs arise as illuminations of a meditative state. Between slow inhalations and exhalations we can finally glimpse symbols that capture the projection of our inner self in nature, and vice versa. Images as subtle as they are abyssal. The whole contained in the tiniest detail.Uma formação rochosa é um evento escultórico composto por sucessivos processos geológicos que ao longo do tempo lhe conferiram concretude, textura, forma e cor. Por um capricho da força criadora que gerou essa matéria, a rocha se assenta sobre uma porção de água e areia. A água, afetada pela emissão dos raios solares, aguarda um momento de descanso do vento para tornar-se uma superfície espelhada a duplicar a imagem da rocha, como se desenhasse sua porção subterrânea que não nos é dado ver na paisagem. A areia é o futuro e o pretérito da rocha. O tempo, a rocha, o sol, a água, o vento, a areia e o subterrâneo estão, portanto, em constante processo de contato e mutação. A aparência inerte é o dom da natureza de iludir a nossa vã percepção do estado das coisas.Tempo Matéria é composta por obras inéditas que desdobram a investigação poética de André Nacli, já presente em suas duas mostras anteriores – Pós-Poste e Simbiose Sim –, acerca dos desvãos existentes entre natureza e cultura. Dessa feita, no entanto, os vestígios deixados pela ação do homem surgem de forma mais sutil, à medida que as lentes do artista passam a perceber mais intensamente o silencioso embate entre matérias que se autoesculpem no decorrer do tempo. Agora não mais o tempo utilitário e funcional do homem, mas sim, o tempo imemorial dos enigmas que remetem à criação do planeta.Os eventos escultóricos produzidos pela ação do vento, da água e dos ciclos que regem a pulsão de toda matéria orgânica se sobrepõem e fazem sucumbir a ação racional que impomos às paisagens. Dessa forma, a pesquisa lúdica do artista enfatiza o ponto de contato transformador dos elementos da natureza percebidos a partir de uma visada contemplativa e silenciosa. Os mistérios da criação e da constante recriação do cosmos ganham símbolos potentes colhidos por Nacli na crista de uma onda, numa nebulosa, no desenho que uma revoada de pássaros faz contra o céu azul. Eventos magníficos que o fustigado olhar contemporâneo tende a não perceber mais na paisagem, mas que o artista atento presentifica em imagens singulares que nos reconectam com o que de fato é essencial, mágico, transcendente.Pesquisa que se principia na observação contemplativa do mundo e invoca instantes de diluição do artista nos elementos que circunscrevem as feições do universo. Essas fotografias surgem como alumbramentos de um estado meditativo. Entre respirar e expirar pausadamente podemos, finalmente, entrever símbolos que flagram a projeção do nosso eu interior na natureza e vice-versa. Imagens tão sutis quanto abissais. O todo contido no mínimo.Eder Chiodetto




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		<title>BRUMA</title>
				
		<link>https://andrenacli.com/BRUMA</link>

		<pubDate>Wed, 30 Jun 2021 15:12:46 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

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		<title>SIMBIOSE SIM</title>
				
		<link>https://andrenacli.com/SIMBIOSE-SIM-1</link>

		<pubDate>Mon, 28 Jun 2021 18:35:43 +0000</pubDate>

		<dc:creator>andrenacli</dc:creator>

		<guid isPermaLink="true">https://andrenacli.com/SIMBIOSE-SIM-1</guid>

		<description>SIMBIOSE SIMSim Galeria - Jan17



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SIMBIOSE SIM
The consciousness of the vulnerability and the finitude of life is one of the prime factors that drives us to transform the nature of the world and the things. We ought to be obsessed by taming the tameless in the almost always vain attempt to achieve perenniality through gestures that extend our existence through the ages.If there is an amount of pride in the man’s attitude that shapes nature to suit the desire of a rational animal, there is in the same way a kind of trance surrounded by poetics and philosophical becoming.Thus, rearranging the laws of nature would be a way to clarify a little the astonishment of what is inexplicable for us. Dealing with the immeasurable and the ignorance around the anguish of being alive, we have to design projects that consider a desired transcendence.Erecting ladders, walls and shelters among nothing, is an attempt to construct personalized monuments. Supplications of the creature demanding the right to be a creator. André Nacli, with his keen perception, captures with perfection the contemporary man’s intrigue based on the polarization between being able to domesticate his surroundings and being relentlessly smashed by it in the continuum of nature’s endless time.Living is, after all, building sandcastles to crumble under the first tide. However, the artist couldn´t solely contemplate this flat and fatalistic discourse. The work that Nacli creates with ease wants to arrive at a more complex plan of codifications under the light of the spirit’s cleverness and accuracy.Simbiose Sim advances in the debate that puts a magnifying glass on the fissures between culture and nature. By noticing in many ways the moment nature begins to take back the space that had been stolen from it, Nacli brings to his photographs’ surface, at the same time, the force that leads life cycles and the flagrant vulnerability of the being.A new form of thought can be developed from the well-designed plot of this set of images: it is only possible to transcend and get the desired eternity not by the monuments we have erected, but by the consciousness that the material’s mutation is the engine that drives everything that is organic, everything that breathes and has a pulse. The exuberance of being alive becomes effective with the consciousness that we are also trees, stones, sand, and the inexplicable. Simbiose Sim.A consciência da vulnerabilidade e da finitude da vida é um dos fatores primordiais que nos impulsionam a transformar a natureza do mundo e das coisas. Urge a obsessão em domar o indomável na tentativa - quase sempre vã - de alcançar a perenidade por meio de gestos que prolonguem nossa existência através dos tempos.Se existe uma certa dose de soberba na atitude do homem que molda a natureza para adequá-la aos seus caprichos de bicho racional, há, na mesma medida, uma espécie de transe cercado de poética e devir filosófico.Reordenar as leis da natureza seria, assim, uma forma de tentar clarear minimamente o assombro do que nos é inexplicável. Diante do imensurável e da ignorância que rondam a angústia de estar vivo, resta-nos arquitetar projetos que vislumbrem uma desejada transcendência.Erigir escadas, muros de contenção e abrigos em meio à várzea,é uma tentativa de edificar monumentos personalizados. Súplicas da criatura revogando para si o direito de ser também o criador. André Nacli, com sua percepção aguçada, capta com primor a intriga do homem contemporâneo assentada na polarização entre poder domesticar seu entorno e terminar, inexoravelmente, sendo atropelado por esse no contínuo do tempo infinito da natureza.Viver, afinal, é construir castelos de areia para que o primeiro movimento da maré os desmorone. Mas ao artista não cabe contemplar esse discurso plano e fatalista. A obra que Nacli começa a gerar com desenvolturabusca chegar a um plano mais complexo de codificações sob a luz da argúcia e da acuidade de espírito.Simbiose Sim avança no debate que coloca uma lente de aumento nas fissuras existentes entre cultura e natureza. Ao flagrar de diversas formas o instante em que a natureza começa a tomar de volta o seu espaço que lhe havia sido sequestrado, Nacli traz, para a superfície de suas fotografias, ao mesmo tempo, a força que rege os ciclos vitais e a flagrante vulnerabilidade do ser.Eis que uma nova forma de pensamento pode ser gestada a partir da trama bem urdida nesse conjunto de imagens: só é possível transcender e ganhar a tão desejada perenidade, não pelos monumentos que erigimos vida afora, mas pela consciência de que a mutação da matéria é o motor que impulsiona tudo o que é orgânico, tudo o que respira e pulsa. A exuberância de estar vivo se efetiva com a consciência de que também somos árvores, somos pedra, somos areia e somos o inexplicável. Simbiose sim.Eder Chiodetto




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		<pubDate>Mon, 28 Jun 2021 19:11:12 +0000</pubDate>

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