Lenora de Barros

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Homenagem a George Segal (Homage to George Segal), 1984, Videoperformance, 1'4"

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COISA EM SI (The Thing Itself), 1990/2020, inkjet on cotton paper, mounted on dibond, 46 x 68,73 cm

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COISA EM SI II (The Thing Itself II), 2001/2020, inkjet on cotton paper, mounted on dibond, 54,88 x 40,39 cm

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COISA EM SI III (The Thing Itself III), 2001/2020, inkjet on cotton paper, mounted on dibond, 54,88 x 40,36 cm

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Poema (Poem), 1979/2014, Black-and-white fine art print on Hahnemühle photo rag, each 22,2 x 29,8 cm

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Calaboca (Shut Up), 2006, Videoperformance, 52"

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Estudo para Facadas (Study for Stabs), 2012, video, 1,32"

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NO PAÍS DA LÍNGUA GRANDE, DAI CARNE A QUEM QUER CARNE (IN THE COUNTRY OF THE BIG TONGUE, GIVE MEAT TO THOSE WHO WANT MEAT), 1998/2006, Inkjet print on cotton paper, 107 x 85,8 cm

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Move n.1. 2019, 3 half ping pong rackets with rubber coating, 7 metal ping-pong net mounts, 3 ping pong balls printed in tampography, 130 x 170 cm

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Move n.1, 2019, detail

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Suprematist Factory 2, 2000, half ping pong racket with rubber coating, 2 metal ping pong net mounts, 1 white ping pong ball mounted on wood bars on wall, 57,15 x 24,13 x 6,99 cm

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Lilia's Eyes, 2000, print on newspaper paper, mounted on MDF, 87 x 63,5 cm

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exhibition view: Lenora de Barros, Umas e Outras, Pivô, São Paulo, 2014, © Everton Ballardin

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exhibition view: Lenora de Barros, Umas e Outras, Pivô, São Paulo, 2014, © Everton Ballardin

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Fogo No Olho, 1994, Inkjet print on cotton paper, 63,09 x 94,98 cm

Lenora de Barros

The practice of Lenora de Barros (b.1953, São Paulo) encompasses a deep investigation of language in its many different forms - linguistic, visual, sonic, spatial - and explores the different meanings generated by confrontations between these differing languages. Throughout her oeuvre the body is a constant feature. De Barros entangles the body, the self, in both material and conceptual consideration, to reflect how they can be traced and defined by language. How language, the body and the self are each imbricated in the fertilisation and reproduction of the other. Indeed, this endeavour is reflected in the poetic genesis of works between different medias - a text becomes a photo series, becomes a video, becomes a performance, becomes a sound installation. Each work echoes the other and speaks of a constant state of becoming, an interplay between mediums and forms, a body and a self in flux.

De Barros was highly influenced by the Noigandres group, pioneers of concrete poetry and art. In many ways her work can be seen to continue the legacy of their endeavours. Principal concerns of the concrete poetry movement such as the structure of words and their extra-verbal significance, clearly resonate in her work. De Barros also incorporates elements of conceptual art, pop art, Fluxus and can be seen to reflect the post-feminist.

The work of de Barros has been collected by public institutions such as Hammer Museum Los Angeles, Museu d’Árti Conteporani, Barcelona, Museu de Arte Moderna, São Paulo, Bronx Museum New York. De Barros has been exhibited and presented in numerous publications as part of her writing and curatorial practices. Her works have been shown in exhibitions in Kunstmuseum Bern, Bern (2020), Brooklyn Museum, Ney York (2018), MMK-Museum of Modern Art, Frankfurt (2018), Hammer Museum, Los Angeles (2017), Migros Museum, Zurich (2015), MUDAC, Lausanne (2015), Museu de Arte Moderna, Rio do Janeiro (2015), Museu de Arte Moderna, São Paulo (2014), Musée Ariana, Milan (2013).