Nelson Leirner

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  • Futebol
    Mixed media
    Unique piece
    17 X 90 X 150 cm
    1999

  • Você Faz Parte
    Masks, mirrors and wood
    Edition of 3
    100 X 100 X 10 cm
    2010

  • Você Faz Parte
    Masks, mirrors and wood
    Edition of 3
    80 X 160 X 10 cm
    2010

  • Ponte
    Mixed media
    Unique pieces
    16 X 14 X 110 cm
    2007

  • Ponte
    Mixed media
    Unique pieces
    16 X 14 X 110 cm
    2007

  • Title: "Right You Are If You Think You Are" Series
    Media: Photography
    Edition: 3 + 2 A.P.
    Dimensions: 180 X 120 cm (each)
    Date: 2011

  • Title: "Onde Está Andy?"
    Media: Cart and shoes
    Edition: Unique piece
    Dimensions: 30 X 30 X 19 cm
    Date: 2007

  • Title: "Vacas Premiadas", from the "Picadeiro" Series
    Media: Photography and medals
    Edition: Unique piece
    Dimensions: 30 X 202 cm
    Date: 2003

  • Title: "Cartas não Recebidas"
    Media: Stamps on wood
    Edition: Unique piece
    Dimensions: 114 X 95 cm
    Date: 2006

  • Title: "Várzea"
    Media: Formic and wood
    Edition: Unique piece
    Dimensions: 170 X 220 X 10 cm
    Date: 2007

  • Title: "Éra Uma Vez"
    Media: Porcelain, wood, sword and plaster figure
    Edition: Unique piece
    Dimensions: 82 X 117 cm
    Date: 2006

Curriculum
Intermedia artist. Lived in the United States between 1947 and 1952 and studied textile engineering at the Lowell Technological Institute in Massachusetts, but didn’t finish the course. Back in Brazil, studied painting with Joan Ponç in 1956. In 1958, attends for a short period the Atelier short-abstraction, of Flexor. In 1966, he founded the “Rex Group”, with Wesley Duke Lee, Geraldo de Barros, Carlos Fajardo, José Resende and Frederico Nasser. In the same year, receives an award in Tokyo Biennale. In 1967, performs the exhibition “Non-Exhibition”, closing happening of the group's activities, and provides his works to the public. In the same year, sends a stuffed pig to the 4th Salon of Modern Art in Brasilia and questions publicly through the Jornal da Tarde, the criteria that lead the jury to accept the work. Performs his first multiple, with canvas and zipper on the chassis. It is also one of the pioneers in use of billboard as support. Wins the prize Itamaraty in São Paulo Biennial. For political reasons, closes his special room at the 10th International Biennial of Sao Paulo in 1969, and refuses invitation to another one in 1971. In the 1970s, creates great allegories of the contemporary political situation in a series of drawings and prints. In 1974, exposes the series Rise of Animals, with works that criticize harshly the military regime, and receives APCA award from Paulista Association of Art Critics for the best offer of the year. In 1975 wins the best designer award also from APCA that order from him some works to be given to the other awarded artists, but the Association refuses since they were photocopied, so as a protest, the artists don’t go to the event. From 1977 to 1997, taught at Fundação Armando Álvares Penteado - FAAP in Sao Paulo, and had great importance as a teacher and in the formation of several generations of artists. In 1994 received the award for Best APCA Year Retrospective Exhibition and moves to Rio de Janeiro in 1997 and coordinates the basic course at the School of Visual Arts of Parque Lage - EAV / Parque Lage, until the following year. In 1998 receives the Johnny Walker award for Contemporary Art. Represents Brazil in 1999 at the Venice Biennale which opens the doors to an international career both in galleries and institutions, continuing what had happened in Brazil. Participates in the most important art fairs abroad, such as Arco, Basel, Basel Miami, Dubai and exposes in Switzerland, Germany, Spain, Portugal, England, France and the United States.
In 2007 is recognized by the Art Critics Brazilian Association (ABCA) with the prize "Trajectory of an artist" and in 2009 receives a tribute of Itau Cultural Institute as "reference Artist" with the exhibit Occupation. Participates in the exhibition "Dreamlands" at the Centre Pompidou, Paris, 2010, and exposes in the 29th Bienal of São Paulo in the same year. In 2011 a retrospective performs "Nelson Leirner 2011-1961 = 50 years," at the FIESP / SESI-SP. From the 1970s, the work migrates from a questioning content to an allegorical sense, which often involves eroticism. The Happening has less presence than the drawing and installation. At that time, Leirner engages in other languages, such as drawing, multiple and experimental cinema. The presence of Brazilian popular culture elements, evident since the 1960s, grows from the 1980s onwards. In 1985, the installation performs The Big Fight, which uses images of saints, african-Brazilian deities, infant toys and animals replicas. He intends to convert into art what is considered banal. Since 2000, his work appropriates artistic immages trivialized by the consumer society. A good-humored, as deals with reproductions of Gioconda (Mona Lisa) and The Source of Duchamp as artistic theme. With the same irony, the artist replies on oxhide images of Brazilian concrete tradition, Rural Constructivism in the series.