Crash: Museu Oscar Niemeyer

Regina Silveira's solo exhibition Crash at the Museu Oscar Niemeyer, Curitiba, Brazil. 

The institution's press release follows:

The Oscar Niemeyer Museum (MON) is hosting the exhibition “Crash” by Regina Silveira. The show features around 30 of the artist’s works, including drawings, videos, installations and sculptures. 

Regina Silveira is a Brazilian visual artist and art educator. She began working as a painter and in the late 1960s came into contact with conceptual art. She became an important multimedia artist and a pioneer of video art in the country.

The artist has a long career in Curitiba. She participated in several editions of the Salão Paranaense award and has always been in contact with local artists. Her career began in painting and engraving, with Iberê Camargo as her master. 

“Names like that of artist Regina Silveira emphasize one of the museum’s missions, which is to prioritize the artistic quality of the exhibitions we offer to the public,” says MON’s CEO, Juliana Vellozo Almeida Vosnika.

For MON’s cultural director, Estela Sandrini, Regina Silveira’s work is important because it conveys what the artist considers essential. “Regina Silveira is not only an artist, she is also an art educator, and she conveys a message to everyone that has cultural and poetic resonance,” she says.

Art critic and curator Adolfo Najas describes the exhibition: “the repertoire of “Crash” includes gunshots, various weapons (revolver, tank, missile, sword), threatening utensils, dangerous animals that are anything but domestic, or simulacra of blood, as plural layers of significance.” 

For Paulo Myada, who is also a critic and art curator, the repertoire of violence and danger takes a back seat: “The truth is that when one thinks about the work that Regina Silveira has been developing since the late 1960s, images of violence or danger are unlikely to be the first thing that comes to mind. The most recurring discussions in her work revolve around the limits, shortcuts and traps of representation and perception: How does our optical apparatus distort what we see and how can drawing amplify its effects? What happens to space under these conditions? What potential does each technical means bring to the procedures of representation and presentation of images? Whether in prints, objects, videos or installations, the artist offers the public multiple ways to encounter such questions,” he argues.