Who is Anete Ring?
Visual artist, architect and designer. Lives and works in São Paulo.
Graduated as an architect in 1980 in the Technion Institute of Technology, in Israel, where she worked as an on the team that developed the Master Plan of Tel Aviv Municipality. In 1981, took a course in making artistic puppets at the Academic Center of the Sorbonne University, Paris. Worked for two years with Scenography and Artistic Education at the São Paulo Department of Education. Worked as an architect and designer. In 1985 he joined the sculptor Sara Rosenberg. Together until 2008, they developed intense work in the area of product design and artistic creation, having received numerous awards, participating in national and international exhibitions and publications. Over the past ten years, Anete has focused her activity on her career as a plastic artist, participated in the Atelier Sérgio Fingermann from 2004 to 2007 and then opened her first solo exhibition of paintings, at Espaço Contraponto, in São Paulo. He held twelve individual exhibitions and numerous group exhibitions.
Visual Pill:
Documents of souls
Anete Ring's way of working with landscapes is different. The horizontality, the absence of human figures and a poetic lyricism noticeable by the drama of the dialogue between the whole and each detail point to the creation of an atmosphere of silence and surrender.
There are screams of beauty and existentialism in each work. Based on what we see at work, we are invited to immerse ourselves in an awakening and emotions, which can range from the joy of being in front of a mature work to a feeling of humility in the face of the grandeur of what we see.
We can feel small before the universe and art itself. These insights generated by Anete Ring prove his talent in building a work that makes us feel our artistic and human potential.
His landscapes are documentation of souls stamping our passport to an existentially richer, denser, complex and beautiful world.
Oscar D'Ambrosio
useful lives
The yellow pages phone books have a very special place in the forgotten phone book catalog. The yellow pages list the city's legal entities and professionals, according to their specialties: from butchers to specialists in red and zinc, there are listed the activities, products and services with which the so-called "working days" of a metropolis.
It is not a catalog of happiness, but rather a catalog of needs: its items do not form a catalog of vocations, the exercise of which provides personal fulfillment, let alone delight or ecstasy. Much more modestly, they are just the ways people find to face the impositions of survival, amidst the precariousness and, above all, the fears of life in the metropolis: ways to become useful to others – and also to themselves.
The series “Yellow Pages”, by Anete Ring, takes up the aesthetics of German expressionism, a movement that emerged about a century ago, at a time when Germany was collecting the rubble of World War I and was confronted with the most cruel and inhumane aspects of a capitalist, industrial and urban society.
It presents a perspective that is not that of the winners, the successful, the good and the beautiful, but that of the silent and anonymous millions, whose efforts, efforts and sufferings, in the “working days”, set in motion the great machinery of the city. modern, while their “useful lives” are being devoured by the passage of time.
The faces that appear on these yellow pages, ripped from old catalogs, for decades disposed of in the trash, barely show under masks of suffering, pain, disillusionment or despair. They are the faces of those who fight, their whole life, for life, naked life, without victories, often, without even a dream of victory, and, in the yellow pages, they put themselves at the disposal and service of someone else, whom maybe might prove to be useful.
Anete Ring proposes a commentary on the usefulness of "working days" and, at the same time, on the ephemerality and meaninglessness of "working lives" : a reflection on the paths offered to human life in the context of the metropolis and of modern “civilization”.
LS Krausz
Full Professor at the Faculty of
Philosophy, Letters and Human Sciences at USP
A particular cartography
Horizons are among Anete Ring's artistic obsessions: they are present, in one way or another, in almost all the works included in this exhibition, as if they were trying to fix, in the background of the canvas, a gaze in permanent search.
The idea of this search also appears in what is directed towards these horizons: sometimes paths that cross a desolate landscape towards infinity; sometimes the luminosity that emanates from liquid surfaces and makes one think of crossing large expanses of water, on paths that depart from no one knows where – but whose goal seems to be, paradoxically, on the horizon.
It's as if those who fix with their eyes this promised place, always there at the bottom of the canvases and drawings, pretend not to know that their goal is unattainable: the horizon, by definition, is always beyond, but an atavistic impulse, an ancestral impetus and irresistible, it pushes the gaze, always, towards that place that is not a place, that point that is defined by the insoluble distance.
It is their unattainability that keeps the flame of the desire to move on.
If the myth of distance, wandering and diasporas substantiates the pictorial work presented here, there are also works that allude to the solution of the enigmas that the horizon proposes: a path that ends abruptly and plunges into the void is the end, forced or deliberate, of all horizontal displacement.
It is, equally, an encounter, desired or not, with the hic et nunc, the here and the now. Displacement now takes place only on the vertical axis: towards depths or heights, which are also mirrors of each other.
From there, new dimensions are revealed as new arrangements for old paradoxes: from vertical cuts, the infinite landscape allows itself to be captured by the limits of a lateral gaze, by the finitude that is the mark and meaning of existence. And thus captivated, it becomes humanized, it becomes less majestic, also less terrible, perhaps more wise.
Luis S. Krausz
PhD Professor in Hebrew and Jewish Literature at the Faculty of Philosophy, Letters and Human Sciences at USP, at RDIDP. Post Doctorate in Jewish Literature and Culture from the University of São Paulo (2010). PhD in Jewish Literature and Culture from the University of São Paulo (2007), with a research internship at the Free University of Berlin. Master in Classical Letters from the University of Pennsylvania, with a thesis written at the University of Zurich under the supervision of Prof. Dr. Walter Burkert (1992). Special student at the Jewish Theological Seminary of America and Columbia University in the areas of Biblical Literature and Classical Literature.