Sonia Guggisberg | EM TRânsito [IN TRansit]
de 24/09 até 17/10
Known for her multimedia and poetical approach of the tensions between dichotomous units such as movement and immobility or action and the constriction of all acting possibilities, Sonia Guggisberg presents, from September 24th to October 21st, her first solo show at Galeria Rabieh, titled Em TRânsito [IN TRansit]. The artist has been awarded with the Brazil Photography Prize (Porto Seguro), in the Essay category, and her works are part of important collections, such as Pinacoteca do Estado de São Paulo, Museu de Arte Contemporânea de São Paulo, SESC SP, Instituto Figueiredo Ferraz and Museu Lasar Segal, among others.

Curated by Priscila Arantes
, the exhibition comprises photographs and videos that document travel transits. Yet, they aren’t traditional travel records. The works on display are movements that blur the past into the present, punctuating details of encountered realities. The images absorb the temporality of the memory – this place outside time, between what once was and what is now – and investigate the limits of contemporary images in the elaboration of fluid memories. The artist proposes that the spectator stare into velocities, flows and dimensions.

The show takes place in three different areas of the gallery. The first exhibition space is occupied by a video and a series of photos in cotton paper, both created with an iPhone whilst crossing the border from Switzerland to Germany in 2015. They are ethereal landscapes, covered in mist, where it seems to take place a sort of natural erasure of the world’s contours. As the images loose their definition, they gain density, as if the fog was capable of granting materiality to what’s actually two-dimensional. In these photos, the horizon, the defining line of all landscapes, vanishes in shades of gray, reminding the nebulosity of memory itself.

The second exhibition space is merged with the gallery’s garden, which will be covered and occupied by the installation “Horizonte móvel” [Mobile horizon], 2012, composed of three large dimensions projections. We see here massive displacements of water, giant waves from Niagara Falls that never break, due to their great volume, keeping some sort of suspended mobility, a never ending tension.

The third exhibition space carries two different works. The first is a photo and video installation, “Imagens cruzadas” [Crossing images], 2015, which creates a long line in the gallery’s larger axis. This work derives from her solo exhibit in New York, presented earlier this year at MediaNoche New Media Gallery and Digital Film Studio. The show was composed of a large video-installation, where the images captured in a train travel were edited in three intertwined horizontal lines, each of them moving in different velocities and directions. For Rabieh’s exhibitions, the videos are merged with their own frozen frames, mounted in methacrylate, confounding the perception of what’s static and what’s in motion. The images blur temporalities by diluting themselves in the movement, acting both as records captured by the camera and as poetic cutouts and technologic manipulations. The image transcend its documental character when it’s placed between the raw fact and the representations conceived by the artist.

The last work is “Barco” [Boat], 2011, a diptych composed of two videos from the same vessel, always in the center of the screen. In the first one, the image is frozen, while in the second, despite having its engines on, the boat remains in the same position, as it’s fighting against a hard current, remaining in a kind of “still movement”. This powerful and hypnotic work can be seen as the synthesis of Guggisberg’s recent research about the tensions between movement and immobility, action and inaction.