Picks 365: Camila Barella

31 May 2019, 4:09 pm

SP-Arte website now has a biweekly column dedicated to SP-Arte 365, digital platform bringing the art public and galleries together. In Picks 365, collectors, art advisors and influencers select and comment on works registered on our website.

Camilla Barella, art collector and founder of Viva Projects, was in charge of the debut.

Take a look!

“Itanhaém”, 1945

“Pancetti’s marinas always cause me a certain melancholy… This one of Itanhaém, a particularly unremarkable beach portrayed in a sublime fashion in the unframed composition of the painter, also brought me an affective memory, as I spent many summers of my childhood there.”

“Glu-glu”, 1967

“This woodcut engraving was made starting from Maiolino’s iconic 1966 painting, “Glu Glu Glu…”. The different layers of interpretation that the work enables are what attracts me the most. It is as much essentialist as it is political; it brings the visceral to the surface and also translates a political instability of an epoch; the situation of an immigrant mother who felt silenced by dictatorship, having to digest her own thoughts and feelings which could not be exposed. And 52 years later the works could not be more current and blunt.”

“JK 2”, 2014

“Restiffe’s practice interests me particularly for he goes against the trend of current photography. The artist captures real scenes, with no previous staging, has been using the same film camera for years and does not retouch his images. This snippet of an architectural project, apparently modernist, translates what many of Restiffe’s images incite in me: intimacy and a mysterious narrative.”

“Noigandres 5 Anthology”, 1962


“Noigandres magazine was a publication of extreme importance for Brazilian concrete poetry. Augusto de Campos, one of the founders of the poetry group and the magazine, is one of my personal idols and produced content, in the guise of poet as well as translator, of great relevance for our cultural life. This edition of Noigandres was the last one to be produced and has a reproduction of a Volpi painting on the cover.”

“DayNight”, 2019

“This is yet another work by Cinthia Marcelle that takes inspiration from the everyday caos to reorganize it in a poetical way and bring a new gaze on frequent topics of our routine. The form by which she interprets the transition between day and night, in addition to the reference to Neo-Concretism, makes me think of the passing of time through matter and light.”

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