Pond Society is proud to present the first Lucas Arruda solo exhibition to take place in China.
The show brings together nine paintings by the Brazilian artist, some of which are recent and have not been seen before. They will go on display along with the video work Untitled (Neutral Corner). The show’s scope is comprehensive, bringing together important examples from each of Arruda’s series — the seascapes, the jungles and the monochrome works — to explore the depth and variation of his compositions.
The first room combines Arruda’s seascape paintings with a large pink monochrome painting. The meditative stillness of these works deals with the experience of distance, the beginning and the journey of perspective, the horizontal line loosing itself between the light and the edges of the canvas. By observing them carefully, we realise that they are not the record of a landscape but a light study through paint.
The second room features a special installation that combines a painting from his jungle series and the video work Untitled (Neutral Corner). The jungle painting has an unsettling stillness that simultaneously suggest pulsating life and primordial danger, and will be installed under a special lighting system often used by the artist that offers viewers new optical possibilities in the subtle experience of Arruda’s work.
Untitled (Neutral Corner) is a short and powerful video (4m 27s) that seamlessly blends footage from the 1962 Welterweight boxing championship fight, between Benny Paret and Emile Griffith, with a musical composition by the Icelandic cellist Hildur Guðnadóttir, titled Strokur (2014). Somewhere within this arresting synthesis of violence and beauty, so alike in essence to the jungle painting it is displayed with, we find ourselves face to face the same existential vibration, the same tension between life and death, that seems to radiate from Arruda’s canvases.
Lucas Arruda's work obstinately concentrates on a well-defined theme within the canon of art history in order to examine complex contemporary mental states. His research develops fundamentally around landscape, thinking and experimenting with our capacity of living through the mediation of light and the gaze.
About the artist
Lucas Arruda was born in São Paulo, 1983, where he lives and works. His existential research is centred around landscape, experimenting with our perception and imaginative capabilities through horizon and light. Through the use of painting, slide projections, video and light installations, his works exist in a point of tension between apparition and emptiness, between figuration and abstraction.
His most recent solo exhibitions include Deserto-Modelo, Fridericianum, Kassel (2019); Lucas Arruda, David Zwirner, New York (2019); Neutral Corner, Mendes Wood DM, Brussels (2018); Days and Horizons - Lucas Arruda & On Kawara, Mendes Wood DM, New York (2017); Deserto-Modelo, Indipendenza, Rome (2016); Deserto-Modelo, Lulu, México DF (2015); Deserto-Modelo, Pivô, São Paulo (2015).
Additionally, his work has been included in institutional group exhibitions such as Seismic Movements, Dhaka Art Summit, Dhaka, 2020; Volcano Extravaganza 2019 – DEATH, Fiorucci Art Trust, Stromboli (2019); City Prince/sses), Palais de Tokyo, Paris (2019); Anozero – Bienal de Arte Contemporânea de Coimbra, Coimbra (2017); Soft Power. Arte Brasil, Kunsthal KAdE, Amersfoort (2016); New Shamans/Novos Xamãs: Brazilian Artists, Rubell Family Collection, Miami (2016); As if in a foreign country, Galerie Schwarzwälder, Vienna (2015);1ª Bienal Internacional de Asunción - Grito de Libertad, Asunción (2015); Deserto-Modelo, VeneKlasen Werner, Berlin (2014); Chambres à Part, Edition VIII, La Réserve Paris, Paris (2013); Here is Where We Jump, Museo del Barrio, New York (2013).
Arruda’s work has been the subject of three monographic publications. The first was published by Cahiers D’Art in 2018, followed by David Zwirner Books in 2020, and most recently by Walther König Books in collaboration with the Fridericianum Museum. Arruda’s works are part of institutional collections including Tate Modern, Solomon R. Guggenheim Museum, Fondation Beyeler, Centre Pompidou, Thyssen-Bornemisza Art Contemporary and Pinacoteca do Estado de São Paulo.