Statement
Over more than two decades of work, Gustavo Prado's production has investigated our presence in the world, especially in the relationships established based on different conceptions of space and image. Using a variety of media over the years, such as video, photography, objects, installations and, more recently, major interventions, his works make use of technical resources and industrial materials – part of a modular vocabulary shared internationally by civil construction and security companies. . These are elements such as mirrors, metallic structures and presence sensors, which are placed in contrast with the phenomenological look and in dialogue with issues of Brazilian constructive heritage, which are configured not only based on the works in the exhibition space or outside it, but also the starting from the relationship with the viewer and their image. Thus, Gustavo Prado ends up revealing in his propositions the interest in contamination in different collective configurations, at the same time that he guarantees a kind of silence of the individual experience.
Over more than two decades of work, Gustavo Prado's production has investigated our presence in the world, especially in the relationships established based on different conceptions of space and image. Using a variety of media over the years, such as video, photography, objects, installations and, more recently, major interventions, his works make use of technical resources and industrial materials – part of a modular vocabulary shared internationally by civil construction and security companies. . These are elements such as mirrors, metallic structures and presence sensors, which are placed in contrast with the phenomenological look and in dialogue with issues of Brazilian constructive heritage, which are configured not only based on the works in the exhibition space or outside it, but also the starting from the relationship with the viewer and their image. Thus, Gustavo Prado ends up revealing in his propositions the interest in contamination in different collective configurations, at the same time that he guarantees a kind of silence of the individual experience.
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Bio
Gustavo Prado was born in São Paulo (1981), and grew up in Rio de Janeiro. He studied Philosophy (2001) and Industrial Design (2009), but it was at the Escola de Artes Visuais do Parque Lage (RJ, 1998-2002) where much of his training as an artist took place. Among the exhibitions he participated in in Brazil and abroad are Projectiles d'Art Contemporain in Espace Brésil - Funarte, Year of Brazil in France (Paris, France, 2005); Rumos Artes Visuais, at Instituto Itaú Cultural (SP, 2006); New Acquisitions in the Gilberto Chateaubriand Collection, at the Museum of Modern Art of Rio de Janeiro (RJ, 2007) and Bronx Calling: AIM Bronx Museum Biennial (New York, USA, 2017), in addition to the solo exhibitions Colisão Conluio Colisão at Galeria Nara Roesler (SP , 2018) and Assembly at Galerie Richard (New York, USA, 2019). He also participated in residencies such as Futher, Residency Unlimited (New York, USA, 2020), School of Visual Arts – Sculpture, Installation and New Media Residency (New York, USA, 2015) and Deepening Program at the Parque Lage School of Visual Arts ( Rio de Janeiro, 2010). In 2017, with the work Lamp Beside The Golden Door at the Coachella music festival, held in California (USA), the artist began a series of large-scale works. In 2018, the permanent public installation Trincheiras was opened at Casa Firjan (RJ); in 2022 he was part of the Urban Art group of the Mercosul Biennial with O Morador, and in 2023 he carried out his first project in Asia, installing Gathering Place in the Chinese city of Chongging.
