Regina Silveira

Regina Silveira (Porto Alegre, 1939) lives in São Paulo.

She studied Art at Instituto de Artes da UFRGS (1959), she obtained a Master’s degree (1980) and the doctorate degree in Art at Escola de Comunicações e Artes, of USP.

Since 1969 she lectures at the Universidade de Porto Rico, Mayaguez Campus (1969-73), Faap, in São Paulo (1973-85), and at Departamento de Arte da ECA/USP. She was part of several international biennials, such as Bienal de São Paulo (1983, 1998), Bienal do Mercosul (2001, 2011) and the 6th Taipei biennial 2006). She was invited to be part of cultural groups shows, among which is Brazil: Body and Soul, at the Guggenheim Museum, in New York (2001), Philagrafika 2010, in Philadelphia, and Mediations Biennale, in Poznan (2012), among other.

Recently, she held some solo exhibitions, such as “Lúmen”, at Palácio de Cristal, Reina Sofia museum, Madrid (2005), “Tropel Reversed”, at Køge Art Musuem in Denmark (2009), “Shadow Line”, at Centro Cultural Banco do Brasil, Rio de Janeiro (2009), “Abyssal”, at Atlas Sztuki gallery, Lodz, Poland (2010),“1001 Days and Other Enigmas”, at Fundação Iberê Camargo, Porto Alegre (2011) and “Offscale”, at Luciana Brito gallery, São Paulo (2013). The artist was awarded with scholarships from John Simon Guggenheim Foundation (1990), Pollock-Krasner Foundation (1993), Fulbright Foundation (1994), and received as well the Award in Arts, for Life and Work, Bunge Foundation (2009), and the Great Art Critics Award, for her work Tramazul, at MASP (2010/2011), by APCA (Associação Paulista de Críticos de Arte), in 2011.

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The project to create Assombrada began with caution. It entailed studying Bordallo Pinheiro and collecting information on the artist, up to the moment of ordering small frogs to carry out prior studies. But even when the subject is affinities, how can one couple poetics - mine and his - without either dissolving? How can one enter into a close conversation with the other - another artist like this one, with a strong, critical and overwhelming work – so that this coupling in fact results in a new quality? Because of all this I chose the faithful silhouette of my hand, as an autobiographical sign, a sort of tag and shadow of myself - to join Bordallo’s frogs, the unmistakable Bordallo’s frogs, his preferred brand. With them stacked on top of the hand, piled up, precariously and yet virtually covered by another black shadow, I tried to create with the frogs and the hand a sort of visual ideogram that would re-signify that strange union on the lid of the tureen. Inseparable, hand and frogs should tell the same story. However, in Assombrada it is purposely not clear whether it is the shadow of my hand grabbing and containing those little frogs, to express domain, or if it was the frogs that erupted and grew unexpectedly - black, like a ghost - over my dark hand to immobilize it over that tureen lid.