UNDER NEW MANAGEMENT

New York | USA
Director | HXXee

Foundxxxo.

www.millan.art

BIO

Túlio Pinto (b. 1974, Brasília, Brazil) works and lives in Porto Alegre, in the south of Brazil. He has held several solo exhibitions, such as "Buraco no Céu" at the Museu Oscar Niemeyer in Curitiba, Brazil, in 2023; "Land Line" at Fondamenta Sant’Apollonia and Piero Atchugarry Gallery in Venice, Italy, in 2019; "Tres Tiempos" at Galeria Senda in Barcelona, Spain, in 2018; "Athar" at Galeria Piero Atchugarry in Garzón, Uruguay, in the same year; and "Onloaded" at the Phoenix Institute of Contemporary Art in the USA in 2015.
Noteworthy groups show that Pinto has participated in the 13th Bienal do Mercosul in Porto Alegre, Brazil, in 2022; and "Manifesta" in Lyon, France, in 2021. His work is part of the collection of the Marta Herford Museum, Germany; Fundación Pablo Atchugarry, Manantiales, Uruguay; Fundación María Cristina Masaveu Peterson, Madrid, Spain; Piramidón, Centre d’Art Contemporani, Barcelona, Spain; Museum of Contemporary Art of Paraná, Brazil; Museum of Contemporary Art of Rio Grande do Sul, Brazil; National Museum of Brasília, Brazil; Museu Oscar Niemeyer, Brazil; among others.

CURATORIAL

For its first participation in ESTE Arte, Millan presents a selection of works by Túlio Pinto. Building on the debates initiated by minimalism and Brazilian constructive art, Pinto's work uniquely engages with the concepts of harmony, balance, and ephemerality, positioning him among the leading Brazilian sculptors of today. The works in the “Cumplicidade” series, created with steel blocks or bars and blown glass bubbles, are organized into precise arrangements of balance and the interplay of forces that sustain themselves autonomously. These pieces challenge assumptions and oppositions between fragility and resistance, lightness and weight, acting as catalysts for reflections on ephemerality and transformation surrounding the relationship between bodies and space.

According to architect and curator Guilherme Wisnik, “Túlio Pinto blends something of Fred Sandback’s constructivist and surrealist lightness with the empty, anodyne volumes of Sol LeWitt, forging his path between abstraction and figuration, pendulating in the air as if it were a seesaw of stones.” These operations, understood by the artist as a “performance of materials,” result in a precise organization of the components that make up the works—considering the properties and antagonisms of the materials, which allow the pieces to remain static.