Galeria Jaqueline Martins is proud to present a selection of works by Brazilian artist Juraci Dórea (1944, Feira de Santana, Brazil). Having participated in important exhibitions such as São Paulo's 19th International Biennial (1987), 43rd Venice Biennale (Italy, 1989), 3rd Havana Biennial (Cuba, 1989) and Projeto Terra (Université Paris 8, France, 1999), Dórea's work will be the subject of a individual presentation inside the upcoming São Paulo's 34th International Biennial, set to take place in later 2021. To study architecture, in the 1960s Dórea moved from his home-town to Salvador, where he witnessed the intense cultural production that arose there out of the encounter between the experimental vanguardist attitude and the singular experience of a territory steeped in an Afro-Brazilian heritage. After earning his degree, Dórea returned to his hometown of Feira de Santana. There, he began to construct a consistent oeuvre, which gradually brought about a convergence of contemporary visual languages with backcountry roots and traditions. In the 1980s, Dórea’s telluric connection took on another power of magnitude. After beginning his Projeto Terra [Project Earth] (1982 - ), he not only assimilated backcountry artisanal know-how, but also traveled deep into the Bahian backcountry to implant his works in that landscape, often making use of the materials he found in the fields and pastures. Due to this new focus, the primary public of his work was no longer the urban visitor of cultural institutions but rather an audience consisting largely of backcountry dwellers. The records produced in this context, in the form of photographs, films, reports and texts, document not only Dórea’s creative trajectory, but also countless shocks and rearrangements between conceptions of art, language and territory. According to Brazilian art critic and curator Frederico Morais: "Dórea's work goes beyond the cultural province to propose itself as country and rural art. The emphasis is not on the subjectivity of the author, but on the objectivity of his relationship with local populations. It is not his inner ghosts that he intends to exorcise, but the vices of an art that, although being regionally thematic, is destined for an urban cultural elite. Regional his art is, not only in the themes and models adopted, but also in the materials and scenes he portraits."
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