Felipe Morozini

02/Jun/2015 – 27/Jun/2015

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  • Press Release
  • Press Release


    How much do we permit ourselves to be permeated and touched by the events around us? To what extent are we able to celebrate our own reality? Felipe Morozini seems to answer these questions through his deep affection for the city of Sao Paulo and its phenomena. His images break away from the banality and vulgarization of everyday life, and reveal the majesty inherent in things and people. A majesty which eludes us due to our frantic, automatic, and blind mode. A mode capable of detaching us from our own city - this source that feeds, inspires and makes us happen as individuals.

    He observes the extraordinary in the dance of two naked bodies under the scorching sun of any given Monday. As if, in their simplicity and detachment, they could tenderly face the grayish barren landscape surrounding them. A harsh scenario that was given to them, but which - through the movement of their bodies - is reinvented. It seems to be this place - this edge in the urban chaos where time itself is created (and is not spent or lost) - that Morozini’s lens seek to frame.

    By spotlighting a seemingly sad architecture, he appears to embrace and wrap it, as if saying ‘yes, it is important’. Buildings regarded as maltreated, ill-conceived, unfit and ordinary - but which are there, serving as temple to someone - like other buildings around the city, also yearn to tell their stories. And we know that stories only exist once they are told; all we need is to be willing to hear them.

    And even the fire in an antique piece of furniture gets its moment of silence. The artist shares the record of this small death, which like many others that take place around us all the time, never deserved our attention because we did not even realize that they had a heartbeat. "There is no being in this universe that does not have its own pace, its own vibration, that does not create time, that does not create space, that does not create body", has said philosopher Luiz Fuganti.


    Thaís Gouvêia

    Critical essay