Exhibition brings together 20 years of Caio Reisewitz's research on architecture

“ Mundo do Meio ” is the seventh exhibition by Caio Reisewitz held by the Luciana Brito gallery – the first of which was held in 2005. The show occupies all the rooms of the modernist residence designed by Rino Levi with works that represent a synthesis of the artist’s research of over 20 years on the representation of architecture through the various possibilities of photographic recording. The exhibition “Mundo do Meio” goes back in time to rescue visual artist Caio Reisewitz’s initial investigations into architecture , positioning them in the present day based on the social and political contexts of Brazil. Since the early 2000s, the subject has been the artist's main research focus, particularly regarding Modernism in Brazil as a representative of the culture and expression of a people and an era. One of the foundations of his research deals with the aesthetics that surround spaces of power, as well as their multiple discourses within the visual arts. Thus, the exhibition establishes a symbiosis between the formalist aspects of modernist architecture, its history and agents involved, through Rino Levi's project, and the issues surrounding polarization in Brazil, from extremist social divergence around political ideologies to the dismantling of public facilities and their consequences for the Brazilian environment .

The sheet of glass, represented here by the glass wall that separates the living room of the former Castor Delgado residence and Roberto Burle Marx 's garden, serves as a metaphor for Caio Reisewitz's “ middle world ”. Glass has always represented an important element within the modernist concept as it allows dialogue between designed environments, especially for the Brazilian climate and environment. Ten years ago, Caio Reisewitz produced the series “ Altamira ” (2013), where he documented the forest region of Belo Monte (Pará), delimited by the Xingu River, and which disappeared with the construction of the Belo Monte hydroelectric plant, creating a paradox where the exuberance of the untouched region in the images remained only in memory due to human action. The series was revisited by the artist in 2018, after the capture of the waters. The exhibition also brings together documents, images and notes used by the artist for his research.