Nelson Felix: Guiding Stone
Entitled Pedra de Rumo (Guiding Stone), the new solo exhibition by Nelson Felix (b. 1954, Rio de Janeiro, Brazil) expands the artist’s cosmographic universe through a set of new works distributed across two Almeida & Dale exhibition spaces on Rua Fradique Coutinho and its surroundings. The exhibition is accompanied by a critical text by Keyna Eleison, part of the curatorial team for the 36th Bienal de São Paulo, which ended in January.
The exhibition features sculptures in marble, bronze, and botanical elements, which establish dialogues with the artist’s own universe. The collection also includes works in which Felix returns to using lead, now as a surface for paintings, drawings, and collages, resulting in large assemblages that traverse languages such as visual arts, poetry, and cartography.
Conceived around the idea of traces drawn on a map, the exhibition articulates the positioning of the works in relation to other works, landmarks, and locations that extend beyond the gallery. As the title suggests, in Guiding Stone the works propose a spatial reorganization of their surroundings, establishing new points of geographical orientation—both inside and outside the exhibition space.
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Entitled Pedra de Rumo (Guiding Stone), the new solo exhibition by Nelson Felix (b. 1954, Rio de Janeiro, Brazil) expands the artist’s cosmographic universe through a set of new works distributed across two Almeida & Dale exhibition spaces on Rua Fradique Coutinho and its surroundings. The exhibition is accompanied by a critical text by Keyna Eleison, part of the curatorial team for the 36th Bienal de São Paulo, which ended in January.
The exhibition features sculptures in marble, bronze, and botanical elements, which establish dialogues with the artist’s own universe. The collection also includes works in which Felix returns to using lead, now as a surface for paintings, drawings, and collages, resulting in large assemblages that traverse languages such as visual arts, poetry, and cartography.
Conceived around the idea of traces drawn on a map, the exhibition articulates the positioning of the works in relation to other works, landmarks, and locations that extend beyond the gallery. As the title suggests, in Guiding Stone the works propose a spatial reorganization of their surroundings, establishing new points of geographical orientation—both inside and outside the exhibition space.
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