PHOTOSdosmeusWHEREABOUT by regina vater

 

​My career as an artist started when the I had twenty years old. At that time I made friends with the very best photographers in Rio like Evandro Teixeira, José Medeiros, Francheschi, Hugo Góis, etc. In 1968 I went to Perú to represent Brazil at the Lima Biennial and I was introduced by Nelson Pereira dos Santos to Manuel Chambi, son of the great Peruvian photographer Martin Chambi. Manuel who was an excellent photographer became a good friend of mine for life. With Chambi  I had good conversations on Photography and the making of films. When I moved to São Paulo in 1970 I worked in the MPM a notorious Advertising agency, there I became good friends with the advertising agency photographers who taught me  many processes of …….… photography and during that time I produced a long series of studio photos of knots  which I  draw over their enlargements. In 1972 I won the best prize for arts at that time (a travel abroad for two years) Before I went I with a camera lend to me by friend I photograph for work the garbage of the Brasilia Carnaval which most part of the enlargements I loose but I have some of them in the Photography section of the Bibliotheque Nationale in Paris by invitation of Mr. Claude Lemagny. I bought my fist Camera in my first travel to New York. During the period that I lived in there (1973-75) Inspired by a concrete poem of Augusto de Campos LUXOLIXO I made an extensive series on the garbage and consumerism of US ando Helio Oiticica with who I became friends for life, helped me to make the sound for (Luxury/Garbage) an audio-visual I made in there and which was shown in Venice when I representing Brazil at that Biennials which was the first big international show about the preservation of the environment.  From my sojourn in New York  the conversations about art, photography, cinema and philosophy which I had with Oiticica remain the most memorable remembrances. Still sponsored by my Brazilian grant I traveled to Paris in the summer of 1974,  where I stayed until February of 1975. During the t sejour I made a travel to Greece where Photographing the Greek Landscape I made a photographic series OLHO-TATO to be projected on the ceiling for spetactor lye-down on cushions on the floor. Before I arrived  home I went to Buenos Aires to do a one-woman show of my photos at the Centre de Artes y Communications CAYC of Jorge Glusberg). Still in Paris I started a series of photos (X-RANGES) about the presence in the abcense or the tracks of activity on the environment. The fist spaces that I photographed was Lygia Clark home and Mario Pedrosa working table. After I went back to Brazil I worked intensely in this series which I showed In my individual show at the Museum of Modern Art  of Rio de Janeiro in 1976 and later at he Multiple Gallery In Buenos Aires where they published an artist book with photos of the living spaces of Oiticica, yogi Clark, Victor Acconci and John Cage (this book was reedited by Kreck publishers in 2017). These series I showed in individual shows in the Museum of Brazilian Art, and São Paulo Biennial and at my one artist show at Marina Urbach C-Space in 1977. In 1976 I represented Brazil with my photographic work LUXO-LIXO at Venice Bienal. Around 1977-78 I did a whole photographic series using the word ART to comment the art environment with I showed at a one-woman show at the ARTEGLOBAL Gallery, connected to the major Brazilian network, TV GLOBO.In 1980 I got a Guggenheim Fellowship and moved to United  . There I kept work with photo and video and for more an forty-seven years I showed my photography and videos in important renowned spaces as the Clocktower Gallery, Franklin Furnance, Parallel Window Chelsea New York; Americas Society New York, Friezze New York, Bleecker Cinema New York, Brooklyn Museum, New York US; Alternative Museum, New York US; Pratt Institute New York US; Alternative Museum, New York; Southeast Museum of Photography, Daytona Beach Florida US; Galeria da Loyola University, New Orleans -US; Burpee Art Museum Filadelfia (Estados Unidos);Hammer Museum, Los Angeles Califórnia; Blanton Museum In Austin Texas; Flatbed - Austin-Texas; Mexic-Arte Museum Austin Texas; Huntington  Gallery, Austin park at Texas US; Centro Nelson Rockefeller Collection of Latin American Arts of Museum of Arts of Santo Antonio, Texas US; Fisher Gallery - University of South California,US; Galeria Ar-Co, Lisboa (Portugal; SAMMLUNG VERBUND Collection, Viena -Austria; Württembergischer Kunstverein Stuttgart; The Photographers Room London, England; Corner House Manchester (Inglaterra);Kultur Fabrik and  Esch-sur-Alxette, Luxembourg;68 ELF Gallery and Exit Art Cultural Space in Cologne, Germany; Collection of The Museum Of Modern Art Colonia (Alemanha); Trapézio Gallery Lima Perú; Fundação Vera Chaves Barcellos; SESC
Palladium, Belo Horizonte;São Paulo Biennial ; Gabinete de Artes Gráficas, São Paulo; Galeria Ars Mobile, São Paulo SP;  SESC Pompéia, São Paulo;

Pinacoteca do Estado, São Paulo; MASP - São Paulo;Museum of Contemporary Arts of São Paulo; Centro Cultural Banco do Brasil, São Paulo; Collection of Museum of Modern Art, São Paulo; Museums um of Contemporary Arts of Niterói; Oi Futuro Flamengo-Rio de Janeiro, Centro Cultural Candido Mendes rio da Janeiro – Centro Cultural Oduvaldo Viana Filho - Rio de Janeiro;Galeria Grupo-B, Rio de Janeiro RJ; Centro Cultural Helio Oiticica;Parque Lage, Rio de Janeiro; Caixa Cultural / Caixa Econômica Rio de Janeiro; Solar Grandjean de Montigny, Rio de Janeiro RJ