Gê Viana
Individual Exhibitions +

2021
Neide Tupinambá. CEU Meninos, São Paulo, Brasil.

2017
Paridade. Galeria de Arte do Sesc, São Luís, Brasil.

Collective Exhibitions +
2021
Prêmio PIPA 2020. Paço Imperial, Rio de Janeiro, Brazil.
Neide Tupinambá. CEU Meninos, São Paulo, Brazil.
Brasilidade Pós-Modernismo. Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil.
Frestas Trienal de Arte 2020/21 — O Rio é uma serpente. SESC Sorocaba, São Paulo, Brazil.
Photoirelandfst. Rathfarnham Castle, Dublin, Ireland.

2020
No calor da hora. Project M.A.P.A, Viva Projects. Av. Pedro Teixeira 2213, Manaus, Brazil.
Hora Grande. Programa Convida. Instituto Moreira Salles (IMS), virtual exhibition.

2019
36º Panorama da Arte Brasileira: Sertão. Museu de Arte Moderna (MAM), São Paulo, Brazil.
Raiz, memória e humanidade. Sesc Santana, São Paulo, Brazil.

2018
O Tempo de Nossas Vidas. Casa da Cultura da América Latina UnB, Brasília, Brazil.
Paridade. Festival de Fotografia de Tiradentes, Minas Gerais, Brazil. Curated by: Madu Dorella, Gabriela Sá and Anna Karina Bartolomeu.
Processo aberto. Chão Slz, São Luís, Brazil.

2017
Paridade, Vídeo (OLD). Valongo Festival Internacional de Fotografia, Santos, Brazil.
Paridade. Chão SZL, São Luís, Brazil.

2015
Assim fica claro: roubo, colo e pixo. Galeria Trapiche, São Luís, Brazil.
Public Collections +
Museu de Arte Moderna do Rio de Janeiro (MAM Rio), Rio de Janeiro, Brasil.

Gê Viana was born in Santa Luzia, Maranhão, in 1986 and now she lives and works in São Luís. She graduated in Visual Arts at the Universidade Federal do Maranhão (UFMA). The artist produces collages and photomontages, analogue and digital, inspired by life events family and everyday life, confronting the hegemonic colonizing culture and the art and communication systems.

From a meeting with Lívia Aquino, a researcher in the field of visual arts, Gê Viana starts to make use of the ‘precarious image’ and the means of appropriating historical photographs. About her production, she comments: “Creating a path in art today starts from the idea of ​​denunciation, making use of aesthetic categories. I think of the legacy left by photographers who denounced the daily life of large metropolises, ghettos and native people through their clicks. The file images I bring still carry a historical trauma of our people, so I thought of a way of bringing other narratives that work happier possibilities, because I feel that our happiness is at risk.”

Gê Viana was a resident of Bolsa Pampulha between 2018 and 2019. In 2020, she won the PIPA Award, being a member of the Nomination Committee for the award the following year.

Artwork

Sentem para jantar, 2021

From the series ‘Atualizações Traumáticas de Debret’

Digital collage
42 × 59,4 cm

Para estratégias de sobrevivência, as maiores tecnologias são as nossas, 2020

From the series ‘Atualizações Traumáticas de Debret’

Digital collage
29,7 × 42 cm

Cultivo de cogumelos, 2020

From the series ‘Atualizações Traumáticas de Debret’,

Digital collage
29,7 × 42 cm

Men cultivating plants and mushrooms in their dwellings. With the strong smell of the plants, little birds approach trying to enjoy the liqueur of the flowers.

Levantamento do mastro. Festa do Divino Espírito Santo, 2020

From the series ‘Atualizações Traumáticas de Debret’

Digital collage
29,7 × 42 cm

Loja de ervas, 2020

From the series ‘Atualizações Traumáticas de Debret’

Digital collage
29,7 × 42 cm

Herb shop, 1810: sales of tobacco and spices such as tea, roots, seeds and plants. Queen Ndatté Yalla passes on her experience as a healer to her children and nephews.

Que a gente não deixe de expressar nenhum sentimento nas ruas desse mundão, 2020

From the series ‘Sapatona’

Digital collage on Seydou  v and Colin Jones
90 × 88 cm

Despedida, 2020

From the series ‘Sapatona’

Digital collage on Couple Kissing at a Dance, Harlem, 1950s, by Jay Maisel
90 × 88 cm

Quando você olha para a garota apaixonada e sente frescor na barriga, 2020

From the series ‘Sapatona’,

Digital collage on Joseph Szabo and Jean Depara
90 × 88 cm

Ar, 2018

From the series ‘Sapatona’,

Digital collage on Bruce Davidson
90 × 88 cm

Um louco dia. Encarar com carinho, 2019

From the series ‘Sapatona’,

Digital collage on Colin Jones
90 × 88 cm

Garradin no reggae, 2018

From the series ‘Sapatona’,

Digital collage on Carles Solís
90 × 88 cm

Reencontro, 2018

From the series ‘Sapatona’,

Digital collage on Bruce Davidson
90 × 88 cm

Sobreposição da história, 2019

From the series ‘Paridade’

Photomontage. First layer: two women and a man rest eating cane crystal in Jamaica. Second layer: Gê Viana in a sugarcane plantation in Jaca Jardim Canadá in Minas Gerais.
Variable dimensions

Sobreposição da história, 2021

From the series ‘Paridade’

Photomontage and collage on raffia. First layer: plantation in Alcântara, Maranhão. Second layer: performer Andreia Dias photographed by Gê Viana.
190 × 165 cm

Sem Título [Justino Marinho], 2017

From the series ‘Paridade’

Photomontage. First layer: Justino Marinho in São Luís, Maranhão, photographed by Gê Viana. Second Layer: chefe espiritual Sioux de Elk Preto.
Variable dimensions

Sem Título [Neide Tupinambá], 2020

From the series ‘Paridade’

Photomontage printed on newsprint. First layer: Neide Tupinambá in the quilombo baiano in Cururupu, Maranhão, photographed by Gê Viana. Second layer: indigenous Gauycuru lithograph by Frances de Castelnau.
180 × 120 cm

Sem Título [Rodrigo Hemps], 2018

From the series ‘Paridade’

Photomontage printed on newsprint. First layer: Rodrigo Hemps in São Luís, Maranhão, photographed by Gê Viana. Second layer: indigenous men.
180 × 120 cm

Sem Título [Yaku Runa Simi], 2019

From the series ‘Paridade’

Photomontage printed on newsprint. First layer: Yaku Runa Simi photographed by Gê Viana. Second layer: D. Tilkin Gallois, Taitetuwa village, photographed by Louis Herman Heller on 1991.
180 × 120 cm

Sem Título [Mantinha Marques], 2021

From the series ‘Paridade’

Photomontage printed on newsprint. First layer: Mantinha Marques in Urbano Santos, Maranhão, photographed by Gê Viana. Second layer: Koon-za-ya-me, Female War Eagle, de George Catlin (1844).
180 × 120 cm

Na Falta do Calor da Hora, 2020

Collective work produced for the exhibition No Calor da Hora  for M.A.P.A project.  Gê Viana with Ara Mirim , Brisa de la Cordillera, Kaê Guajajara, Kandú Puri, Karkara Tunga, Natália Lobo, Nayra Albuquerque, Tupã Caio, Amanda Tupinambá.

Digital collage printed on newsprint.
300 × 900 cm

Neide Tupinambá, 2021

Lambe-lambe at CEU Meninos in São Paulo.

Digital collage printed on newsprint.

Neide Tupinambá, 2021

Lambe-lambe at CEU Meninos in São Paulo.

Digital collage printed on newsprint.

View of the mural made with Lambe-lambe on the occasion of the exhibition Raiz, memória e humanidade at Sesc Santana, São Paulo, in 2019.

View of the PhotoIreland Festival exhibition at Rathfarnham Castle in Dublin, Ireland, 2021.

Mantinha Marques, 2021

Lambe-lambe on acrylic canvas for the exhibition of the PIPA 2020 Award.

View from the Brasilidade Pós-Modernismo exhibition at Centro Cultural Banco do Brasil, Rio de Janeiro, 2021.