Felippe Moraes

Felippe Moraes

b. Rio de Janeiro, RJ (1988)

Felippe Moraes is an artist, researcher and independent curator. His research is focused on the epistemology of reason and its relationships with spirituality, mythology and ancestry as possibilities for re-enchanting the world. He is currently a PhD candidate at the University of Coimbra in Portugal and a Master’s at the University of Northampton in the United Kingdom.

Awarded by FUNARTE in 2016, Moraes participated in several individual and group exhibitions in Brazil and abroad. His work is part of the permanent collections of the São Paulo Cultural Center, the São Paulo Museum of Modern Art, the Paraíba Museum of Contemporary Art, The Camera Club of the New York Collection of the New York Public Library and the Santos International Biennial Collection of Engravings..

"Solfejo", by Julia Lima, 2019

“Be careful when turning a corner”

Sounds are elements that connect us to transcendences, memories, places, people. Music is a manifestation present in all cultures. It is the passage of time, it is language, it is abstraction. Images are constructions of contrasts, contours and materials; they illustrate ideas, trigger fantasies, materialize emotions and fix the story. The not always immediate relationship between image and sound is lyrically inaugurated by the myth of Echo and Narcissus – he, a beautiful young man who was born under the premonitory warning of an oracle never to see his own image at risk of death; she, a nymph who had a body but no voice, cursed for talking too much and just repeating the last words she heard. Therein lies the tragedy: the vision of the self, which can be another, and the voice of the other that returns as my own. Narciso saw himself in the water mirror and, enchanted by his own double, drowned in his image and became a flower. Echo, in love with Narciso, was never able to communicate her feelings: scaring the handsome young man with echoes, she lived hidden in a cave until she became only voice and bones – she became stone.

Upon entering this exhibition, we may be surprised by the unexpected and powerful consonance between visuality and music that informs these works by Felippe Moraes. Even not being a musician, mathematician, or astrophysicist, the artist makes use of all these subjects in works that are as poetic as they are scientific; as rational as affective; as discordant as unisons. There is a clear musical rationality in the sensory experiences triggered by the works, while the playful nature of interaction and cooperation transports us to more surreal and unconscious states.

The body, in turn, is essentially involved in almost the entire exhibition, which must be enjoyed in community. The singular introspection usually reserved for the contemplation of works fixed on the wall gives way to shared experiences. We will be enveloped in uncontrollable noises, entangled in sudden aromas, invited to approach each other. The collectivity essential to the works can be democratically liberating and, together, our bodies feed their powers, inform other stories, vibrate possible futures. This moment will not be repeated, but will be lived again and again and again.

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