artur lescher
inabsência, 2012
brass and wood
12 m x 14 m

For more than thirty years, Lescher presents a solid work as a sculptor, which results from a research around the articulation of materials, thoughts and forms. In this sense, the artist has on the particular, uninterrupted and precise dialogue with both architectonic space and design, and on his choice of materials, which can be metal, stone, wood, felt, salts, brass and copper, fundamental elements to highlight the power of this discourse.

Even if Lescher's work is strongly linked to industrial processes, achieving extreme refinement and rigor, his production does not have the form as the only purpose, actually, it goes beyond it. This contradiction opens space for myth and imagination, essential elements for the construction of his Minimal Landscape [Galeria Nara Roesler, 2006].

By choosing names for his artworks, such as Rio Máquina, Metamérico or Inabsência (Projeto Octógono Arte Contemporânea, Pinacoteca do Estado de São Paulo, 2012) Lescher proposes an extension of the work, suggesting a narrative, sometimes contradictory or provocative, that places the spectator in a hiatus, in a suspended condition.

Artur Lescher was born in São Paulo/SP, Brazil, 1962, where he lives and works. He participated in the 19th and 25th editions of the Bienal Internacional de Arte de São Paulo, São Paulo/SP, Brazil (1987 e 2002), and in the 5th Bienal do Mercosul, Porto Alegre/RS, Brazil (2005). He took part in several group exhibitions in Latin America, Europe and in the United States, as well as in two solo shows, the first one at Instituto Tomie Ohtake (ITO), São Paulo/SP, Brazil (2006), and, more recently, at the Palais d'Iéna, Paris, France (2017).




  • artur lescher and the ethics of constructive geometry Download

    artur lescher and the ethics of constructive geometry

    Claudia Fazzolari, ArtNexus 11.9.2018

Texto Crítico

  • a poetics of height

    juliano garcia pessanha
    While weight enjoys the privileges of realism and has the hardness of life on its side, lightness seems to be of a lesser and paradoxical quality. Isn’t a visionary he who seeks to break loose from the force of gravity? How does one dare to hang in suspension when everything seeks support, and how can one proclaim the truths of levitation when everyone points to falling as our final destiny? In the unending debate between weight and lightness and between the idleness of support and the tenseness of suspension, Asterismos [Asterisms], by Artur Lescher, responds with the victory of lightness and the ascensional. Most of the objects included in the installation, despite possessing great mass, float like mathematical yogis and levitating entities. The pieces composed of tensioned wires are shot through by light and by the atmosphere of the surrounding space; some have an identifiable base on the wall or floor, as is the case of the Borromean knot-shaped piece with myriad wires rising up from its basis...