bruno dunley
Contrato, 2018
oil paint on canvas
63 x 47.2 in

The work of Bruno Dunley questions the specificity of painting, particularly in relation to representation and materiality. His paintings depart from carefully constructed compositions, gradually undergoing corrections and alterations which, at times, reveal the lacunae in the apparent continuity of perception.


Part of a new generation of Brazilian painters called 200e8, Dunley begins both from found images as well as from the analysis of the nature of painting, in which language codes such as gesture, plane, surface, and representation are understood as an alphabet, a common ground. As stated by the artist “I see my work as a series of questions and affirmations about the possibilities of painting, about its essence and our expectations of it.” In the work of Dunley, promises are made and consequently broken, testing the limits of the viewer’s tension. Preconceived notions of painting and composition, in the work of the artist, are incessantly challenged in surprising ways.


Born in Petrópolis, RJ, Brazil, in 1984, Bruno Dunley lives and works in São Paulo, SP, Brazil. He holds a degree in FIne Arts from the Faculdade Santa Marcelina and Photography from the Centro Universitário SENAC, both in São Paulo, Brazil. Main solo exhibitions include: No meio, Galeria Nara Roesler, São Paulo, Brazil, 2018; The Mirror, Galeria Nara Roesler, New York City, USA, 2018; Ruído, Galeria Nara Roesler, Rio de Janeiro, Brazil, 2015; No lugar em que já estamos, Galeria Nara Roesler, São Paulo, Brazil, 2014; e, Centro Universitário Maria Antonia (CEUMA), São Paulo, Brazil, 2013; and Bruno Dunley, 11bis Project Space, Paris, France, 2012. Main recent group exhibitions include: 33rd Bienal Internacional de São Paulo, Brasil, 2018; 139 X NOTHING BUT GOOD, Park – platform for visual arts, Tilburg, The Netherlands, 2018; 9999, The Fireplace Project, East Hampton, New York City, USA, 2017; and Projeto Piauí, Pivô, São Paulo, Brazil, and Jacaranda, Villa Aymoré, Rio de Janeiro, Brazil, both in 2016. His works are in institutional collections such as: Instituto Itaú Cultural, São Paulo, Brazil; Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP), São Paulo, Brazil; Museu de Arte Moderna de São Paulo (MAM-SP), São Paulo, Brazil; and Pinacoteca do Estado de São Paulo, São Paulo, Brazil; among others.



  • a pintura reinventada Download

    a pintura reinventada

    antonio gonçalves filho, o estado de s. paulo 23.6.2018
  • pintura é estrela em mostras nos jardins Download

    pintura é estrela em mostras nos jardins

    folha de s.paulo - guia da folha 22.6.2018

Texto Crítico

  • regarding bruno dunley's mirror's or seeking the lighthouse of the drowned

    tadeu chiarelli
    I’d like to start off this text with a fact: 34-year-old Bruno Dunley’s career as a professional painter goes back eleven years (his first solo show happened in 2007). Thus, one could argue that as he came up as an artist, the internet and its devices were already part of most people’s lives, broadening and completely changing our perception of art and reality[1] . This new scenario exponentially heightens the presence of second-generation images in our daily lives, a condition which a considerable part of global society had already been experiencing since at least the end of World War II. Throughout the 1980s, this scenario would see its first heyday, especially in art production. In that decade – that is, some 30 years ago –, some artists and critics emphasized a phenomenon which characterized much of the art of then: the “return to the museum.” They argued that art from that decade (better known as the “painting revival” years) found itself in a peculiar situation: many artists were...