Biography

Fabio Miguez began his artistic career in the 1980s when, alongside Carlito Carvalhosa, Nuno Ramos, Paulo Monteiro, and Rodrigo Andrade, he founded the artist’s space Casa 7. Miguez initially worked with painting like  the others group members. During the 1990s, he started to produce, parallel to his paintings, the series of photographs entitled Derivas, later published with the name Paisagem Zero in 2013. Those photos are closely related to the paintings as we can see in the tension between the indeterminacy of the process and the apparent construction of the final product and in the density of light and dark shades.

 

In the 2000s, Miguez started to develop three-dimensional works, such as the installations Onde (2006), Valises (2007), and Pingpong (2008), which expands his line of research and his medium of choice: painting. His degree in architecture brings to his work a constructivist influence that dialogues with concerns regarding scale, material, and figuration. The artist often deals with modular forms in relation to combinatory logic, employing repetitions and operations of inversion and mirroring. In his work, every painting is a fragment of the real in the way that each one reaffirms its material condition. 

 

Fábio Miguez was born in São Paulo, Brazil, in 1962, where he lives and works. Main recent solo shows include: Fragmentos do real (atalhos) – Fábio Miguez, at Instituto Figueiredo Ferraz (IFF) (2018), in Ribeirão Preto, Brazil,; Horizonte, deserto, tecido, cimento, at Galeria Nara Roesler (2015), in São Paulo, Brazil; Paisagem zero, at Centro Universitário Maria Antonia (CEUMA) (2012), in São Paulo, Brazil; and Temas e variações, at Instituto Tomie Ohtake (ITO) (2008), in São Paulo, Brazil. He was participated in several biennials, such as: Bienal de São Paulo (1985 and 1989), 2nd Havana Biennial, Cuba (1986), and 5th Bienal do Mercosul, Porto Alegre, Brazil (2005). Recent group shows include: Coleções no MuBE: Dulce e João Carlos de Figueiredo Ferraz – Construções e geometrias, at Museu de Ecologia e Escultura (MuBE) (2019), in São Paulo, Brazil; Oito décadas de abstração informal, at Museu de Arte Moderna de São Paulo (MAM-SP) (2018), in São Paulo, Brazil; Auroras – Pequenas pinturas, Espaço Auroras, São Paulo, Brazil, 2016; Casa 7, at Pivô (2015), in São Paulo, Brazil; and Iberê Camargo: século XXI, at Fundação Iberê Camargo (FIC) (2014), in Porto Alegre, Brazil. His works are including in important institutional collections, such as:; Instituto Figueiredo Ferraz (IFF), Ribeirão Preto, Brazil; Museu de Arte Moderna do Rio de Janeiro (MAM Rio), Rio de Janeiro, Brazil; Museu de Arte Moderna de São Paulo (MAM-SP), São Paulo, Brazil; e Pinacoteca do Estado de São Paulo, São Paulo, Brazil; among others.

 

 

 

Exhibitions

Press

  • objet trouvé: luis pérez-oramas curates a poetic and subtle group exhibition at galeria nara roesler Download View article

    objet trouvé: luis pérez-oramas curates a poetic and subtle group exhibition at galeria nara roesler

    cynthia garcia, Newcity Brasil 10.12.2019
  • 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

Critical Essays

  • fragments of real*

    rodrigo moura
    To start somewhere, first I should point out the unsettled nature I perceive in the paintings of Fábio Miguez over the past decade-and-a-half during which I have followed it from up close. It is as though the artist had slowly and consciously put in question several assumptions from his own practice, thereby taking it to realms which, if not alien, are unexpected to say the least. In 2002, for the eponymous exhibition at São Paulo’s 10,20 x 3,60 gallery, Miguez led his painting (which had by then already taken on more geometrical contours) outside the canvas, with transparent glass planes and bits of shape-color in space. Viewers were able traverse the exhibition as if they were walking inside a painting, and the whites in the pictures had transformed into the space itself. This gesture had a few implications in the works that followed. On the one hand, the empty spaces in his paintings grew denser, the chromatic masses standing out more evidently and giving compositions a more diagrammatic...