Victor Leguy - Structures for Invisible Borders

Victor Leguy, Structures for invisible borders (detail), 2016-17, white paint on exchanged object, graphite, chalk, charcoal, dermatographic pencil on paper, porcelain

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Victor Leguy, 2017, Istanbul Modern, 15th İstanbul Biennial Photograph: Sahir Ugur Eren

  Victor Leguy, 2017, Istanbul Modern, 15th İstanbul Biennial Photograph: Sahir Ugur Eren

Victor Leguy, 2017, Istanbul Modern, 15th İstanbul Biennial Photograph: Sahir Ugur Eren

The Footprints of a Cell

''This object is the only thing I still physically have from Syria. Many Syrians had to flee leaving literally everything behind. I do believe that it is time to let go of some things that might just have an irreplacable value, only to have more space for the great stuff we could accomplish along the way on this journey of ours''

Ghaith Mofeed

Structures for invisible boundaries

is an ongoing research since 2015, which seeks to reorganize old narratives about initial periods of immigration in São Paulo / Brazil from a deconstruction of narrative taken as contained in official public and private teaching materials - The book Snips of Old São Paulo (Geraldo Sesso Junior) is used today as material and research source for history students in public and private schools in São Paulo, showing a caricature, and positivist quite mistaken view about the advent of immigration in the cities of São Paulo, erasing important facts that occurred there, that changed the course of the São Paulo development in addition to leaving cultural and religious deep marks. The research sought through some "characters" mentioned in the book, an investigation of their real stories that were lost in public archives, local informal and personal files of several families, direct descendants of the characters mentioned in the book of Geraldo Jr. Gesso. In this way the oral files collected during the months of research in these immigration corridors, today preserve lost fragments, in the form of objects, documents, photos, among others and that were exchanged for other personal objects of the artist who carries with him a small museum - this action is symbolic and functions as an immediate link, which is the important motor of the work (note: what is offered, it is accepted - Amerindian people from different parts of the world have in this act of exchange a meaning of contact and trust relation ) And expanding the possibilities of understanding a history erased by narratives and discourses established by the state power. Silence in industries Orion S / A, Militiamen in Largo Concordia, Cruises and Holy Crosses, Dito das Graças, among others, nominate some works from this series, which are a kind of expanded portrait  in each case, stories told and retold successive times.The works are painted with a white pigment, in horizon line upwards, suggesting a kind of annulment, of erasure, of whitening where above this line all ceased to exist. or has been deleted, so that it could start "from zero”, as the living room of a house, that when operating this action opens up space for the new, where the white color symbolizes among many things, this predominantly Western aesthetic model which also cleans in a cold and effectively manner.

 Guasca and the Priest - series, Structures for invisible borders in 2016. old documents, objects, graphite, charcoal, dermatographic pencil and white mineral pigment on paper.  170x160cm

Guasca and the Priest - series, Structures for invisible borders in 2016. old documents, objects, graphite, charcoal, dermatographic pencil and white mineral pigment on paper.  170x160cm

Left: Dito das Graças / series, Structures for invisible borders in 2016. Charcoal, dermatographic pencil and white mineral pigment on paper, old frame, steel knives, and porcelain piece. 50x58cm

Right: March number 03., from the series Structures for invisible borders, 2016-17 white paint on exchanged object, graphite, chalk, charcoal, dermatographic pencil on paper and porcelain piece. 1.50 x 50 cm

Victor Leguy, 2017, Istanbul Modern, 15th İstanbul Biennial Photograph: Sahir Ugur Eren