EXODUS IN NY
The Exodus series presents works exploring monetary values in their form of accumulation and transformation while revealing their paths traveled and the impacts they cause within society over time. Frangioni, born in São Paulo, Brazil 1967, produces symbols embedded in the human mind, such as miniature piggy banks and charging bulls offering the public a new perception of financial stability and its relationship with current ethical and moral values.
The artist’s constant search for new materials, in this case, 3D print technology and real coins as currency, permits interposing these monetary symbols based on collective narrative issues involving values, time, and memory of historical societies and how they reflect in the contemporary frame of mind.
As previous series by the artist, the symbol/matter union promotes an investigation of possible dialogues between past political-economic actions and the outcome of current society. From the artist’s point of view, history has shown a massive migration of people, known as Exodus. A clear example is the striking case of the occupation of New York, not only during its period of colonization but later during an intense period at the beginning of the 20th century with the entry of immigrants from Europe through its known Ellis Island. Finally, its current consolidation as one of the largest metropolises in the world with one of the most recognized financial centers on the planet. For this exhibition, Frangioni also presents an artistic conceptual discourse on a site-specific titled Exodus in Brooklyn, combining two series, Exodus and Codes.
About the Artist
Alexandre Frangioni is a self-taught artist born in São Paulo, Brazil, in 1967. He graduated in Engineering from Universidade Presbiteriana Mackenzie in 1984. In 2005 he began activities in visual arts, exploring painting, photography, sculpture, and installation. Frangioni continuously searches for new reliable materials to convey his ideas and depict social-economic, cultural, and political story moments in a conceptual language. He encapsulates his point of view and presents it with an extraordinary esthetical form. Simultaneously, the variation in materials and surfaces results in intriguing objects allowing the viewer to react with curiosity.
His art proposals connect to time, not chronological time, but frame periods embedded in the memory where values in contemporary societies play a significant role.
During his career of 17 years in the art world, he accomplished 11 museum exhibitions, solo and collective, in his land of origin. The Museu de Arte de Ribeirão Preto (MARP), Museu de Arte de Goiânia (MAG), Museu de Arte Contemporânea do Mato Grosso do Sul (MARCO), Museu de Arte Contemporânea de Blumenau (MAB), Museu Luiz Sacilotto (Casa do Olhar), Museu de Arte Contemporânea de Jataí (MAC Jataí), Pinacoteca Benedito Calixto, Museu Casa Alfredo Andersen, and Pinacoteca São Bernardo do Campo, among others.