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Works
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Roberto Winter, <em>Inimigo</em>, 2017, concrete, metal, mirrored glass, 70 × 185 × 80 cm - Mendes Wood DM
Roberto Winter, <em>Facebook Inc,</em> 2017, concrete, metal chains, 200 × 150 × 50 cm - Mendes Wood DM
Roberto Winter, <em>untitled, from Ghost phone series</em>, 2017, epoxy on MDF and broken iphone screen, variable dimensions - Mendes Wood DM
Roberto WInter, <em>Dead pixel (Ipod)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (TFT)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (Iphone)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (Ipad)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (MacBook),</em> 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto Winter, <em>Plano de obstrução vertical (em direção a mito de Sísifo Foxconn)</em>, 2013, nylon net installed on black floor, variable dimensions - Mendes Wood DM
Roberto Winter, <em>Decadência (anti-monumento Ross Ulbricht)</em>, 2017, metal, wood, plastic, 150 × 450 × 70 cm - Mendes Wood DM
Roberto Winter, <em>untitled, from Gestures series,</em> 2017, plaster, variable dimensions - Mendes Wood DM
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Roberto Winter, <em>Inimigo</em>, 2017, concrete, metal, mirrored glass, 70 × 185 × 80 cm - Mendes Wood DM
Roberto Winter, <em>Facebook Inc,</em> 2017, concrete, metal chains, 200 × 150 × 50 cm - Mendes Wood DM
Roberto Winter, <em>untitled, from Ghost phone series</em>, 2017, epoxy on MDF and broken iphone screen, variable dimensions - Mendes Wood DM
Roberto WInter, <em>Dead pixel (Ipod)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (TFT)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (Iphone)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (Ipad)</em>, 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto WInter, <em>Dead pixel (MacBook),</em> 2017, printing inkjet on paper Hahnemühle FineArt Baryta, 110 × 165 cm - Mendes Wood DM
Roberto Winter, <em>Plano de obstrução vertical (em direção a mito de Sísifo Foxconn)</em>, 2013, nylon net installed on black floor, variable dimensions - Mendes Wood DM
Roberto Winter, <em>Decadência (anti-monumento Ross Ulbricht)</em>, 2017, metal, wood, plastic, 150 × 450 × 70 cm - Mendes Wood DM
Roberto Winter, <em>untitled, from Gestures series,</em> 2017, plaster, variable dimensions - Mendes Wood DM
Videos
Roberto Winter, A role play, 2017, video, 45'
Text

12/08 – 16/09 2017


Mendes Wood DM is pleased to featured Roberto Winter’s second solo exhibition Default in the gallery. Titled after the noun or verb that can be understood both as a failure to repay a debt (as famously and thoroughly repeated during the last big global financial market meltdown almost a decade ago), or as a standard or pre-selected option to which a system resorts to when an alternative is not chosen (usually employed in a digital or computer related context), the word’s meaning can be traced back to disappointment, deception, cheating and escaping.

At a time of permanent crisis when it is increasingly obvious that the standard (default) modes of existence seem simultaneously inescapable and intimately related to failure and disappointment (defaulting), the exhibition will feature a group of works that relate to certain events and apparatuses which can be understood as defining the contradictory experiences shaping our present. From Apple’s iPhone (the epitome of the always-connected-obsession fetish object) to Facebook Inc and its growing number social networks such as Instagram and Whatsapp (embedded with the imperatives of reciprocal control and the inescapable injunction to present one’s self as a character in a self-created and assigned role), to drones (the ultimate flying voyeur, a machine for surveillance, videography, killing and leisure all at the same time), among others.

The exhibition’s centerpiece, A role play, is a fictional 40-minute long Icelandic documentary investigating a series of five short videos made by a mysterious Brazilian individual who ultimately confesses to having murdered the president of the USA. Both the documentary and the videos featured in it, made by the murderer, deal with the intelligibility of current hegemonic modes of communication and information acquisition, their vices, shortcomings and inherent distortions, while at the same time confronting them with current political events, modes of actions and their horizons (or lack there of).

Roberto Winter (1983, São Paulo) he lives and works in São Paulo. He has participated in group shows such as: Avenida Paulista, MASP, São Paulo (2017; Soft Power, Kunsthal KAdE, Amersfoort (2016); Boiling Point, PSM Gallery, Berlin (2015);  Há escolas que são gaiolas e há escolas que são asas, MAR - Museu de Arte do Rio de Janeiro, Rio de Janeiro (2014); Vendas de sorvete provocam ataques de tubarão, Mendes Wood DM, São Paulo (2013); The state of the art, Elba Benítez gallery, Madrid (2013); Repeat to Fade, Mendes Wood DM, São Paulo (2012.); Mythologies, Cité des Arts, Paris (2011).

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