The visual artist, Armarinhos Teixeira, lives and works in São Paulo. Studies, in his artwork, the morphology of things that are among the city , the forest and the arid areas. An intense pathway of expression , the construction of new back ups, which spreads as a contemporary mirage. From there, he creates in extension: sculptures, installations , drawings and interrogative in other medias. Armarinhos Teixeira, was born, lives and works in São Paulo. In 1982, participates in workshops at Centro Cultural São Paulo and later specialized art workshops at USP-SP Exhibitions Collective - Pinta art fair - Miami - Galeria Clima 2019 solo - Centro Cultural Correios SP 2019 Collective - Galeria Clima ,Brasilia Brasil 2019 solo - Museu Nacional da Republica, Brasilia 2019 solo - Galeria Legado Arte,São Paulo 2018 solo - USP Centro Universitário Maria Antonia,São Paulo 2018 Collective - Galeria HAG ,São Paulo Brasil 2018 intervention urban sculpture,River RHY,Basel Suiça 2017 solo - WTO OMC in Geneva ,Suíça 2017 solo - consulate general in Geneva, Suiça 2017 solo - foundation Brasilea ,oblique morphol,Basel Suiça 2016 Collective - "Face to Face" exhibition from the Ernesto Esposito collection, Palazzo Fruscione, Salermo, Italy, 2016 Collective - ArtRio, Rio de Janeiro, Brasil 2016 Solo - brasilea Morfologia obiliqua, Basel, Switzerland 2016 Collective - SP- arte, São Paulo, Brazil, 2016 Solo - Arte Hall Gallery - E-arte Gallery, São Paulo, Brazil, 2015 Collective - Arte Hall, SP-arte, São Paulo, Brazil, 2015 Collective - Salar Gallery, Art Lima, Lima, Peru, 2015 Collective - SP-arte, São Paulo, Brazil, 2015 Collective - Art Rio, Rio de Janeiro, Brazil, 2015 Collective- Barcú /Bogotá, Colombia, 2015 Solo - Feira Parte, contemporary art fair, São Paulo, Brazil, 2015 Solo - SORO Occupation, São Paulo, Brazil, 2105 Collective - Pilar Gallery, São Paulo, Brazil, 2015 Solo - “Organismo Doce”, Banco do Brasil, Manhattan, New York, USA, 2013/14 Solo - E- arte Gallery, Feira Parte, USP, São Paulo, Brazil, 2014 Collective - “Memórias”, Home Art Gallery, Brasília, DF, Brazil, 2013 Collective - MGS, Museu da Gente Sergipana, Aracaju, Sergipe, Brazil, 2012 Solo - MHS, Museu do Homem Sergipano, Aracaju, Sergipe, Brazil, 2012 Solo - "Ao comparável Atiramos”, RV Gallery, Salvador, Bahia, Brazil, 2012 Collective - Recoleta Cultural Institute, Buenos Aires, Argentina, 2011 Solo - Espaço Semear Fotografia, Aracaju, Sergipe, Brazil, 2011 Solo - Jewish Cultural Institute, São Paulo, Brazil, 2010 Collective - Marcos Caiado Gallery, Goiânia, Goiás, Brazil, 2010 Collective - First Contemporary Art Show, Goiânia, Goiás, Brazil, 2010 Collective - Gallery Plastique, São Paulo, Brazil, 2007 Collective - POP Gallery, São Paulo, Brazil, 2007 Solo - Memorial da America Latina, São Paulo, Brazil, 2007 Solo - Gallery B.I.L, Salvador, Bahia, Brazil, 2006 Solo - Cultural Institute Banco Real/ Santander, Porto Alegre, Rio Grande do Sul, Brazil, 2003 Solo - Cultural Institute Bandepe/ Banco do Estado de Pernambuco, Recife, Pernambuco, Brazil, 2002 Acquis Works: Cultural Institute Banco Real /Santander, Recife, Pernambuco, Brazil Cultural Center Vergueiro, São Paulo, Brazil Petrobras, Salvador, Bahia, Brazil. Cultural Center UFG, Goiânia, Goiás, Brazil MAC, Museu de Arte Contemporanea de Goiás,Goiania / Brazil MAM, Museu de Arte Moderna, Rio de Janeiro, Brazil White Box, Manhattan, New York, USA Arte Perpetual Establishment,Basel Suíça ABOUT BEINGS AND THINGS "Every landscape is a state of mind." Fernando Pessoa Landscape painting has been the structuring element of Brazilian art since its very beginning.Frans Post and all the travelling artists who came here had as their purpose to register and to document the Brazilian flora and, many times, having fallen in love with it, imprinted persinal characteristics on it and allowing touches of creativity coming from the love that the tropical lusciousness caused in them.After the French artistic mission of 1815 this commitment to the landscape turned into a challenge to the empire, turned into State politics : to build starting from the local landscape, an aesthetic which would reflect the proposal of implementing below the Equatori e, a European nation of gigantic dimensions amidst the lusciousness and the overflowing of tropical vegetation: " Gigantic by your own nature, you are beautiful, you are strong, serene giant!" (1) This investment in the construction of a national identity through the landscape space which surrounds us gets stronger in the 20th century, with the Modernists and their challenge to create a form which would be able to integrate universal postulates with some specific Brazilian characteristics: the first Modernists strived to find this synthesis and ended up leaving the legacy of a broad and truthful panel of the national diversity, turning the landscape into an instrument which, metaphorically, reveals the complexity of the social relations in the country. Later, Burle Marx and Krajcberg, antipods in their actions, incorporated landscape as a basis of their artistic carrers, striving to, with immense talent, organize the tropical beauty in delimited territories building a surprising mosaic of colors and textures which manitest themselves in various techniques and stands and the other creating high impact objects coming from destruction, greed and lack of respect for Ecology and giving them a voice and meaning through a political discourse which causes a feeling of bewilderment and enchantment through man as agent of death, and art as an instrument of ressurrection. In our contemporary world, art amplifies its functions and its horizons, looking for its place in several spaces and segments of our complex cultural network.The traditional idea of contemplative art or art commited to the construction of a supposed ideal world to be projected in the future gives way now to a guerrilla action, looking for paradoxes, causing reflections and proposing concepts which justify the way they present themselves.Tunga, once, defined the contemporary artist as someone " who puts together distinct things".The contempotary creation consists of the ability to understand art as an instance of the process of knowledge, a challenging element which teases truths and suggests reflections through the manipulation of elements which come from science, from research, and from art and from sensitivity.This articulation of knowledges , , in which the temporal instance acts with impact and precision is present in different and distinct Brazilian artistic productions besides Tunga: Nuno Ramos, Angelo Venosa, Jose Rufino, Marcos Coelho Benjamim are some artists who define their production through this confluence of information. This is the universe in which Armarinhos Teixaira' s production is, building a landscape which refuses passive contemplation and which puts together, in an original and striking way, the Botanics phenomena, processes and rules within the artwork itself, which so identify itself as a symbiosis between science and art. The serial objects created by the artist surprise us by their courage and boldness. They organize themselves as a body in which the structure, the fabrics, and the saps articulate a composition of great visual impact.They are so intrinsically hybrid, guardians of a secret temple, visitors of a distant territory, watchmen of an indecipherable order half mechanic and the other half ideas, half death and half life, half silence and half joyful noise.And then they are in front of us, cyborgs of an unknown world, contemporary sphinxes waiting to be deciphered, challenging reason, teasing the senses, teaching us, as the samba says, " that life is not only what we see, it is a lot more, that eyes can not perceive..." (2) So, they form themselves, elements of a landscape which transforms itself every day, dialetic movements under the guidance of time and about the action of art as a tool of constructiom of elements without memory, surprised, unbelieving, mysterious in their strange way of being, in their strange form of life.This is why, in front of them, we ask as if we were in front of our own mirror: where did they come from, who are they, where are they going to? And there they are grouped, elements coming from the same community, from the same genetics, from the same intelligence, members of the same collective, of the same colony. This is the beginning, the essence: between beings and things, these objects/ individuals articulate themselves in the construction of a private language, in the visual comparison between them, same and different, beings of each geography, of each moment.About them, for an exhibition in the Museu Nacional in Brasilia, I wrote: " They create dialogs between the world of the living beings and the inanimate objects. In this small world created by the artist, as dwelling of his ideas and of his objects, it is necessary to breathe and perceive slowly the dynamic of things." If, in this exhibition in the Capital city of Brazil, these objects seemed to integrate a community which appeared through the solid surface of a permanent basis, in search of verticality and of height, here and now, in Sao Paulo, in his first big exhibition in his hometown, in Centro Cultural Correios, Armarinhos Teixeira comes from a submerged world, starting from research he did in Amazonia, where the movement of waters, the ebb and flow of the waters profoundly changes the landscape, conducted by the rythm of the ebbs and flows.In this new series, the submerged colonies create elements of great visual potency, in which time is the conductor of their transformations.So, industrial materials incorporate water plants and carnivorous plants, connecting them as nutrient transportation systems which make each artwork something in permanent transformation, mutant elements, precise and extremely poetic metaphors of walkers who live their karma of walking in the world looking for their meaning and for their reason. Marcus de Lontra Costa São Paulo 2019 ESTRANHA PAISAGEM

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