Casa Triângulo is pleased to present Eduardo Berliner’s third solo exhibition at the gallery. The exhibition brings together nineteen oil paintings on different supports [canvas and wood], as well as three groups of drawings. One of these groups consists of a set of ten notebooks made during the last year, the pages of which will be turned weekly during the exhibition period.
For Eduardo Berliner, the quality of the surface of wood has warranted its use as a support in recent years. According to the artist, because it is smoother than canvas, it decreases the friction of the brushstroke, allowing for faster and more fluid lines and the creation of a hybrid space between drawing and painting. It is important to note that some of these works received additional sheets of plywood during the process, thus emphasizing their speculative aspect.
Berliner works in an essentially introspective way: “Generally, the imagetic repertoire derives from the accumulation of records made on a daily basis over the course of years in my notebooks reconfigured by contact with the process of painting. They are notations of a distinct nature that fluctuate between the observation of my surroundings, information absorbed in a conscious and unconscious way, and a mapping of intimate questions with a strong psychological charge.” During the process of painting, in contact with the physicality of the materials, different questions of nature and temporality tend to coalesce, giving rise to images or situations that do not necessarily refer to a specific event, but rather to broad metaphors about the human condition.
An example of the temporality in Berliner’s work is found in the work A estranha permanência na memória das coisas vistas no escuro [The Strange Permanence in the Memory of Things Seen in the Dark], 2017. Consisting of 50 small drawings and texts in India ink and watercolor, the work is imbued by an intimist atmosphere where observations and distortions of memory live side-by-side, generating an oscillating narrative that delicately unites elements only to quickly tear them apart, with a simple movement of the eyes. The exhibition features text signed by portuguese author Valter Hugo Mãe.
Eduardo Berliner [Rio de Janeiro, Brazil, 1978. Lives and works in Rio de Janeiro, Brazil] held individual exhibitions at Casa Triângulo, São Paulo, Brazil [2016 and 2010]; at Fundação Eva Klabin, Rio de Janeiro, Brazil ; at Casa Daros, Rio de Janeiro, Brazil  and Centro Cultural Banco do Brazil, Rio de Janeiro, Brazil  and participated in recent group exhibitions: Com Título e Sem Título, Técnicas e Dimensões Variadas, Museu Oscar Niemeyer, Curitiba, Brazil; Utopia de Colecionador o Pluralismo da Arte, curated by Ricardo Resende, Fundação Marcos Amaro, Itu, Brazil ; Projeto Cavalo: Quadrivium 8 patas, Instituto Tomie Ohtake, São Paulo, Brazil ; Bestiário, curated by Raphael Fonseca, Centro Cultural São Paulo, Brazil ; Os Muitos e o Um: Arte Contemporânea Brasileira, curated by Robert Storr, Instituto Tomie Ohtake, São Paulo, Brazil; A cor do Brasil, curated by Paulo Herkenhoff e Marcelo Campos, MAR - Museu de Arte do Rio, Rio de Janeiro, Brazil ; Dark Mirror . Lateinamerikanische Kunst Seit 1968, Kunstmuseum Wolfsburg, Wolfsburg, Alemanha; E se quebrarem as lentes empoeiradas?, Instituto Tomie Ohtake, São Paulo, Brazil; Pangaea II: News Art From Africa and Latin America, Saatchi Gallery, Londres, Inglaterra ; 30ª Bienal de São Paulo, curated by Luis Pérez-Oramas, São Paulo, Brazil . Prizes: Pipa Prize, Brazil – Finalist ; CNI_SESI Marcantônio Vilaça, Brazil . Public Collections: MoMA- Museum of Modern Art, New York, EUA; K 11 Art Foundation, Hong Kong, China; Daros Latinamerica AG, Zurique, Suiça; The Saatchi Gallery, London, UK; Coleção Gilberto Chateaubriand, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil; Coleção Banco Itaú S.A., São Paulo, Brazil; Museu de Arte Moderna de São Paulo, São Paulo, Brazil; Museu de Arte do Rio de Janeiro, Rio de Janeiro, Brazil; Pinacoteca do Estado de São Paulo, São Paulo, Brazil.