OS TRES CAVALEIROS DO APOCALIPSE / Paulo Nimer Pjota, Thiago Martins de Melo & Gustavo Speridiao

To witness the unfathomable one must embrace the odds of disorder; only by distancing ourselves from ordinance are we able to encounter new dialogues that challenge the standards and preconceptions to which we are subdued as spectators. The embodiment of entropy is often disguised by symbols and elements that permeate the collective subconscious; behind the mask of chaos lies a burning desire to disrupt the established systems and defy all notions of alleged hierarchy. The concepts of communal aesthetics and philosophies associated with a type of activism need to be taken out of a specific geopolitical context in order to establish themselves in a new spectrum of collective identities, in this particular case it is the language of rebellion which aims to dispute the notion of cultural hegemony by bringing down any intellectual barriers associated with a categorical background in order to orchestrate the spirit of eternal rebellion. In order to untangle the components that trigger these powerful compositions one cannot look away from the common thread that lies within an anarchic posture, a subversive inclination that stands out to protest and leave it´s mark upon the shared surface through the multiple materials and techniques employed by Paulo Nimer Pjota (1988, São José do Rio Preto), Thiago Martins de Melo (1981, São Luis do Maranhão) and Gustavo Speridião (1978, Rio de Janeiro).

Provided that the mutual platform acts as a metaphorical battleground, the clash between ideologies and aesthetics that is portrayed in this collaborative manifestation appears to be adherent to no other structure but genuine sedition. Dissecting each gesture or individual purpose would deviate us from the compelling dialog that empowers this rare complicity; beyond the testimony of chance the only “truth” adherent to these works is that “the strategic adversary is fascism”[1]. Albeit crude and somewhat disparate, the dialog created by these three artists whose approach to aesthetic composition couldn´t be more different from one another is able to summon a resonating force that lives beyond the paper it was manifested upon. This unprecedented conjuring of subversive natures is able to create a voice of it´s own that not only seeks to question imposed methods but also to manifest a new perspective that goes beyond geopolitical discrepancies and is able to provide a radical creative discourse. By capturing an untamed self-expression both in gesture and in content, these compelling compositions are the result of an intermittent collaboration that takes upon the improvised act of aesthetic intervention to create an incendiary body of work that goes beyond any individual limitations and pictorial conjectures.

The polarization of gestures and visual elements that characterizes this collaboration speaks in loud volumes and invigorating tonalities, by transgressing the traditional collage-like imposition of elements these works deliver a unique collision of dissident perspectives that not only enraptures the sight but also succeeds in challenging and consequently empowering the spectator.  [1]Michel Foucault on fascism