Metragens Pablo Accinelli and Gustavo Silvamaral

For the first time since its opening, the deck at Casa de Cultura do Parque is being occupied by two artists simultaneously. Pablo Accinelli (Buenos Aires, 1983) and Gustavo Silvamaral (Brasília, 1995) present “Metragens”, a collaborative project that explores the relationship between object, body, time, and space to investigate different ways of measuring and perceiving the world. Using shared materials such as glass and metal, the artists create interventions conceived specifically for the outdoor area, transforming the way these objects are viewed and experienced. The critical text is written by curator and researcher Omar Porto.

Pablo Accinelli lives and works in Buenos Aires. His works propose visual systems that oscillate between the literal and the metaphorical, use and observation, investigating the structures that shape ways of inhabiting and interpreting the world. Bringing together object and representation, language and function through drawings, sculptures, and installations, the artist intervenes in the deck’s garden with a kind of aquarium-like glass structure.

Excavated and built into the ground, the glass structure houses a series of cleaning products, most of which are made of plastic—a material with one of the longest lifespans—and establishes a direct dialogue with the ephemeral state of the fountains created by Gustavo Silvamaral, which, at the same time, never cease due to the continuous flow of water.

Visual artist Silvamaral explores sculpture as a natural extension of painting, proposing a possible coexistence between these languages. In his works on the deck, composed of bottles, glasses, steel, and aluminum, the artist combines distinct cultural references and extends the gesture of appropriation also present in Accinelli’s work. However, regarding their respective approaches, Omar Porto observes that the objects are activated through actions of different natures. “The exhibition questions the meanings of language, its representations and arbitrariness, without resolving an enigmatic aspect that activates perception and reveals the inexhaustible dimension of the production of meaning,” he concludes.