Fernando Lindote (Sant’ Ana do Livramento, RS, 1960). Lives and works in Florianópolis.
In 20 years, Fernando Lindote’s career had already passed through painting, performance, photography, video, installations, a variety that goes also through public scale, urban insertion works, along with a considerable cast of hybrid works; artworks that meet a fusion of two or more supports. The persistent research of expression channels is alone an aspect that guarantees the artist a very particular position among his generation mates and even among the younger ones. Though since the 80’s, it had been difficult to find an artist defined by the militancy in a specific support; a phenomenon that justifies itself, as Marcel Duchamp wished, in the affirmations of art as an activity that defines itself more by the intellectual aspect than by its craft sphere. The fact is that Fernando Lindote goes beyond the expected.
Used to his prolific diversity, his public, still unfairly reduced, keeps waiting the foreseen new ways that they will impose to his researches. It is the same saying that this public is waiting for something that does not even imagine what it is. Since the eminent Maiakowsky quotation that there is no revolutionary content without a revolutionary shape, he had over flown from literature to visual arts, what happened in generalized proportions since the 50’s. It was established the prospect ion needs of new expressive supports without slipping into already crystallized notions.
The curious is that for some artists, the support research became, in a single time, the way and the aim of the question. It is, it was not only about discovering the new issues brought up by the new ways, but about deeply put in question the functions of this way. Experimenting the canonic painting until the vast and multi-shaped production, seems to ask obsessively and systematically about the nature of each expressive support and its body condition. It seems for me, that is not for any other reason, that his work puts the body itself as a current problem to be investigated on the most varied aspects. Source and first instrument of all expression, the body should be analyzed, for example, in terms of the gestures it produces, it is, its capacity of world modification. Formalization desire that is men’s intrinsic, his impulse in denying the nature, ends in changing shape in varied levels. (Agnaldo Farias)
In 20 years, Fernando Lindote’s career had already passed through painting, performance, photography, video, installations, a variety that goes also through public scale, urban insertion works, along with a considerable cast of hybrid works; artworks that meet a fusion of two or more supports. The persistent research of expression channels is alone an aspect that guarantees the artist a very particular position among his generation mates and even among the younger ones. Though since the 80’s, it had been difficult to find an artist defined by the militancy in a specific support; a phenomenon that justifies itself, as Marcel Duchamp wished, in the affirmations of art as an activity that defines itself more by the intellectual aspect than by its craft sphere. The fact is that Fernando Lindote goes beyond the expected.
Used to his prolific diversity, his public, still unfairly reduced, keeps waiting the foreseen new ways that they will impose to his researches. It is the same saying that this public is waiting for something that does not even imagine what it is. Since the eminent Maiakowsky quotation that there is no revolutionary content without a revolutionary shape, he had over flown from literature to visual arts, what happened in generalized proportions since the 50’s. It was established the prospect ion needs of new expressive supports without slipping into already crystallized notions.
The curious is that for some artists, the support research became, in a single time, the way and the aim of the question. It is, it was not only about discovering the new issues brought up by the new ways, but about deeply put in question the functions of this way. Experimenting the canonic painting until the vast and multi-shaped production, seems to ask obsessively and systematically about the nature of each expressive support and its body condition. It seems for me, that is not for any other reason, that his work puts the body itself as a current problem to be investigated on the most varied aspects. Source and first instrument of all expression, the body should be analyzed, for example, in terms of the gestures it produces, it is, its capacity of world modification. Formalization desire that is men’s intrinsic, his impulse in denying the nature, ends in changing shape in varied levels. (Agnaldo Farias)
