Lives and works in São Paulo. He is PhD student at the University of São Paulo. He focuses his artistic research on languages such as painting, performance and installation. His main exhibitions include: Between the Painting and the Body (São Paulo, Brazil, 2019); 28ª Mostra de Arte da Juventude (Ribeirão Preto, Brazil, 2017); Erasure (São Paulo, Brazil, 2017); 66º Salão Paranaense (Curitiba, Brazil, 2017); 23° Salão de Artes Plásticas de Praia Grande (Praia Grande, Brazil, 2016); 44º Salão de Arte Contemporânea Luiz Sacilotto (Santo André, Brazil, 2016); 21º Programa Nascente (São Paulo, Brazil, 2013); Trezetreze (São Paulo, Brazil, 2013).

CV

Renato Castanhari (1988)
Lives and works in São Paulo

EXHIBITIONS

2019
Between the Painting and the Body, Espaço das Artes ECA-USP, São Paulo. Brasil (solo)

2018
7º edição do leilão anual do Pivô, São Paulo, Brazil
Que Horas São?, Galeria Sancovsky, São Paulo, Brazil
A Imensa Preguiça, Galeria Sancovsky, São Paulo, Brazil

2017
28ª Mostra de Arte da Juventude, Sesc, Ribeirão Preto, Brazil
É Tudo Pintura, Aura Gallery, São Paulo, Brazil
Erasure, Galeria Sancovsky, São Paulo, Brasil (solo)
66° Salão Paranaense, Museu Oscar Niemeyer, Curitiba, Brazil

2016
23° Salão de Artes Plásticas de Praia Grande, Praia Grande, Brazil
44° Salão de Arte Contemporânea Luiz Sacilotto, Santo André, Brazil
7° Salão dos Artistas Sem Galeria, São Paulo, Nova Lima e Goiânia, Brazil

2013
21º Programa Nascente, Maria Antonia, São Paulo, Brazil
Trezetreze, Paço das Artes, São Paulo, Brazil

EDUCATION

PhD student in Arts (2020), University of São Paulo 
MA in Arts (2017-2019), University of São Paulo
BA in Arts (2010-2013), University of São Paulo

AWARDS

44° Salão de Arte Contemporânea Luiz Sacilotto (2017)

TEXTS

Erasure by Nathalia Lavigne (2017)

There is a needed distance when looking at Renato Castanhari’s works presented in this exhibition. Despite the inviting reduced dimension of the canvases and objects, one must stand afar in order to observe the game of shadows created by the artist – whether with lighting effects, or with painted fictitious silhouettes. Or even the transparency of the canvases that are left with very little paint, revealing the structure of the wooden chassis.
 
At given times, this distance becomes nearly mandatory, such as when we come across an iron bar, painted in black, that is transversally fixed to the wall, occupying a space that forces a detour. Subsequently, a small painting invites us to an opposite movement. Our gaze seeks a new approximation: whether to closely see the minimum layer of paint that still shows the fabric’s weave; or, at another moment, to understand the subtlety of an object created from a folded textile dipped in acrylic paint, which becomes a tiny canvas (2x2 inches) with somewhat imprecise shape and volume.
 
The conflict between distance and proximity that seems to give rhythm to this exhibition has a few classic precedents. Barnett Newman – for whom the disorientation caused by seeing large paintings up close, such as Vir Heroicus Sublimis (1950-51), was an essential part of the experience, even when the natural tendency was to contemplate the work from afar – is maybe the clearest example referenced by the artist. But, in Castanhari’s case, the reason for this clash is a little different. Even though he deals with similar issues, like the canvases’ limits, his greater interest lies in confronting the ambiguous relation between these works and the space. These objects contain a latent desire for leaving the two-dimensional medium, despite remaining on the wall – they are somehow trapped in this condition.
 
Although the expansion process of the paintings towards the space isn’t completely realized, it is still outlined in a gradual and fragmented manner. That way, the sense of erasure (which titles the show) is an essential concept. If in the artist’s initial production one could already observe the removal of certain elements, colors and layers, this gesture also becomes an attempt to dematerialize the medium. It starts in the paint application reduced to minimal operations – like in the painting that is restricted to a concentrated paint mass on the left bottom corner. Then, in the fabric pieces that seem to break loose from the canvas – or other pieces that are already completely detached and become autonomous objects.
 
The way some of these textiles are exhibited – vertically stretched and stiffened after being dipped in acrylic paint – also reveals the artist’s preference for this format. A corporeal verticality appears as a direct reference in this choice, in a proportion duplication that is realized in the coming and going movements, somewhere between the distance and proximity in constant definition. Exhibition page

66º Paranaense Hall by Danillo Villa (2017)

Procedures that are softened memory of other procedures. Fabrics that almost cover a wooden frame are then an almost canvas. In assimilating incompleteness, contrary to the anxiety of the shape that one wants to close, complete, we find the freedom of open speech. The pauses and the silences, the individual potencies suggested by the shapes that adjust without indication of a definitive finality.

The shapes present themselves as poetic instances to reconstruct senses and thus create new possibilities of experiences. A fabric wears a wooden frame, so that it receives a layer of color, a step by step that increases the density of the object, its speech, formed between the non-said and the friction, lives between the lines. Are wide the pauses and the silences that the work of the artist Renato Castanhari proposes to us.

Between painting and the body: reports and thoughts on an artistic practice (2019) – Master's Dissertation

Abstract: This master thesis is an experiment in reflection about my artistic practice developed in recent years. The aim is to understand spatial, material and corporeal aspects related to the works from the investigation of the shadows, lights, reflections and transparencies that constitute them. The works are organized in a memorial divided in the following chapters: Shadow and Light, where I comment the first works and impressions of the city of Berlin, Space and Matter, that deals with the works made from 2016 until 2018 and Body Reflections, in which I discuss recent paintings, objects, performances and installations. Dissertation (Portuguese)

CONTACT

r.castanhari@gmail.com
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