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    "To study architecture, in the 1960s Juraci Dórea (1944, Feira de Santana, Brazil) moved from his home-town to Salvador, where he witnessed the intense cultural production that arose there out of the encounter between the experimental vanguardist attitude and the singular experience of a territory steeped in an Afro-Brazilian heritage. After earning his degree, Dórea returned to his hometown of Feira de Santana. There, he began to construct a consistent oeuvre, which gradually brought about a convergence of contemporary visual languages with backcountry roots and traditions.In the 1980s, Dórea’s telluric connection took on another power of magnitude. After beginning his Projeto Terra [Project Earth] (1982 - ), he not only assimilated backcountry artisanal know-how, but also traveled deep into the Bahian backcountry to implant his works in that landscape, often making use of the materials he found in the fields and pastures. Due to this new focus, the primary public of his work was no longer the urban visitor of cultural institutions but rather an audience consisting largely of backcountry dwellers. The records produced in this context, in the form of photographs, films, reports and texts, document not only Dórea’s creative trajectory, but also countless shocks and rearrangements between conceptions of art, language and territory"  –  source: Biennial Foundation, São Paulo (2021)

     

    Juraci Dórea has participated in important institutional exhibitions, such as Contemporary Artists from Bahia (São Paulo’s Museum of Contemporary Art, 1983), 19th International Biennial of São Paulo (1987), 43rd Venice Biennial (Italy, 1989), 3rd Havana Biennial (Cuba, 1989), Projeto Terra (Université Paris 8, France, 1999), 3rd Bahia Biennial (Salvador, 2014), 10th Mercosul Biennial (Porto Alegre, 2015), Memories of Underdevelopment (San Diego Museum of Contemporary Art, USA, 2017), À Nordeste (SESC 24 de Maio, São Paulo, 2019). His works are part of the collections of the Museum of Modern Art of Bahia (Salvador/BA), Museum of Contemporary Art of Feira de Santana (BA), Museum of Contemporary Art of Paraná (MAC-PR), among others.

     

    In 2021, Juraci Dórea will have a solo exhibition inside São Paulo's 34th International Biennial - Click here to learn more  |  Click here to see the artist full CV.

     

     

  • Estandartes do Jacuipe XII (1978) Estandartes do Jacuipe XII (1978)

     

    Initiated in 1975, this series presents rhythmic and symmetrical compositions made with cow leather and sewed with the same processes as the ones used by farm workers in the hinterlands of Bahia.

     

    "Dórea's work goes beyond the cultural province to propose itself as country and rural art. The emphasis is not on the subjectivity of the author, but on the objectivity of his relationship with local populations. It is not his inner ghosts that he intends to exorcise, but the vices of an art that, although being regionally thematic, is destined for an urban cultural elite. Regional his art is, not only in the themes and models adopted, but also in the materials he uses - leather, wood. "

     

    Frederico Morais (in Juraci Dórea's popular and country art: an utopia? -  Cordel Editions, 1987)

     

     

     

  • "Juraci Dórea's supreme originality does not lie only in the themes and materiality employed. In Brazilian art, we have other artists mining the same thematic lines [...] The problem is that this thematically regional production will always flow into the traditional art circuit, that is, the works are exhibited in galleries and museums. Dórea's proposal is different, he wants to reverse this process, 'to make art without urban references and show it in the very environment that inspired it, the sertão'. In other words, he intends to set a counterpoint to art history. By exhibiting his paintings at open markets, porches, under the shade of leafy trees, or painting his murals on old adobe walls in some tiny village, Juraci Dórea is performing, in his own way, public art, turning into reality an old dream of museologists: open-air museums"  –  Frederico Morais, 1987.

  • Terra (1982)

    The video documents the process of Projeto Terra [Project Earth], under development by Juraci Dórea since 1982.

     

    "With his raw leather and wood sculptures, placed on crossroads, open spaces and ecological reserves, functioning as some kind of totems or solitary landmarks of great visual impact, Dórea approaches very contemporary proposals. It would not be totally absurd to speak of a conceptual or procedural art from the countryside, and also of an ecological art (earth or land-art) - as well as art “povera” - as he uses “poor” materials seeking to archive a “cultural and landscape identification with the region”. The fact that Dórea always place these sculptures in open and unprotected spaces shows that he seeks a "semantic interference" from the public and time"  –  Frederico Morais, 1987.

     

     

    • Juraci Dórea Triângulo com chocalhos, 1980 138 x 130 x 8 cm unique
      Juraci Dórea
      Triângulo com chocalhos, 1980
      138 x 130 x 8 cm
      unique
  • Public exhibition at Saco Fundo, Monte Santo, Bahia. 1985

    Public exhibition at Saco Fundo, Monte Santo, Bahia. 1985

  • Histórias do sertão III (1983) Histórias do sertão III (1983)

     

     

     

     

    "The use of coal was aligned with the research I was doing at the time, handling rustic and poor materials. In addition, it was inspired by the illustrations of popular themes oftem used in cordel leaflets. A colourful frame, with simple geometry that reminded me of the lights displayed at amusement parks and rural parties, completed the proposal"  –  Juraci Dórea, 2021.

     

     

     

     

     

     

    • Juraci Dórea Histórias do sertão XV, 1984 140 x 100 cm unique
      Juraci Dórea
      Histórias do sertão XV, 1984
      140 x 100 cm
      unique
    • Juraci Dórea Histórias do sertão LXXVI, 1987 140 x 100 cm unique
      Juraci Dórea
      Histórias do sertão LXXVI, 1987
      140 x 100 cm
      unique
    • Juraci Dórea Histórias do sertão XXXIX, 1985 100 x 100 cm unique
      Juraci Dórea
      Histórias do sertão XXXIX, 1985
      100 x 100 cm
      unique
    • Juraci Dórea Histórias do sertão LXX, 1986 100 x 100 cm unique
      Juraci Dórea
      Histórias do sertão LXX, 1986
      100 x 100 cm
      unique
  • ECCE HOMO VIII (1990) ECCE HOMO VIII (1990)

     

     

     

    The ECCE HOMO series started with three works that participated in the 1989 Contemporary Art Salon of Pernambuco, Brazil. The meaning of the title, “Here’s the man”, echoes Dórea's desire to represent the violence and political polarisation that profoundly affects Brazil and the development of the country’s North part, a phenomenon that has been worrying him since the 1960s. Part of this series was also presented in the context of Bahia’s 3rd Biennial (2014), inside the State’s Public Archive.

     

     

     

     

     

    • Juraci Dórea ECCE HOMO IV, 1990 60 x 60 cm unique
      Juraci Dórea
      ECCE HOMO IV, 1990
      60 x 60 cm
      unique
    • Juraci Dórea ECCE HOMO V, 1990 60 x 60 cm unique
      Juraci Dórea
      ECCE HOMO V, 1990
      60 x 60 cm
      unique
    • Juraci Dórea Diálogo com Ivens Klein I, 2014 250 x 110 cm unique
      Juraci Dórea
      Diálogo com Ivens Klein I, 2014
      250 x 110 cm
      unique
    • Juraci Dórea Música de Câmara, 2017 80 x 11 x 4 cm unique
      Juraci Dórea
      Música de Câmara, 2017
      80 x 11 x 4 cm
      unique
    • Juraci Dórea Memória, 2017 53 x 8 x 3 cm unique
      Juraci Dórea
      Memória, 2017
      53 x 8 x 3 cm
      unique
  • Concerto para raposas e violoncelo (2006) Concerto para raposas e violoncelo (2006)

     

     

    “Pioneering land-art artist in Bahia, in Concerto para raposas e violoncelo [Concert for foxes and cello] Dórea resumes the discussion on ephemeral supports and explores new plastic possibilities offered by common materials found in the environment in which he lives. The work, formed by three wood sculptures, stainless steel and livestock manure, refers to the old cattle paths that cross the region and connect the ocean coast to the hinterlands, as well as to the extensive pastures that are constantly marked by the hooves and excrement of animals" - Alejandra Hernández Muñoz, in a text produced for the exhibition Pontos Cardeais [Cardinal Points]. Museum of Contemporary Art, Feira de Santana, Bahia, 2011.

     

    The work was also presented at Bahia’s 3rd Bahia (2014) and the 10th Mercosul Biennial (Porto Alegre, Brazil, 2015).

     

     

     

    • Juraci Dórea Ecce Homo X, 1994 160 x 220 cm unique
      Juraci Dórea
      Ecce Homo X, 1994
      160 x 220 cm
      unique
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