Daniel Bilac
nov - jan. 2016/2017


4

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

6

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

8

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

9

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

15

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

20

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

24

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

26

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

31

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

32

DANIEL BILAC
NOV – JAN. 2016/2017
FOTO: DANIEL MANSUR

I want you to hate me
Daniel Bilac

Celma Albuquerque presents an individual by Daniel Bilac entitled I want you to hate me. The works that make up the exhibition show elements that are apparently disconnected. Tear gas bombs, helicopters and uniformed policemen share the compositions with domestic objects and childish characters. To the artist, this inventory of images so vast and diverse dialogues with the increasingly trivial presence of different forms of violence in the daily lives of cities.

Between the ridiculous and the precarious
To Daniel, the year 2016 was a turning point in what he considers a shaking of dialogue as a tool for reconciliation. In the symbolic and political disputes of the past months, the artist identifies that “aggressiveness and intolerance are openly present in conservative discourses. Furthermore, they are expressed in deliberately infantilized symbols, such as inflatable dolls, cartoons and mascots”.

Superimposed on the appropriations of these symbols, the works also bring erasures: spray stains, charcoal scratches, doodles and shapeless masses, which come close to the visuality of graffiti and other unofficial interventions in the public space. According to Daniel, these marks evoke “an aesthetic of resistance and disobedience, which is still a trail of power struggles in the city”.

This set of elements also coexists with representations of domestic and common objects – “the support for violence, whether physical, symbolic or institutional, is no longer embarrassing or shocking: it is present in conversations, in police news and in every daily experience ”, says the artist.

The show features works of varying dimensions and formats. Papers, rubberized surfaces, wooden sheets and fabrics are some of the supports explored. In addition, many works have an apparent assembly structure, leaving screws, cuts and splices visible. “It is a flagrant material precariousness, but it is also an element of strength”, concludes Daniel.

Daniel Bilac (1986) is a visual artist graduated from the School of Fine Arts at UFMG. He has already performed the individual Monumento Vidraça Monumento Ruína (Centro Cultural São Paulo, 2015 and Memorial Minas Gerais Vale, 2014), Manual da espera (FAOP, 2013); Quando eu disser seu nome (Celma Albuquerque Galeria de arte, 2011) and Tudo o que tem dente morde (Galeria de Arte da Cemig, 2010).