Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"The ideas that drive Neto's works are never singular, but a dense web of interests and observations drawn directly from experiences of contemporary life itself. At any time, one can always find equal measures of opposing concepts: order and entropy, nature and nurture, restraint and excess, mechanical and organic. These dualisms represent a more conceptual type of tension at play in Neto's work that mirrors the physical tension present through hid materials….Despite the abstract qualities of much of his artworks, there are always layers upon layers of themes and subjects informing their production, an abundance of thought that overflows the experience of them as discrete artworks and turns them into objects from and for life." Cliff Lauson, excerpted from Intimate Immensity in "Ernesto Neto.
"The ideas that drive Neto's works are never singular, but a dense web of interests and observations drawn directly from experiences of contemporary life itself. At any time, one can always find equal measures of opposing concepts: order and entropy, nature and nurture, restraint and excess, mechanical and organic..."
Cliff Lauson, excerpted from Intimate Immensity in "Ernesto Neto.
Published by Walther König, Köln. Edited with text by Hans-Peter Wipplinger. Text by Verena Gamper, Thomas Miessgang.
I am sculpture and think as sculpture, said Brazilian artist Ernesto Neto (born 1964). Neto aims to create an equally absorbing, boundary-blurring experience for his audiences, soliciting interaction and multisensory engagement from viewers of his engrossing biomorphic sculptural environments; he seeks nothing less than to create and to tap into a universal language of the senses. Ernesto Neto, published to accompany an exhibition-cum-Gesamtkunstwerk at the Kunsthalle Krems, is conceived as a retrospective and an opportunity to offer new insights into Neto’s biosculptural cosmos of sensuousness, intimacy and interrelationships (both human and material). Particular attention is paid in this volume to the roots of Neto’s work in the art history and culture of Brazil, from the Neo-Concrete art of Lygia Clark and Hélio Oiticica to the Tropicália theater, poetry and music of the late 1960s.
Published by Ediciones Polígrafa. Edited by Petra Joos. Text by Rainer Hehl, Franck Leibovici, Pedro Luz, Hannah Monyer, Luiz Alberto Oliveira, Raphaela Platow, Tania Rivera.
Though Brazilian artist Ernesto Neto (born 1964) defines himself simply as a sculptor, his works are created as total experiences to be entered, inhabited, felt and even smelled. He states: "What we have in common is more important than what makes us different. I'm interested in discussing the situation of humanity, the temperature and the things we experience." Ernesto Neto: The Body That Carries Me, published to accompany an exhibition at Guggenheim Bilbao developed in close collaboration with the artist, includes an extensive selection of his oeuvre from the end of the 1980s to the present. Some of his previous works have been reconfigured based upon the ideas and wishes of the artist, as well as for Guggenheim Bilbao's specific architecture. Captured beautifully in this volume, Neto's exhibition is a rich realm of smells, colors, emotions, language and sensory happenings.
Published by Hayward Gallery Publishing. Edited and introduction by Cliff Lauson. Text by Moacir dos Anjos, Philip Ursprung. Interview by Ralph Rugoff.
Brazilian artist Ernesto Neto (born 1964) draws on a variety of sources for inspiration, ranging from the natural world to department stores, modernists like Alexander Calder and Constantin Brancusi to Brazilian predecessors like Lygia Clark and Hélio Oiticica. Neto's multi-sensory environments exist, in the artist's words, "as a place of sensations, a place of exchange and continuity between people." This important survey is published to accompany an exhibition at London's Hayward Gallery, in which Neto reimagines the gallery's concrete spaces and brutalist architecture with a new site-specific commission and a number of new sculptural works. The artist's works incorporate the Hayward's outdoor sculpture terraces, creating an interrelated series of spaces in which the relationships between inside and outside are provocatively reconfigured. Spanning Neto's career to date, this publication contains texts by key international scholars.
With the complex installation From Sebastian to Olivia, Brazilian artist Ernesto Neto presents an artistic vision of organic relations. As the title suggests, this is a world of compressed spaces, originating from the knowledge that two people can share a room and still be cut off from one another by its architecture--unable to come into contact or communicate. Structurally, the work illustrates the isolation and loneliness of two spheres, male and female, while indicating that contact could become possible. “I am sculpture and think as sculpture,” says Neto, describing his perception that sculpture is a living organism and knows no bounds. In addition to subtle lighting direction and the use of scents, the artist employs stairways, a viewing platform, a swing, stools, free-standing sculptural works, spice drawings and wall sculpture to demonstrate this blurring of boundaries. Here, spatial and sensual layers are linked to recreate a world of organic membranes.