The Artist is obsessed with storing up and stocking objects full of stories, and he is used to working with what he calls “sur- face transplant”. In {[( )]}, boxes from several times and origins form a free book.

Thiago Honório [Carmo do Paranaíba, MG, 1979] lives and Works in São Paulo. Represented by Galeria Luisa Strina. Recent solo shows: Solo, Luisa Strina [São Paulo, 2017]; Trabalho, MASP [São Paulo, 2016]; Títulos, Paço das artes [São Paulo, 2015].


“‘What is deeper in a man is the skin’. Paul Valéry
An emphasis on the notion of surface, starting from the celebrated phrase of Paul Valéry (1871-1945), as well as a meeting of distinct temporalities, are ideas dear to the production of Thiago Honório and that can be perceived in works of the artist like Documents (2012), Prêt-à-porter (2013) or Penca (2014), for example.
The procedures for collection, appropriation, cutting, assembling, serialization, editing, sorting and assembling in these works in spite of different languages ​​are clearly noted. Such notions can also be understood in the whole of the artist’s production as recurrent elements in it, presenting itself in this or that way, in this or that work, acquiring this or that physiognomy, so to speak, not giving up a free transit between the languages.
Between braces, brackets, and parentheses – does not fail to accentuate a transit between inside and outside, between what is guarded or lost forever. The arrangement can also be understood as a “painting” revealed by the variety of colors and surfaces that line the interior and exterior of these cases, boxes and displays. They are diverse surfaces: paper, wood, metal, leather, suede, satin, linen, velvet and silk of varied prints and colors: blue, violet, purple, oranges, greens, among others.
The book then presents from its folds and creases a kind of play of alternations and successive contrasts between worn and new surfaces, which also reveal, through their cavities, bas-reliefs and reentrances , an emptiness: the absence of the object. This project can also be understood as an unfolding, in the strictest sense of the term, of works previously performed by the artist.
As is well known, the book taken as the locus of production of another space-time experience has long been explored by several artists. The workbook {[()]} takes up these questions from a meeting of distinct temporalities – an empty showcase of 1840, for example, living alongside another from 2015 – which he brings into his body, summoning them to a debate.
The reader has the freedom to compose the book the way you want: by colors, shapes, sizes. In the words of the artist “When I made this book I also thought of the verb free conjugado in the first person singular: I book. The book tells of what you got rid of and that was lost one day. They are shifted in time and space in four centuries, cleared and new, planned and printed in a natural scale 1:1, but also evocative urns, coffins, abysses, given the significant surfaces, satin, velvety, recesses and cavities, by the absence and the void “pornographically” declared. I was interested in the transit between the inner and the public spheres, and how this movement is maintained indefinitely in the case of this circular mass. I wanted my first book to be free: free to a non-hierarchical manipulation by the reader, not authoritarian, without pagination, without causal sequence, devoid of the idea of ​​development (it was hard to get the ISBN, we were refused four times, but we won), unchained; which was ludic and libidinally mounted, disassembled and reassembled in any configuration by that same reader in his own way and pleasure. That the text was textile – fabrics – with an emphasis on a tactile, sensorial appeal. A free book.”

{[( )]}

Thiago Honório


ISBN 9788567769073
160 pages
32 x 42 cm
500 numbered copies
R$ 350,00
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