With the aim of bringing “Trinity of time” to public exhibition, also revisiting the experience of “Time as a verb”, Ío was invited by MARGS to take on and lead a curatorial project, proposing a process that started from convergence with its own thinking and artistic practices and also with their work as artist-curators.

In addition to these premises, the design was to explore unconventional and even experimental exhibition formats, also using the Museum’s collection. Thus, based on works from the MARGS collection, a project involving its production and that of other artists was conceived by Ío, taking place in the Black Rooms, with a dynamic model extended over time.

Thus, between December 2023 and March 2024, 3 movements were carried out, the first two resulting in a new exhibition proposal, with other works and interventions, always in relation to the different aspects present in “Trindade do tempo”; and the third brought the release of the album “Sete infinitudes”, by composer Caio Amon, and the performance “Abissal”, by dancer Camila Vergara.

The 1st movement, which marks the opening of the exhibition, presents the work “Trindade do tempo”, by Ío, in dialogue with other works from the MARGS Collection, bringing together the following artists:

Albano Afonso, Anthony Arrobo Veléz, Bruno Borne, Carla Chain, Carlos Fajardo, Dione Veiga Vieira, Dirnei Prates, Ío, Libindo Ferrás, Marina Camargo, Rodolpho Bernardelli.

The 2nd movement of “Trinity of time – or, a Torus”, [SINKING], in the Salas Negras do Margs, floods the previous exhibition: works have been lost, some are in the darkness of the sea, others appear facing the tide (such as Untitled , by André Severo) in a curation that is slowly destroying itself. This version features the installation [NAUFRÁGIO], created by Ío in collaboration with Tiago Gasperin, composed of 12 LED panels arranged in the space, which continuously show phrases in Closed Captions, an audiovisual product resource for accessibility for deaf or hard of hearing people, where the caption describes the sound that is happening in the scene.

The installation’s phrases refer to descriptions of the moment of a shipwreck, creating an instant suspended in time. The installation space starts to be navigated by the public who perceives and stops at each moment of the tragedy described as they see fit.

By operating with purely textual descriptions, which refer directly to the description of the sounds of events, [NAUFRÁGIO] opens up a space for shared creation with the public. In a synesthetic operation, the work instigates the viewer’s mind to produce sounds, images, smells and sensations. By denying the presentation of images, an individual screen is created where each person can create their own version of a narrative from the available fragments.

The 3rd movement brings the release of “Sete Infinitudes”, an album developed by Caio Amon, in collaboration with the artist duo Ío in 2021, as part of the “O Tempo como Verbo” project. This musical work is an ode to places and moments where the history of life, culture and art transformed, shaping our human identity. From the Atlantic crossing to hydrothermal vents in the deep ocean, each of the seven tracks evokes and recreates scenes, such as a house in Leipzig in the 18th century, among others. For the artists, the songs on this album represent the border between the inanimate and the breath of life.

The launch of “Sete Infinitudes” took place in the Salas Negras at MARGS, together with the performance “Abissal” by dancer Camila Vergara, synchronized with the album’s performance, offering a complete sensorial experience to the public.

By calling on thought and artistic practices to activate and approach the collection, the “Trindade do tempo – ou, um Torus” project is part of MARGS’ broader objective of exploring curatorial processes aimed at experimenting with exhibition strategies in a museum context, as well as part of the institutional policies for the acquisition and dissemination of the Museum’s works.

The project also continues the “Poéticas do agora” program, which aims to highlight productions that invest in language research and experimentation, as well as in the transdisciplinarity of means, operations and procedures.

Previous exhibitions by the program were “Bruno Borne — Ponto vernal” (2019-2020), “Bruno Gularte Barreto — 5 Casas” (2021), “Estêvão da Fontoura: DISOBECIÊNCIA – Art and science in the present time” (2021), “ Denilson Baniwa — INÍPO: Path of transformation” (2021-2022), “Guilherme Dable — Not a time, but a place” (2022) and “Camila Proto — TERRALÍNGUA” (2023).

Ío (Porto Alegre, 2003) is the pseudonym of the artist duo Laura Cattani and Munir Klamt. Their works are born from reflections covering different areas and take shape through drawings, photographs, videos and installations with symbolic materials. They exhibited in several cities in Brazil, as well as Uruguay, Argentina and France. Their work has received several nominations and awards, they are in private collections and in the collection of institutions such as the Museu de Arte Contemporânea do Rio Grande do Sul, Fundação Vera Chaves Barcellos, Museu de Arte do Rio Grande do Sul Ado Malagoli (RS), Coleção Casa Niemeyer (DF), Rio de Janeiro Art Museum (RJ) and Aloisio Magalhães Museum of Modern Art (PE).

Laura Cattani (Les Lilas/França, 1980) is an artist, curator, researcher, with a master’s degree and doctorate in Visual Poetics from PPGAV/IA/UFRGS and post-doctorate at PPGAV/UnB. She was awarded a Capes scholarship for her master’s and doctorate training, as well as for a research period in France as part of the Sandwich Doctorate Program at UPJV. His doctoral research was nominated for the Capes Thesis Prize. She was a member of the Visual Arts sectoral collegiate. e She taught at the UFPel Arts Center between 2020 and 2023, where she coordinated extension actions at Galeria A Sala. She served as deputy curator of the 13th Mercosul Biennial, under the general curatorship of Marcello Dantas.

Munir Klamt (Porto Alegre/RS, 1970) is an artist, curator, professor and researcher with a master’s degree and doctorate in Visual Poetics from PPGAV/IA/UFRGS and post-doctorate at PPGAV/UnB. His thesis, Metamedidas, received an Honorable Mention in the 2017 Capes Thesis Award. He taught at the Federal University of Rio Grande (FURG), where he coordinated research and extension projects and was a representative of the Institute of Letters and Arts on the Science, Technology and Innovation Committee – CCTI, advisory body of the Dean of Research and Postgraduate Studies – PROPESP. He currently teaches at UFRGS in the area of ​​Art and Technology, where he coordinates the Pinacoteca Barão de Santo Ângelo. He served as assistant curator of the 13th Mercosul Biennial, under the general curatorship of Marcello Dantas.