Immigration Office, 2014 -

Immigration Office is a long term project by Lucas Odahara, Camila Riveros, Daniela Reina Tellez, Paula Hurtado Otero and Zhe Wang starting in April 2014. 

It's a space, but mainly a discussion. A platform ran by non-european artists who keep on producing art in Europe while their visa does not expire.


website
facebook

Fifteen Novels on Exactitude, 2015

The Island of Vera Cruz2015 

_

In April of 1500, a Portuguese ship expedition took sight of Land after a long journey over the Atlantic. The chronicler Pêro Vaz de Caminha reports in a letter to the Portuguese king about the discovery and take over of the still unknown island. He calls it Ilha de Vera Cruz, the island of the true cross. But it soon becomes clear that it is a huge mass of land and in fact the expedition has landed in today's Brazil. The historical letter, written under false assumptions, creates a fascinating distorted portrait of South America, characterised by facts, courage, and self-willed interpretations.

The island, which only existed for a short time, is the starting point for Lucas Odahara's multi-part room installation. He combines historical documents with fictional writings and narratives, with which he refers to the objects in the exhibition space. These are reminders of a past life - furniture, a book shelf, self-made ceramic bowls - which can be interpreted in a variety of ways.

Odahara is aware of the fact that history is not something fixed, but is always recreated when looking back at it. The past is confirmed, rewritten or completely erased. In this sense he is also not interested in an authentic reenactment. He creates an artificial arrangement in which his personal access, his own version of Ilha de Vera Cruz remains visible. He thus presents the confrontation with history not as something finished in time, but as a necessary process of self-assurance. 

_

Original text in German by Ingo Clauß


Rover (A New Balance)
, 2014


The palace was covered with ivy leaves
, 2015

Reenacted Garden (1913)Unfired clay, 2015variable dimensions

Reenacted Garden (1913)
Unfired clay, 2015
variable dimensions

  • 1

    Reenacted Garden (1913)
    Unfired clay, 2015
    variable dimensions

  • 2

    Reenacted Garden (1913)
    Unfired clay, 2015
    variable dimensions

  • 3

    Reenacted Garden (1913)
    Unfired clay, 2015
    variable dimensions

  • 4

    Reenacted Garden (1913)
    Unfired clay, 2015
    variable dimensions

  • 5

    Reenacted Garden (1913)
    Unfired clay, 2015
    variable dimensions

Reenacted Garden (1913)2015 

_

Reenacted Garden (1913) is a series of negative forms in red clay of those same architectural ornaments from the building. Ornaments that presented natural themes, such as leaves and flowers from balustrade, pillars and tiles, exhibited in different parts of the house.

La Villa de Veraneo (excerpt)Text on wall, 2015226 x 156 cm each

La Villa de Veraneo (excerpt)
Text on wall, 2015
226 x 156 cm each

  • 1

    La Villa de Veraneo (excerpt)
    Text on wall, 2015
    226 x 156 cm each

  • 2

    La Villa de Veraneo (excerpt)
    Text on wall, 2015
    226 x 156 cm each

  • 3

    La Villa de Veraneo (excerpt)
    Text on wall, 2015
    226 x 156 cm each

La Villa de Veraneo (excerpt)2015 

_

La Villa de Veraneo and Reenacted Garden (1913) was produced and installed at Villa Iris in Santander, Spain (Fundación Botin). It is a story that takes place in different parts of the house. On the walls, printed on yellow patches, is an excerpt of the story about Elloy Martínez del Valle (the original architect of Villa Iris), who finds himself in 1914 on the day that the I World War erupted, one year after the construction of the Villa. The character walks around the building and wonders about the ornaments of the house and its motives based on nature, while being interrupted by thoughts on the war outside the Villa’s gates. 

 

Mapa Estórico2015 

A Suitable Height for Highness (Chapter One), 2016  Drawing on brass plate, wooden crate (made by Specht). 210 x 102 x 27 cm

A Suitable Height for Highness (Chapter One), 2016 

Drawing on brass plate, wooden crate (made by Specht). 210 x 102 x 27 cm

  • 1

    A Suitable Height for Highness (Chapter One), 2016 

    Drawing on brass plate, wooden crate (made by Specht). 210 x 102 x 27 cm

  • 2

    A Suitable Height for Highness (Chapter One), 2016 

    Drawing on brass plate, wooden crate (made by Specht). 210 x 102 x 27 cm

  • 3

    A Suitable Height for Highness (Chapter One), 2016 

    Drawing on brass plate, wooden crate (made by Specht). 210 x 102 x 27 cm

-

A Suitable Height for Highness (Chapter one), 2016 

_

A Suitable Height for Highness is an on-going series of works exploring verticality as a constant symbol of power, achievement and manhood, focusing on not only the eternal desire for height and power, but also on its limits, when we are reminded that structures of power, when translated into physical ones, are also bounded to structural limits and all its consequences. 

For A Suitable Height for Highness (Chapter One), firstly shown at the elevator of the Städtische Galerie Bremen, an art transport crate holds a brass plate telling the story of the first Imperial palm tree imported by the Portuguese royal family to Brazil. The tree, named as Palma Mater and planted by the King himself in the botanic garden in Rio, was established as symbol of nobility in the country. Achieving the height of 38,70m, the imported palm tree was higher than any other native Brazilian palm, and due to its height was destroyed by a lightning bolt – a common fate for their kind. 

All the other iterations of the work deal with the topic from different perspectives, such as A Suitable Height for Highness (Chapter Two), where a portuguese tile drawing found in a monastery in Salvador, Brazil depicting the Babel Tower is redraw on tiles and duplicated, connecting the towers of the drawings into one single higher one, with the writing 'Successful lovers' on it. Here, the catholic tale usually representing misunderstandings and mankind's greed is restaged by building the idea of love as an impossible structure between two scenarios of men planning to reach heaven. 

.

  • 1
  • 2

    Lovers, 2016

    Marker on brass plate. 25 x 50 cm 

  • 3
  • 4
  • 5
  • 6
  • 7
  • 8

Choreographie für Zeit (Choreography for Time), 2016

_

Choreographie für Zeit (Choreography for Time) is a series of works developed for the attic of the Welpinghus' house. The house is located in the village of Borgholzhausen in Germany and was built in 1487, most of the time being owned by the family Welpinghus themselves.

The works are permanently installed at the attic, and depart from the story the Performance of Time, written by Lucas Odahara. In the story, Time, as the main character, moves incessantly in the attic of the house when nobody is watching, in ways that the family living downstairs can hardly understand. With the story as a starting point, a series of works in different media were produced, from the construction of a brick wall in the attic built together with the inhabitants of Borgholzhausen (which is part of the video in the installation), to Scores for Time, where all the documents gathered by the family since 1792 are put together as music sheet. On each document of the book, the year is marked and a historical note is written on it. Notes that connect to Lucas Odahara's own history, spanning from south american historical anedoctes, to art history and gay culture.

Among the site specific works, time is portrayed as an inevitable connection between the specific attic of the Welpinghus family and other events worldwide – with works such as 'Kannst du die Revolution sehen? (Can you see the revolution?), a brass plate installed on the window with a view to the village. 

A Suitable Height for Highness (Chapter Two), 2016 Drawing on ceramic tiles, wood support. 200 x 115 cm

A Suitable Height for Highness (Chapter Two), 2016

Drawing on ceramic tiles, wood support. 200 x 115 cm

  • 1

    A Suitable Height for Highness (Chapter Two), 2016

    Drawing on ceramic tiles, wood support. 200 x 115 cm

  • 2

    A Suitable Height for Highness (Chapter Two), 2016

    Drawing on ceramic tiles, wood support. 200 x 115 cm

A Suitable Height for Highness (Chapter two)2016 

A Suitable Height for Highness (Chapter Three), 2016Ceramic tiles, brass plate, brass chain. 450 x 350cm

A Suitable Height for Highness (Chapter Three), 2016
Ceramic tiles, brass plate, brass chain. 450 x 350cm

  • 1

    A Suitable Height for Highness (Chapter Three), 2016
    Ceramic tiles, brass plate, brass chain. 450 x 350cm

  • 2

    A Suitable Height for Highness (Chapter Three), 2016
    Ceramic tiles, brass plate, brass chain. 450 x 350cm

  • 3

    A Suitable Height for Highness (Chapter Three), 2016
    Ceramic tiles, brass plate, brass chain. 450 x 350cm

A Suitable Height for Highness (Chapter three)2016 

Time Still, 2017Acryilic paint on silk, Tape. 150 x 300cm

Time Still, 2017
Acryilic paint on silk, Tape. 150 x 300cm

  • 1

    Time Still, 2017
    Acryilic paint on silk, Tape. 150 x 300cm

  • 2

    Time Still, 2017
    Acryilic paint on silk, Tape. 150 x 300cm

Time Still, 2017

 

Tempos Verbais (the Volume of History and the Balance of Time), 2017

Lucas Odahara with Pedro Oliveira

_

"It's either today, or not tomorrow!", announces the speaker to his bewildered audience. With passionate enthusiasm, he points out the deficiencies of the status quo and calls for a reorganization of things. His struggle turns into rhythmic sounds and chanted songs. They are student protests and marches against oppressive governments, which are part of a diverse sound collage played over two sound speakers placed on top of a black-and-white landscape through which roads are drawn. They offer us different definitions of the English "simple present" tense and represent the idea of ​​the progression of time and its grammatical translation within a language system. Lucas Odahara examines the specific state of time within revolutionary processes with "Tempos Verbais (the Volume of History and the Balance of Time)" and brings up the question of how the idea of time can be materialized in space. According to Walter Benjamin, the moment of the revolution possesses the ability to break up the continuum of history. When time describes the progress of the present from the past into the future, the outbreak of a revolution can expose this irreversible flow of time for a moment. During the act of protest, when a collective dissatisfaction is released, the present can be isolated from the past and the future, and an alternative historical path can be taken.

The sound installation is a joint project by Lucas Odahara and the designer and sound artist Pedro Oliveira. From their own sound recordings and found online footage the two artists create a continuously growing archive of protest songs. Excerpts from this archive are presented for the first time in the Kestnergesellschaft as part of an audiovisual installation. The sound work will never be complete, as worldwide protests take place and new material is continuously being added into the archive.

original text in German by Elmas Senol 

Os sons deles ecoando entre eu e você (Their sounds echoing between you and me), 2017

_

"In May 2016, the Brazilian historian-activist Luiz Mott left several documents his NGO, the “Grupo Gay da Bahia”, had generated over the years to the Schwules Museum*. One such document was a small pamphlet recounting the murder of the “first indigenous gay martyr of Brazil,” Tibira do Maranhão – a Tupinamba man – by the French colonialists in 1614. Departing from this curious and relatively unknown incident, whose only record is in the travelogue of Yves d’Évreux, a French priest, the installation reconstructs a silenced historical scene: First he was baptized, in order to save his soul, then paraded around and given copious amounts of tobacco to smoke. Once intoxicated, he was placed into a cannon and blown up. The silent figures add up: Tibira’s fate belongs to millions of muted, marginalized, and othered voices, all echoing into the present day. The installation purposefully fragments images drawn from multiple sources, presenting a visual echo chamber: 17th century studies of Brazilian landscapes, flora, and native inhabitants by colonial-era painters, details of cannons and soldiers from Western war paintings of the time, a body cut up into pieces and scattered across the scene. Painted with blue ink on ceramic tiles, it aesthetically simulates precious porcelain, a medium often used to depict historical scenes from the Early Modern period of mercantile exchange. A handmade artist book, placed on a music stand in front of the painted tiles, translates various research strands into anecdotal scores. Collaborators contribute to the assembled texts with observations, images, and interviews on the role of sound in history, from modern political protest songs to the “language” of Amazonian birds."

text by Ashkan Sepahvand

photos: Daniel Weigel

Topography of two, 2015

Satelights Highlands, 2015

 

Built with Berta.me