Art critique

Yuli Yamagata’s playful textile works cleverly criticize consumerism

Yamagata’s shameless and ironic vision of the macabre has been constant since 2015, when she emerged on the Brazilian art scene. She has since participated in numerous exhibitions in Brazil and abroad, with solo exhibitions at SESC Niterói, MAC Niterói – Museu de Arte Contemporânea and Fortes D’Aloia & Gabriel, as well as a group exhibition at the Kunsthalle Lissabon in Lisbon, and a solo exhibition at Anton Kern Gallery in New York last September. This latest exhibition, “Sweet Dreams, Nosferatu”, was a two-part project, which also included a site-specific installation in Art Basel Parcours.

In all of Yamagata’s work, one can sense his sardonic view of consumerism, especially as a person from a country as economically and socially unequal as Brazil. Yet what makes her such a vibrant and exciting young artist to watch is her lack of didactics and, on the contrary, her recognition that consumerism and commerce, just like art, are often ingrained. in fantasy and seduction.

“More and more, the material world and the dream world are merging into consumerism,” Yamagata wrote via email. “This is in part because of the visual power and invasion of the consumer’s subconscious that occurs when the classification of a consumer product is removed. The fashion industry does it very well. I think in general the weirdness comes from something we already know, but suddenly feels a little different, like a fingernail made of pickles (that’s why they were so awesome!). ”