Dossier #4



Dossier #4 consists of the relaunch of Daniel Steegmann Mangrané’s QR Constellation, a project for an online system of relations of that was initially conceived in 2012 for the 30th edition of the São Paulo Biennial, and that until now had never acquired a life online.

The constellation is built upon the landscape of the southwestern Brazilian rainforest, the so-called Mata Atlântica, whose lush, dense vegetation becomes the host of an abstract formation of references, codified by a multitude of shortened URLs. These various links are interconnected via a series of ramifications that establish associations between each and all of them.

Both chart and image, the Constellation presents a series of links that direct the viewer to materials of various order—texts, images, videos, documents, apps—that reveal the artist’s interests, references, tools, and sources of imaginary while also offering an in-depth analysis of some of his artworks, namely the films 16mm (2008-2011), Phasmides (2013), and Phantom (2015).

Like any group of forces and interests this constellation is, and will remain, unstable, as its links will mutate and evolve, thus transforming its meaning and its specific gravitational forces.

Open Constellation →

Daniel Steegmann Mangrané born in 1977 in Barcelona and since 2004 lives in Rio de Janeiro. Selected solo shows include: “Spiral Forest,” Esther Schipper, Berlin (2015); “Animal que no existeix,” CRAC Alsace, Altkirch (2014); “Cipó, Taioba, Yví,” Casa França Brasil, Rio de Janeiro (2013); “/ (- \,” Nuno Centeno, Porto (2013); “Bicho de nariz delicado,” Uma Certa Falta de Coerência, Porto (2013); “Phasmides,” Mendes Wood DM, São Paulo (2013). Group shows include, among them: “2015 Triennial: Surround Audience,” The New Museum, New York (2015); “Canibalia,” Kadist Art Foundation, Paris (2015); “Ir para volver,” 12th Biennal de Cuena, Ecuador (2014); “Weather permitting…,” 9th Mercosul Biennial, Porto Alegre (2013); “The Imminence of Poetics,” 30th Bienal de São Paulo, São Paulo (2012).

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