Choque de ordem 4

source: sp-arte

André Komatsu (1978), é formado em Artes Plásticas pela Fundação Armando Álvares Penteado (FAAP), em São Paulo, cidade onde vive e trabalha.
Dentre as exposições individuais estão: Concreto/Periodico – Natalie Seroussi – Paris – França, 2010; Soma Neutra – Galeria Vermelho – São Paulo – Brasil, 2009; Projeto Bolsa Pampulha – Museu de Arte da Pampulha – Belo Horizonte – Brasil, 2006
Temporada de Projetos 2006 – Paço das Artes– São Paulo – Brasil, 2006. Programa de Exposições 2005-2006 – CCSP – Centro Cultural São Paulo – São Paulo – Brasil, 2006.
E dentre as exposições coletivas: Pra Começo de Século – Centro Dragão do Mar de Arte Contemporânea – Fortaleza – Brasil, 2010; Para ser Construídos – MUSAC- Castilla y Léon- Espanha, 2010; Obsession – Contemporary Art from the Lodeveans Collection – University of Leeds – Leeds – England, 2009; AFTER UTOPIA Museo Centro Pecci – Prato – Itália, 2009; When Lives Become Form: Creative Power from Brazil – Yerba Buena Center for the Arts – San Francisco – EUA, 2009.
When Lives Become Form: Creative Power from Brazil – Brazilian Embassy in Tokyo – MOT – Museum of Contemporary Art – Tóquio – Japão, 2008. Seja marginal, seja herói – Galerie GP & N Vallois & Galerie Natalie Seroussi – Paris – França, 2008.
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source: sp-arte

The Brasil­ian André Komatsu was born in 1978 in Sao Paulo, where he still lives and works today. He stud­ied fine arts at the Fun­dação Armando Álvares Pen­teado. In 2005 he won the Bolsa Pam­pulha Award and four years later Komatsu par­tic­i­pated in a res­i­dent pro­gram at the Bronx Museum in New York.
Only in recent years, after being abun­dantly shown in his own coun­try, the work of André Komatsu started to go beyond his bor­ders. The artist describes his work as a reflec­tion of a series of per­cep­tions that are born by the meet­ing of streets, urban spaces, of which he observes the logic of con­struc­tion and evo­lu­tion. Start­ing from demo­li­tions, aban­doned objects, destroyed walls, Komatsu acts on a recon­struc­tion, search­ing for new mod­els of exis­tence and coex­is­tence. His instru­ments for com­mu­ni­cat­ing a polit­i­cal view from the bot­tom, made of ten­sion and resis­tance, are draw­ing, sculp­ture, instal­la­tion. Among the mate­ri­als that he uses with more fre­quency are frag­ile crys­tal glasses and build­ing com­po­nents — often they must sup­port the other, with the risk of break­ing into a thou­sand pieces. Komatsu’s thought, in fact, lingers on the rela­tion­ship itself between the parts of a sculp­ture, of artis­tic nature, but social before that, on its pos­si­bil­i­ties for sur­vival and on its inevitable trans­for­ma­tion in time.
Among Komatsu’s more impor­tant col­lec­tive shows are Ponto de equi­lib­rio (Insi­tuto Tomie Ohtake, Sao Paulo, 2010) and The Peri­patetic School (Draw­ing Room, Lon­dra, 2011). In 2011 the artist received the Pre­mio Illy for Sus­tain Art, assigned by ARCO Madrid, with the work Con­creto Peri­od­ico, and had the oppor­tu­nity to present a project for artist’s cof­fee cups.
In Sao Paulo André Komatsu has shown his work mainly at Gale­ria Vermelho.