Marcius Galan was born in 1972 in Indianapolis, U.S.. Today he lives and works in Sao Paulo, Brazil, where his practice is situated in a deep sense.

Marcius’ ultra subtle / or materially solid sculptural interventions are dedicated to a structure of subtraction and ‘speculative’ balance (even with political implication, thinking of his giant Immobile of coins in 2013 at White Cube, London, signifying the flipside of the 2008 recession where a country like Brazil, before on the periphery of world economy, saw significant growth while the old West was crumbling). His work is quintessentially ‘post-minimal’, – to use a term of currently high resonance.

“My work is sometimes found in that very fragile line between non-existence, non-functionality, non-balance and sometimes it behaves as a questioning of the need for its own existence.” (Marcius Galan, Miami, 2011)

The first piece I saw of Marcius Galan was Diagonal Section (2008) at INSTITUTO INHOTIM, in Brazil. I was fascinated by the effect, that even when I was standing right in front of what appeared to be a trapeziform cube site-specifically demarcated in the pavilion by a large glass wall, there was in fact nothing, no wall, no cube. The illusion was so perfect, achieved by some minimal interventions, almost like immaterial alchemy.

The new piece Translucent (2015) in our show derives from the same line of thought, experimentation, sensation, but is even more reduced, looking like ‘sheets of glass’ leaning against the wall awaiting their utilitarian destination (- for one premature ‘ruin’ of investment real estate?). In the course of their anticipatory existence, their (im)material presence becomes abstract, while in a similar way as in Oran Hoffmann’s photos, a resistant residuum of materiality always remains. A white mirror, an “improbable simulation of shadows and reflections”.
(Marcius Galan, 2015)

“Subtraction” is a sculpture in concrete that is derived from a series called “Common Area” which I started in 2004 and where I used codes of boundary demarcation, usually in a very small scale to highlight the fragility of the measuring systems used to define a space. In the case of “Subtraction” I propose a visual exercise of the reconstruction of a given area, – a game that reflects on the idea of place.”
(Marcius Galan, 2015)

Recent solo exhibitions:

Galeria Luisa Strina, São Paulo, Brazil (2015); Arquitecturas del Desarraigo – Ideobox Artspace, Miami, USA (2014); Como dobrardesdobrar uma bandeira – Gal. Silvia Cintra + Box4 – Rio de Janeiro, RJ (2014); Diagrama, Espacio NC, Bogotá, Colombia (2013); Geometric Progression, Inside the White Cube, London, UK (2013).

Recent group exhibitions include:

Inside, Palais de Tokyo, Paris, France (2014); Spatial Acts: Americas Society Commissions Art, New York, USA (2014); Arbeit und Freundschaft, Pivô, São Paulo, Brazil (2014); Roesler Hotel #25 — dispositivos para um mundo (im)possível, Galeria Nara Roesler, São Paulo, Brazil (2014); 140 Caracteres, MAM-SP Museu de Arte Moderna de São Paulo, São Paulo, Brazil (2014); Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, USA (2014); Experimentando Espaços, Museu da Casa Brasileira, São Paulo, Brazil (2014), Imagine Brazil, artists books section, Astrup Fearnley Museet, Oslo, Norway (2013); Além da Biblioteca – Frankfurt Book Fair, Germany; 30 x Bienal – Pavilhão Bienal de São Paulo, São Paulo, Brazil (2013); My third Country, Frankdael, Amsterdam, Holanda; Mitologias por Procuração – MAM-SP Museu de Arte Moderna de São Paulo, Brazil; Avante Brazil, Kunst im Tunnel, Dusseldorf, Germany; In Lines and Realignments, Simon Lee Gallery, London, UK (2013); Dreaming is a Form of Planning, Galeria Agustina Ferreyra, San Jose, Porto Rico (2013); Circuitos Cruzados, Centre Pompidou meets MAM-SP Museu de Arte Moderna de São Paulo, São Paulo, Brazil (2013); Blind Field, Kannert Art Museum and Kinkead Pavillion, Illinois, USA (2013).

Public Collections (Select):

Museu Serralves, Porto, Portugal; Pinacoteca do Estado de São Paulo, Brazil; MAM-SP Museu de Arte Moderna de São Paulo, Brazil; MAM/Rio Museu de Arte Moderna do Rio de Janeiro, Brazil; Museum of Fine Arts, Houston, USA; JUMEX Collection, Mexico DF, Mexico; The Zabludowicz Collection, London, UK; Madeira Corporate Services Collection, Madeira Island, Portugal; Inhotim Contemporary Art Center, Brumadinho, Minas Gerais, Brazil; CIFO Cisneros Fontanals, Miami, USA; Figuereido Ferraz Institute, Ribeirão Preto, Brazil; MALBA Museo de Arte Latinoamericano de Buenos Aires, Argentina.