User:Curador de Arte/Ursula Tautz

Ursula Tautz (Rio de Janeiro, 22 de Julho de 1968) é uma artista plástica brasileira.

Biography
Graduated in Styling at Faculdade Cândido Mendes 1996 and in Graphic production at ESPM/RJ, in 1997. Between 1997 and 1999 she took workshops in experimental design at the School of Visual Arts in New York with Richard Wilde. In 2005 she joined the School of Visual Arts at Parque Laje, Rio de Janeiro and later integrated the research program coordinated by Glória Ferreira and Luiz Ernesto.

Career
Her trajectory is marked by deep historical research, often accompanied by historical-family research, merging her native cultures which merges the Manaura, Carioca and German cultures. The artist works in the fields of installation, multimedia, drawing, sculpture, photography, and political issues across her practice.

Her work uses time and its manifestations, especially memory, from the most private to collective, from real to fictional, establishing a dialogue with the relations that involve inhabiting, belonging, displacements and cartographies, to deconstruct references and generate new identities and narratives. Chronological time in her works is constantly corrupted, modified to generate new reminiscences.

In 2015 she held her first solo exhibition, Fluidostática at Galeria do Lago located in the Museum of the Republic, whose headquarters is the Catete Palace, Rio de Janeiro. The palace represented the brazilian republican power between the years 1897 and 1960, where its presidents signed laws and decrees with their fountain pens. The installation featured glass vases filled with blue ink that rested on wooden swings, which moved in synchrony with the viewer's entrance into the environment. The installation explored the relationship between people and power, danger and fascination.

In the same year she participated in ArtRio's Urban Interventions with the installation Mas que as Asas Enraízem e que as Raízes Voem But let the wings take root and the roots fly, which presented wooden swings sewed to the ground and hung from a tamarind tree planted by Antônio Clemente Pinto, the first Baron of Nova Friburgo. The motionless swings represented an attempt to control time. That same year Ursula held the exhibition Estranhamento The Uncanny at the Cultural Center of the Federal Justice Building in Rio de Janeiro curated by Isabel Sanson Portella.

Other works that stand out are Frestas por onde Muros Escoam “Cracks where walls flow '', an installation that was inaugurated in 2017 at the exhibition space of the Fluminense Federal University Rectory Garden in Rio de Janeiro. And Campo Dormitório Dormitory Camp, presented at SIART 2018, Biennale de La Paz in Bolivia. Through the artists residency Echangeur 22, in Saint-Laurent des Arbres in France, Ursula developed the project Tempo Móvel  Mobile Time  for the exhibition Mobilité, Immobilité , at La Chartreuse in Villeneuve-lez-Avignon. The work was the result of a study about the feelings of local residents towards the bells that rang near their homes.

In 2021, Ursula was selected for the Biennial of Bahia Blanca with the project Cada Día Each Day. In the same year she presented the installation O Som do tempo ou tudo que se dá a ouvir The Sound of Time or everything that gives itself to be heard curated by Ivair Reinaldim. The result of five years of research, the work presented a throne buried under nine tons of earth in the shape of a pyramid and broken bell clappers. The installation alluded to the colonization and the memory linked to the surroundings of Paço Imperial, interacting with the bells of the neighboring churches. The work, Such sweet Thunder, by sound artist Samson Young is part of one of the videos in the installation. ,