10 May18 June 2024

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Sérgio Camargo, Lygia Clark, Carlos Cruz-Diez, Eugenio Dittborn, Jac Leirner, Cildo Meireles, Hélio Oiticica, Alejandro Otero, Lygia Pape, Mira Schendel, Jesús Rafael Soto and Regina Vater

‘Angel with a Gun: Homage to Guy Brett’ presents rarely seen works from the private collection of legendary and pioneering British critic, curator and writer Guy Brett (1942-2021).

A distinctive voice in art criticism since the 1960s, Brett followed an independent path, mapping and interpreting contemporary art. Through his collection, we encounter Brett’s constant curiosity and insight accompanied by complete disinterest in a market-led view.

Focusing on Brett’s discovery of, and passion for Latin American art, this exhibition showcases the work of 12 artists from Brazil, Chile and Venezuela whom he invited to Europe for the first time. Their future international reputations are owed in part to Brett’s rigorous lifelong advocacy.

In 2004, the art historian Yve-Alain Bois wrote a preface entitled ‘Angel with a Gun’ for a book of selected writings by his lifelong friend. Bois referred to the essay ‘Being Drawn to an Image’ in which Brett described how he came across the iconography of angels with guns, a genre unique to Latin America. Brett viewed the role of these angels as intermediaries between the human and mystic worlds, as vehicles of dreams.

Brett became interested in developments in Brazilian modernism after his first visit to São Paulo in 1965, aged just 22-years-old. Throughout his life, he focused on discovering artists who were excluded from Eurocentric art historical chronologies. While the British art world at the time cast their gaze towards white male American Pop art and Abstract Expressionism, Brett turned his attention elsewhere, to new regions and experimental art movements. In a characteristically trailblazing manner, he was one of the earliest champions of pioneering women artists.

In 1964, Brett co-published the Signals Newsbulletin and became integral to Signals, an experimental new gallery that functioned as a meeting place for international artists. Through Signals, the work of Sérgio Camargo, Lygia Clark and Hélio Oiticica, amongst others, was introduced to London. Signals provided a platform for contemporary works as yet unknown to the mainstream art world, representing a significant departure from established galleries.

Brett’s groundbreaking 1990 exhibition, ‘Transcontinental: An Investigation of Reality, Nine Latin American Artists’, introduced the work of Cildo Meireles, Regina Vater, Eugenio Dittborn and Jac Leirner to the UK. Brett described ‘Transcontinental’ as encompassing the relationship and tension between ‘the abstract/void and the contingent, localised, historical, urgent and conflicted’. This exhibition reflects Brett’s eye and continues to explore his thinking.

‘Angel with a Gun: Homage to Guy Brett’ would not have been possible without the commitment and passion of Alexandra Brett. We are immensely grateful for this unique, once-in-a-lifetime opportunity to present Brett’s deeply historical and significant collection.

Above all, we are indebted to Guy Brett. A true innovator who pushed boundaries, he not only made his own indelible mark on our world but in doing so, changed the course of us, others and art history.

Works

Sergio Camargo, Untitled, 1963-64

Painted wood
28 x 22 x 9 cm (11 x 8 5/8 x 3 1/2 in)
Courtesy: Alison Jacques, London

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Sergio Camargo, Relief No.8, 1964

Painted wood
123 x 123 x 11 cm (48 3/8 x 48 3/8 x 4 3/8 in)
Courtesy: Alison Jacques, London

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Sergio Camargo, Untitled, 1979

Painted wood
64.2 x 87 x 38 cm (25 1/4 x 34 1/4 x 15 in)
Courtesy: Alison Jacques, London

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Lygia Clark, Unidade no.6 (Unit no.6), 1958

Industrial paint on wood
30 x 30 cm (11 3/4 x 11 3/4 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Bicho (Monument in all situations), 1964

Aluminium
40 x 40 cm (15 3/4 x 15 3/4 in), folded
© O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Estruturas de Caixa de Fósforos (Preto) / Matchbox Structure (Black), 1964

Gouache paint, matchboxes
7 x 5.5 x 8 cm (2 3/4 x 2 1/8 x 3 1/8 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Estrutura do Acrobata (Preto e Branco) / Acrobat Stucture (Black and White), 1964

Gouache paint, matchboxes
10 x 14 x 4 cm (4 x 5 1/2 x 1 5/8 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Estruturas de Caixa de Fósforos (Preto e Branco) / Matchbox Structure (Black and White), 1964

Gouache paint, matchboxes
7 x 5 x 6 cm (2 3/4 x 2 x 2 3/8 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Estruturas de Caixa de Fósforos (Vermelho) / Matchbox Structure (Red), 1964

Gouache paint, matchboxes
4.5 x 5.5 x 7 cm (1 3/4 x 2 1/8 x 2 3/4 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Estruturas de Caixa de Fósforos (Dourado) / Matchbox Structure (Gold), 1964

Gouache paint, matchboxes
6 x 6.5 x 5.5 cm (2 3/8 x 2 1/2 x 2 1/8 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Estruturas de Caixa de Fósforos (Branco) / Matchbox Structure (White), 1964

Gouache paint, matchboxes
8.5 x 7.5 x 5.5 cm (3 3/8 x 3 x 2 1/8 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Obra Mole (Soft Work), 1964

Green rubber
59 x 56 cm (23 1/4 x 22 in), diameter
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Trepante (Climber), 1964

Bronze, tree bark
Each: 22 cm, (8 5/8 in) diameter; overall: 57 x 23 x 30 cm (22 1/2 x 9 x 11 3/4 in) overall
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Livro obra (Book work), 1964/1983

Paper, plastic, cardboard, string
21 x 21 x 4.5 cm (8 1/4 x 8 1/4 x 1 3/4 in), folded
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Bicho de Bolso (Pocket Bicho), 1966

Aluminium
10 x 10 cm (4 x 4 in, folded
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Maquete para Livro Sensorial (Maquette for Sensorial Book), 1966

Metal, plastic, shells, mirror, stone, wire
18 x 18 cm (7 1/8 x 7 1/8 in), each
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark & Hélio Oititica, Diálogo de Mãos (Dialogue of Hands), 1966

Elastic Moebius wristband
8 x 25 cm, 3 1/8 x 9 7/8 in
Courtesy: Alison Jacques, London

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Lygia Clark, Diálogo de Mãos (Dialogue of Hands), 1966

Elastic Moebius wristband
8 x 25 cm (3 1/8 x 9 7/8 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Máscara Sensorial (Sensorial Mask), 1966

Cloth, sea-shells, water, herbs
70 x 42 x 30 cm (27 1/2 x 16 1/2 x 11 3/4 in)
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Diálogo: Óculos (Dialogue: Goggles), 1968

Rubber, metal, glass, mirrors
8 x 46 x 24 cm (3 1/8 x 18 1/8 x 9 1/2 in), approx.
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Lygia Clark, Óculos (Goggles), 1968

Rubber, metal, glass, mirrors
8 x 27 x 24 cm (3 1/8 x 10 5/8 x 9 1/2 in) approx.
Courtesy: © O Mundo de Lygia Clark-Associação Cultural, Rio de Janeiro

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Carlos Cruz-Diez, Physichromie 127 (Plates 58 A-C), 1964

Cardboard, casein, mirrored-vinyl filters
43 x 32.8 x 4.3 cm (56 1/4 x 12 7/8 x 1 3/4 in)
Courtesy: Alison Jacques, London

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Eugenio Dittborn, AIRMAIL PAINTING, no. 48 – ‘9 SURVIVORS’, 1986

Photosilkscreen, paint, feathers on kraft paper, with envelope
Unfolded: 202 x 153.5 cm (79 1/2 x 60 3/8 in); envelope: 31 x 41 cm (12 1/4 x 16 1/8 in)
Courtesy: Alison Jacques, London

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Jac Leirner, The One Hundreds (Signatures), 1987

Ink on Brazilian banknotes sewn on buckram
81.3 x 93.4 x 5 cm (32 x 36 3/4 x 2 in), framed
Courtesy: Alison Jacques, London

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Cildo Meireles, Zero Cruzeiro, 1978

Offset print on paper
Framed: 71.5 x 82.5 x 4 cm (28 1/8 x 32 1/2 x 1 5/8 in)
Courtesy: Alison Jacques, London

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Cildo Meireles, Zero Cruzeiro, 1978

Offset print on paper
Framed: 34.2 x 34.5 x 4 cm (13 1/2 x 13 5/8 x 1 5/8 in)
Courtesy: Alison Jacques, London

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Cildo Meireles, Zero Dollar, 1984

Offset print on paper
Framed: 74.2 x 82 x 4 cm (29 1/4 x 32 1/4 x 1 5/8 in)
Courtesy: Alison Jacques, London

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Cildo Meireles, Zero Dollar, 2013

Offset print on paper
Framed: 46.9 x 50.6 x 4 cm (18 1/2 x 19 7/8 x 1 5/8 in)
Courtesy: Alison Jacques, London

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Cildo Meireles, Zero Real, 2013

Offset print on paper
Framed: 39.5 x 33.3 x 4 cm (15 1/2 x 13 1/8 x 1 5/8 in)
Courtesy: Alison Jacques, London

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Cildo Meireles, Zero Real, 2013

Offset print on paper
Framed: 46.2 x 47.5 x 4 cm (18 1/4 x 18 3/4 x 1 5/8 in)
Courtesy: Alison Jacques, London

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Cildo Meireles, Zero Dollar, 2013

Offset print on paper
40 x 34.5 x 4 cm (15 3/4 x 13 5/8 x 1 5/8 in), framed
Courtesy: Alison Jacques, London

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Hélio Oiticica, B 30 Box Bólide 17 (Poem Box), 1965-1966

Oil with polyvinyl acetate on wood, plastic sheeting, pigment, paper, glass, steel wire mesh
32 x 22 x 63 cm (12 5/8 x 8 5/8 x 24 3/4 in)
Courtesy: Alison Jacques, London

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Hélio Oiticica, P11 Parangolé Cape 7 “Sexo e violencia eis o que me agrado (Sex and violence that’s what I like)”, 1966

Paint, cotton fabric, resin-coated vinyl plastic
106 x 79.8 x 20 cm (41 3/4 x 31 3/8 x 7 7/8 in)
Courtesy: Alison Jacques, London

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Hélio Oiticica, Seja marginal seja herói (Be an Outlaw, Be a Hero), 1968

Silkscreen on cloth
100 x 117 cm (39 3/8 x 46 in)
Courtesy: Alison Jacques, London

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Alejandro Otero, Tout pres de la verticale No. 38 (Almost Vertical No. 38), 1963

Painted wood, metal
43 x 39.5 x 2 cm (16 7/8 x 15 1/2 x 3/4 in)
Courtesy: Alison Jacques, London

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Lygia Pape, Livro da Arquitectura (Book of Architecture), 1959-1960

Acrylic and tempera paint on wood
Each of 4 parts: 30 x 30 cm (11 3/4 x 11 3/4 in); overall: 31 x 81 x 58 cm, (12 1/4 x 31 7/8 x 22 7/8 in)
Courtesy: Alison Jacques, London

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Mira Schendel, Untitled, from the series Monotypes, 1964

Oil on rice paper
Installation dimensions variable
Courtesy: Alison Jacques, London

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Jesús Rafael Soto, Vibration, 1965

Wood, metal, nylon thread
106 x 106 x 20 cm (41 3/4 x 41 3/4 x 7 7/8 in)
Courtesy: Alison Jacques, London

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  • Sergio Camargo, Untitled, 1963-64
  • Sergio Camargo, Relief No.8, 1964
  • Sergio Camargo, Untitled, 1979
  • Lygia Clark, Unidade no.6 (Unit no.6), 1958
  • Lygia Clark, Bicho (Monument in all situations), 1964
  • Lygia Clark, Estruturas de Caixa de Fósforos (Preto) / Matchbox Structure (Black), 1964
  • Lygia Clark, Estrutura do Acrobata (Preto e Branco) / Acrobat Stucture (Black and White), 1964
  • Lygia Clark, Estruturas de Caixa de Fósforos (Preto e Branco) / Matchbox Structure (Black and White), 1964
  • Lygia Clark, Estruturas de Caixa de Fósforos (Vermelho) / Matchbox Structure (Red), 1964
  • Lygia Clark, Estruturas de Caixa de Fósforos (Dourado) / Matchbox Structure (Gold), 1964
  • Lygia Clark, Estruturas de Caixa de Fósforos (Branco) / Matchbox Structure (White), 1964
  • Lygia Clark, Obra Mole (Soft Work), 1964
  • Lygia Clark, Trepante (Climber), 1964
  • Lygia Clark, Livro obra (Book work), 1964/1983
  • Lygia Clark, Bicho de Bolso (Pocket Bicho), 1966
  • Lygia Clark, Maquete para Livro Sensorial (Maquette for Sensorial Book), 1966
  • Lygia Clark & Hélio Oititica, Diálogo de Mãos (Dialogue of Hands), 1966
  • Lygia Clark, Diálogo de Mãos (Dialogue of Hands), 1966
  • Lygia Clark, Máscara Sensorial (Sensorial Mask), 1966
  • Lygia Clark, Diálogo: Óculos (Dialogue: Goggles), 1968
  • Lygia Clark, Óculos (Goggles), 1968
  • Carlos Cruz-Diez, Physichromie 127 (Plates 58 A-C), 1964
  • Eugenio Dittborn, AIRMAIL PAINTING, no. 48 – ‘9 SURVIVORS’, 1986
  • Jac Leirner, The One Hundreds (Signatures), 1987
  • Cildo Meireles, Zero Cruzeiro, 1978
  • Cildo Meireles, Zero Cruzeiro, 1978
  • Cildo Meireles, Zero Dollar, 1984
  • Cildo Meireles, Zero Dollar, 2013
  • Cildo Meireles, Zero Real, 2013
  • Cildo Meireles, Zero Real, 2013
  • Cildo Meireles, Zero Dollar, 2013
  • Hélio Oiticica, B 30 Box Bólide 17 (Poem Box), 1965-1966
  • Hélio Oiticica, P11 Parangolé Cape 7 “Sexo e violencia eis o que me agrado (Sex and violence that’s what I like)”, 1966
  • Hélio Oiticica, Seja marginal seja herói (Be an Outlaw, Be a Hero), 1968
  • Alejandro Otero, Tout pres de la verticale No. 38 (Almost Vertical No. 38), 1963
  • Lygia Pape, Livro da Arquitectura (Book of Architecture), 1959-1960
  • Mira Schendel, Untitled, from the series Monotypes, 1964
  • Jesús Rafael Soto, Vibration, 1965

Installation

Press

Angel with a Gun: Homage to Guy Brett

Jonathan Miles, ART.ZIP

June 2024

Londra, omaggio a Guy Brett: il racconto di una collezione d’arte politica

Giulia Terralavoro, exibart

June 2024

Guy Brett, A True Artworld Connector

J.J. Charlesworth, ArtReview

June 2024

Everything to see at London Gallery Weekend 2024

Amah Rose Abrams, Wallpaper*

May 2024

London Gallery Weekend: what to see and what to do, from Nan Goldin to Nil Yater

Elizabeth Gregory, The Standard

May 2024

London Gallery Weekend flies the flag for art in the capital

Melanie Gerlis, The Financial Times

May 2024

Angel with a Gun: Homage to Guy Brett

Ana Teles, London Art Walk

May 2024

The Art Market: London’s Alison Jacques opens a show next month of work from the collection of the British art critic and curator Guy Brett

Melanie Gerlis, Financial Times

April 2024

Video

Exhibition Talk: Yve-Alain Bois & Mark Godfrey

Exhibition Walkthrough