INSTITUTIONAL COLLECTIONS

- Instituto Figueiredo Ferraz - Ribeirão Preto/SP (Brasil)

- Itaú Cultural - São Paulo/SP (Brasil)

- Museu de Arte Contemporânea da Universidade de São Paulo (MAC USP) - São Paulo/SP (Brasil)

SOLO EXHIBITIONS​

2019 - Álbum Sem Nome, Galeria Aura/Candida Tabet Arquitetura, São Paulo/SP (Brasil)

2016 - Escape, Galeria Fita Tape, São Paulo/SP (Brasil)

2013 - Reprovado, Galeria LOGO, São Paulo/SP (Brasil)

2011 - Who AM I, Pure Evil Gallery, London (UK)

2010 - ADICTO, Cartel 011, São Paulo/SP  (Brasil)

2008 - Re-functional, Galeria Adesivo, Porto Alegre/RS  (Brasil)

2008 - Formol, Galeria Rojo/POP, São Paulo/SP  (Brasil)

2004 - HALEX CRUX, MOST, São Paulo/SP (Brasil)

2004 - 31, Galeria Adesivo, Porto Alegre/RS (Brasil)

GROUP EXHIBITIONS

2022 - Elipses, Espaço Cultural Oasis, Rio de Janeiro/RJ (Brasil)

2022 - databasa, Sala de arte do Canto, São Paulo/SP (Brasil)

2020 - RE/VISTA, Galeria Recorte, São Paulo/SP (Brasil)

2019 - DDD VOLT4 P4R4 LOS 4NÕ$ 20, Festivau de C4nn3$, São Paulo/SP (Brasil)

2019 - Visão Concreta, Matilha Cultural, São Paulo/SP (Brasil)

2017 - Rolo Seco Gig #8, Galeria Carambola, Rio de Janeiro/RJ (Brasil)

2017 - Galeria Homegrown, OiSTUOpen, Rio de Janeiro/RJ (Brasil)

2017 - REUSO, Praça Vitor Civita, São Paulo/SP (Brasil)

2016 - New Territories, Museo Amparo – Pue. Mexico (México).

2016 - Damaged City Art show, Open Studio DC., Washington DC (EUA)

2016 - Arte Core, Museu de Arte Moderna – MAM, Rio de Janeiro/RJ (Brasil)

2014 - New Territories, Museum Of Arts And Design, New York (EUA)

2014 - Grande Colina, Galeria LOGO, São Paulo/SP (Brasil)

2013 - Deslize, Museu de Arte do Rio – MAR, Rio de Janeiro/RJ (Brasil)

2013 - Lista #2, Galeria LOGO, São Paulo/SP (Brasil)

2013 - FOUND, Space 507 ½, Los Angeles (EUA)

2012 - Lista, Galeria LOGO, São Paulo/SP (Brasil)

2012 - Marker, Galeria LOGO, São Paulo/SP (Brasil)

2012 - Contagem Regressiva, SESC São José dos Campos, São José dos Campos/SP (Brasil)

2011 - Perturbo, Galeria LOGO, São Paulo/SP (Brasil)

2010 - RE:board, The A Gallery, Los Angeles (EUA)

2010 – GGG, Miami (EUA)

2010 - We're Mixed Up!, Galeria de la Raza, San Francisco (EUA)

2010 - TRANSFER, Pavilhão das Culturas Brasileiras, São Paulo/SP (Brasil)

2010 - Sem Título e Sem Rótulo, Galeria Murilo Castro, Belo Horizonte/MG (Brasil)

2009 - Lifeline, Carmichael Gallery, Los Angeles (EUA)

2009 - RE:board, Matilha Cultural, São Paulo/SP (Brasil)

2008 - II Bienal Brasileira de Design, Museu Nacional, Brasília/DF (Brasil)

2008 - Surf Alma, Píer de Santos, Santos/SP (Brasil)

2008 - FB, Galeria Potrich, Goiânia/GO (Brasil)

2008 - 4 Of A Kind, Galeria +soma, São Paulo/SP (Brasil)

2008 - Fifty-Fifty Skate Surf Art Collective, Ong King Art Center, Honolulu, Havaíi (EUA)

2008 - Os Brasileiros part II, Carmichael Gallery, Los Angeles (EUA)

2008 - Os Brasileiros part I, Carmichael Gallery, Los Angeles (EUA)

2008 - Sem Controle, Artsprojekt, Los Angeles (EUA)

2008 - Sold Out, Alias Gallery, Indianapolis (EUA)

2008 - Contra o Verso, Galeria Bergamin, São Paulo/SP (Brasil)

2008 - TRANSFER, Santander Cultural, Porto Alegre/RS (Brasil)

2007 - Volta às Aulas, Galeria Graffiteria, São Paulo/SP (Brasil)

2007 - Autista, Ar+space Gallery, San Francisco (EUA) 

2007 - Fifty-Fifty Skate Surf Art Collective, The Hilo Art Museum, Hilo, Havaíi (EUA)

2006 - Shape Arte, Studio SP, São Paulo/SP (Brasil)

2006 - Conexão Vista, Afrospot, São Paulo/SP (Brasil)

2006 - Spray – Novo Muralismo Brasileiro, Memorial da América Latina, São Paulo/SP (Brasil)

2005 - Circuito Mirabolante, Galeria Adesivo e Santander Cultural, Porto Alegre/RS (Brasil)

2005 - Le Brésil à L’affiche, Les Silos, Chaumont (France)

ARTIST RESIDENCY

2021 -  Isolated Memory Loss – Noise Agency / Felicja Blumental Center Residency Program - Tel Aviv (Israel)

ART FAIRS

2019 -  ArtRio – Galeria Aura - Rio de Janeiro (Brasil)

2014 – SP Arte – Galeria Logo - São Paulo (Brasil)

2014 -  ArtRio – Galeria Logo - Rio de Janeiro (Brasil)

2014 – Odeon Art Fair– Galeria Logo - Bogotá (Colombia)​

2013 – SP Arte – Galeria Logo - São Paulo (Brasil)

​2013 – Feira Parte – Galeria Logo - São Paulo (Brasil)

​2013 -  Scope Art Show – Galeria Logo  - Miami (USA)

​2013 -  ArtRio – Galeria Logo - Rio de Janeiro (Brasil)

​2013 -  BRAF Brasil Art Fair – Galeria Logo - Miami (USA)

​2012 – SP Arte – Galeria Logo - São Paulo (Brasil)

​2012 – Feira Parte – Galeria Logo - São Paulo (Brasil)

​2009 – Beyond Eden Art Fair – Carmichael Gallery - Los Angeles (USA)

​2008 – Gen Art Vanguard – Carmichael Gallery - Miami (USA)

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Collecting Fragments

Text by Flavio Samelo

What is an artist? What should an artist do? How should an artist behave? How should an artist communicate? With whom should an artist associate? How should an artist create? In my opinion, all the answers that I, you, or anyone else provides to these questions will not encompass the multifaceted persona of the artist Alexandre Cruz, better known as Sesper, along with many other nicknames, aliases, and personal projects.

Active in the underground scene since the 1980s, his artistic production has spanned an extensive array of platforms, including fanzines, paintings, drawings, engravings, collages, resin works, music, graphic arts, videos, documentaries, design, and countless others.

I often emphasize that art is not confined to knowing how to draw, dance, film, photograph, cook, etc. Art is the absence of hesitation in sharing your unique form of expression with the world. It's about embracing something that might seem "ridiculously" absurd to the majority but is profoundly meaningful to you. Art is about taking pride in expressing your genuine opinions in whatever way you choose. This steadfast attitude has consistently characterized Sesper's approach.

With a deep-rooted connection to music and skateboarding since the 1980s and 1990s, DIY culture served as the foundation for his artistic journey: "I believe I initiated the process in the early 90s when Garage Fuzz was already active. I began creating collages for show posters, as even in the punk scene, we required artwork for show promotion. It's like they say, 'Necessity is the mother of invention.' But today, I'm more organized and focused. I can now put names to things. Back then, it was quite challenging, as there was a lack of information. It was a self-taught endeavor, much like others during that time. I was fortunate to be part of a great community of people, and witnessing the developments in the 1990s and 2000s from the inside was amazing."

This continuous quest for information and references in an era where information was more valuable than gold in Brazil gave rise to a distinct focus: documenting the battles of sharing opinions. Sesper recalls, "We had to figure out how to send money by mail, which was illegal here. It had to be concealed with carbon paper to avoid x-ray detection, along with 'return stamps.' Someone had to send you a letter, and then you'd cut the stamp, soak it in hot water, and remove it from the letter. However, the stamp had to already have glue on top from the postal service stamp so that the glue would protect it from being reused for international postage. All of this street culture and DIY innovation that I want to preserve and share later."

The mindset of seizing opportunities and solving problems with creative and authoritative solutions has consistently defined his work. During a period when his production focused on large-format works, it occurred because there was available space and an opportunity for this new production. However, it wasn't all glamour: "When I began transitioning from resin-based works to larger wooden pieces, I thought, 'Okay, I have this space here, let's see what I can do.' The gallery is spacious, and they can exhibit a 2-meter art piece without issue. Let's explore the potential of this larger format. To be honest, I didn't fully comprehend what I was creating during those years. Recently, someone sent me a picture of one of my works, and I couldn't even recall creating it. Over four years, I produced around 150 large art pieces and sold, I believe, over 100 of them, perhaps even more. Many artists in my position would be content and highly productive. However, I felt somewhat melancholic, especially because I began to feel constrained by a formula that was successful, even though I genuinely enjoyed everything I produced. I was aware it was a product of its time, you know? I have two daughters, and my wife worked diligently to support me in reaching this point. Therefore, I needed to fulfill my responsibilities as well. The realities of life were knocking at my door."

The logistical challenges and complexities associated with creating large works began to take their toll. The solution emerged: a new approach to production. Sesper explains, "I realized that I needed to create art that I could transport to exhibitions in a backpack—pieces that were entirely finished and self-contained. I no longer possessed the physical stamina to create large works. I'm now in my forties, and my perspective on everything has changed. I cleared out my studio, discarding the equivalent of two garbage trucks full of materials. I began crafting collages using negatives, cards, and other materials. It was around the time that my dog, Samuel, passed away. There were some acetate sheets on the floor, and I found some films. I started cutting and pasting, and that's how my first new work came to be."

This journey of an artist should always be one of experimentation, of venturing outside the comfort zone, as that's where new and authentic creations emerge, along with a sense of joy. However, the challenge arises when you create something that defies labeling and categorization. Sesper admits, "I sought guidance from friends to solve this predicament. I knew I had to print the works, but I desired something more tangible, something involving paper that I could print later."

Simultaneous production across multiple platforms results in mutual influence. In the realm of music, there has been a significant shift in production methods: "For 25 years, I played with Garage Fuzz, a band characterized by its meticulous musical production process. An album could take five years to complete, but it would be a well-crafted project. However, since the 1990s, I've also had these lo-fi recordings that I did with Carlos Dias in 1997 when we lived together. We were working on the 'Lo-Fi Experience' project, using a double deck overdub to play a guitar and a box. So, there have always been many facets to my creative life simultaneously. Nowadays, there is greater acceptance and market demand for this type of sound. People no longer recoil when you arrive with a simple setup to play and improvise a solo, something that might not have been well-received in the 1990s. Today, people understand the nuances better."

The commitment to documenting this production, along with that of his contemporaries, has been unwavering. Sesper's "Re-Board" project, for instance, delved into the history of skateboard art in Brazil from the 1980s through the 2000s. The focus on documentation spans across various platforms, ensuring that future generations have access to the desired information. "Today, everyone seems to like everything, but it's crucial to understand why. The new generation of skateboarders needs to be aware of what 'Video Days' by Blind was, just as the new generation of indie lo-fi enthusiasts will need to know about the Folk Implosion. I observe the opposite in my daughters. They recognize and appreciate David Bowie, funk, Kpop, and various genres. This generation, born into the digital era, absorbs information much faster. As for me, I can't keep up anymore. I focus on a specific niche because there's an overwhelming amount of possibilities and information, much more than I can handle."

In an age where information is abundant compared to when he started, his strategy is to observe: "When someone asks me about a particular topic, even if I'm familiar with it, I sometimes pretend not to know, just to understand what people are discussing and thinking about. I prefer this method over the daily information overdose that's prevalent on the internet today. I don't use the internet extensively because of this."

In the same vein of taking control of time, the frenetic pace of production and research has slowed down, allowing for a better sense of control. "Over the past decade, I've witnessed my daughters grow up, and that has shifted my perspective entirely. It made me realize the importance of savoring the moments in life and adopting a more relaxed approach. I still play with Garage Fuzz, but now I can play with a Tascam for an audience of 20 people and enjoy it just as much. I've adopted a more carefree mentality, where I no longer make elaborate plans. Those intricate chess moves rarely work out! (Laughs) It's often the spontaneous events and collaborations with people I know well that yield the best results. Of course, there are exceptions and new projects, as new people and opportunities constantly emerge in life. However, I find that I work more effectively with those I'm familiar with."

Life and work are a cumulative journey, a collection of experiences. This is an apt metaphor for the life and work of Alexandre Cruz. His record of life experiences and those of his friends has shaped his production over the years. Today, the significance of these fragments from everything that was on his radar is unmistakable.

Our conversation extended beyond what can be captured in writing, lasting for over an hour. Therefore, we have left the full, unedited audio available so that you can delve further into this remarkable biography of one of our most influential figures here at VISTA, and for many others who appreciate his attitude and approach to life's endeavors.

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REPROVADO

Text by Lucas Velloso

Sesper’s work arises from a particular relationship between collage, painting, form, and texture. Based on experiments conducted on paper and manipulations using computer graphics programs, today his work primarily unfolds on wooden panels. These panels incorporate a wide range of objects, thus embodying the concept of assemblage.

Among the diverse materials discarded by society that the artist employs are educational posters, magazines, and obsolete equipment, including personal objects and documents related to either himself or his friends. These elements, imbued with sentimental value and at times relics of urban subcultures, undergo a continuous process of visual feedback, intertwined with Sesper's earlier work. They become integral parts of his artworks, prints of sections of his works, fragments of products created by the artist - in short, originals and transpositions of his works spanning various mediums are transformed and repurposed. Simulacra and originals merge to compose scenes of a society adrift due to psychoactive substances, fractured ideologies, Catholic guilt, and branding.

Alexandre Cruz spent a significant portion of his teenage years skateboarding, creating zines, and recording cassette tapes in Santos, in the state of São Paulo, Brazil. He joined various independent bands and engaged in other musical projects.

While in São Paulo, he began to intervene in the streets with stickers and posters, adopting the pseudonym Sesper. Simultaneously, he disseminated his art through graphics printed on T-shirts for streetwear brands and designed album covers for independent or major labels, among other products.

In parallel with this, he developed works in the studio that gradually gained visibility in exhibition spaces. Sesper also worked as a curator, being one of the founders of the influential exhibition space called Most and participating in the curation of the traveling show TRANSFER. As a documentarian/videomaker, he directed RE:Board, the result of extensive research into the history of art produced on Brazilian skateboards.

Sesper has significantly influenced the trajectory of LOGO gallery since its opening in 2011. His work garnered attention in group shows such as "Perturbo," which inaugurated the gallery with his monumental collages/paintings, and "Marker," featuring a provocative installation: a viewing booth for "adult religious" films.

The artist also made a significant impact by releasing a series of autobiographical works split between the 2012 and 2013 editions of the SP-Arte fair, both of which sold out. His work is featured in prominent institutional collections such as Itaú Cultural, MAC USP, and Instituto Figueiredo Ferraz.

Sesper's first solo show at LOGO (the first-ever sold-out show at the gallery) in 2013 was titled "Reprovado" [Rejected]. It presented a narcotic perspective on the human condition intertwined with consumerism. In the installation in an anteroom, as well as in the large-format works, humanity was portrayed through the brutal reconfiguration of its visible reality.

Anatomy was dissected into parts, while texts, photos, graphics, and objects were juxtaposed with the depicted bodies, offering diverse psychological interpretations of the subjects. Sesper's dysfunctional beings - part human, part cultural residue - unveil dynamics of social exploitation and control, even within a simple portrait. Nonetheless, the punk dystopia that emerges from these works doesn't resonate as a refrain of grassroots revolt.

The artist's conceptual and visual overlays generate fascination, akin to a complex end-of-the-world scenario. Compared to his previous work, "Reprovado" marks the emergence of a new relationship among the layers. Now, even the wooden panels that the artist typically uses as support have been cut, reconfigured, and superimposed, pushing the essentially two-dimensional compositions toward the three-dimensional. Depth causes the figuration to emerge or fragment, depending on the viewer's perspective.

The tension between the immediate visual pleasure and the weight of interpreting the new works serves as an analogy for the consumer goods that pervade contemporary life, much like Sesper's compositions. These products possess momentarily attractive forms and functionalities, even though they result from exploitative production processes that contribute to environmental harm both in their manufacture and disposal.

It's worth noting that the artist doesn't position himself here as an exemplary figure to follow. He doesn't differentiate between the world's trash and his own, in fact, considering himself rejected, since Sesper's body of work is replete with direct projections of his personality, representations of isolated life events, and self-portraits. However, recognizing this position of rejection, along with the artist's willingness to reconfigure the chaos to our advantage, may ultimately be the only solution.