Eduardo Berliner

Eduardo Berliner Exhibited at The Saatchi Gallery

Eduardo Berliner


Oil on canvas

214 x 170 cm

Eduardo Berliner had originally resisted using oil on canvas because of its weighted tradition, loaded with social, political and cultural associations. Eventually he came to recognise that the medium’s resilience lay in a unique temporality, unlike the uninterrupted flow of photographic images that populate the modern world. Berliner utilises this tension between painting and the image to question the authenticity of memory and direct experience. The artist’s primordial relationship to the physical world alters his perceptions of daily surroundings, allowing his paintings to become manifestations of tacit assumptions and misunderstandings. Berliner’s humanistic renderings of living things, scenes from the natural world, plant forms, animals and people, revealed shared relationships contingent on unlikely occurrences. They attest to the slippage between invention and memory, between indifference and trauma.

Eduardo Berliner
Natureza Morta


Oil on canvas

195 x 257 cm

This series of paintings are situated within a larger practice that encompasses collage and photography, in which the artist draws from encounters with random objects and spaces. In the resulting paintings everything is presented on the same plane, evoking a personal intimacy of complex associations animated by feelings, perceptions and visions of his surroundings. They point to the question of whether painting is an instrument for the creation of the image, or a mere pretext for the pictorial exercise. A typical painting aligns an afternoon in the garden and the carcass of an animal (Handsaw, 2009), the event is one where experience and memory become spliced to the point of indecipherability. Figurative scenes are modelled on a hybridisation of spaces both real and imaginary, while narratives evade the logics of illustration to become vague and strikingly subjective.

Eduardo Berliner
Woman With Dog


Oil on canvas

200 x 150 cm

The strange sense of delirium that has come to characterise the Brazilian artistic imagination is indexed in unsettling spaces of sleek interiors and elegant plant forms. For Berliner, the two dimensional actuality of painting does not prevent his interactions with a characteristic surrounding; it acts as a surrogate for all manner of experiences. Painting at intervals outdoors, gives way to changes that reveal contradictory shifts in perception that cause the artist to revaluate the pictorial event as it is happening. A dog decides to laydown before moving again, the adaptation of the action resulting in quick changes (Perna (Leg), 2009). The event, and any memory of it become fused and even inseparable. Here painting is merely residual, an invention that relies on human consciousness, and more importantly on its limitations.

Eduardo Berliner
Perna (Leg)


Oil on canvas

52 x 170 cm
Eduardo Berliner
Clothes Lines


Oil on canvas

260 x 260 cm

© Osei Bonsu, 2014

Eduardo Berliner's Biography

Eduardo Berliner
Born in 1978, Rio de Janeiro, Brazil
Lives and works in Rio de Janeiro, Brazil


Corpo em Muda [Body in Change], Casa Triângulo, São Paulo

Centro Cultural Banco do Brasil-Rio de Janeiro, Sala A Contemporânea, Rio de Janeiro, Brasil

Casa Triangulo, Sao Paulo, Brazil

Galeria Durex, Rio de Janeiro, Brazil

Galeria Laura Marsiaj/ Anexo, Rio de Janeiro, Brazil


Broken English, Tyburn Gallery, London

Casa Daros, Rio de Janeiro, Brazil
Casa Triângulo no Pivô, Pivô, São Paulo, Brazil

30ª Bienal de São Paulo, curadoria de Luis Pérez-Oramas, São Paulo, Brasil
Nova Pintura, curadoria de Rejane Cintrão, Torre Santander, São Paulo, Brasil

Os Dez Primeiros Anos, curadoria de Agnaldo Farias e Tiago Mesquita, Instituto Tomie Ohtake, São Paulo, Brasil
Finalistas Prêmio Pipa 2011, Museu de Arte Moderna, Rio de Janeiro, Brasil
6ª Ventosul-Bienal de Curitiba, Museu Oscar Niemeyer, Curitiba, Brasil
Como o Tempo Passa Quando a Gente se Diverte, curadoria de Josué Mattos, Casa Triângulo, São Paulo, Brasil

Se a pintura morreu o MAM é um céu!, curadoria de Luis Camillo Osório,
Museu de Arte Moderna, Rio de Janeiro, Brasil
Prêmio CNI-SESI Marcantonio Vilaça, Museu de Arte de Santa Catarina, Florianópolis, Brasil
Prêmio CNI-SESI Marcantonio Vilaça, Galeria Juvenal Antunes, Rio Branco, Brasil
Prêmio CNI-SESI Marcantonio Vilaça, Museu de Arte Moderna da Bahia, Salvador, Brasil
Prêmio CNI-SESI Marcantonio Vilaça, Centro Cultural da Universidade Federal de Goiás, Goiânia, Brasil
Prêmio CNI-SESI Marcantonio Vilaça, Museu de Arte Contemporânea, Ibirapuera, São Paulo, Brasil
Prêmio CNI-SESI Marcantonio Vilaça, Museu Histórico Nacional, Rio de Janeiro, Brasil
Edições, Casa Triângulo, São Paulo, Brasil

Investigações Pictóricas, curadoria de [curated by] Daniela Labra, Museu de Arte Contemporânea,Niterói, Brazil
The Portrait Show, Galeira Durex, Rio de Janeiro, Brazil

15º Salão da Bahia, Museu de Arte Moderna da Bahia, Salvador, Brazil
Estranha Coletiva, Galeria Durex, Rio de Janeiro, Brazil

Novas Aquisições da Coleção Gilberto Chateaubriand, Museu de Arte Moderna, Rio de Janeiro, Brazil
Cloro Forte Jamaica, Espaço Repercussivo, Rio de Janeiro, Brazil

Artista convidado da obra de Mabe Bethônico, 27ª Bienal Internacional de São Paulo, São Paulo, Brazil

30º Salão de Arte de Ribeirão Preto, Ribeirão Preto, São Paulo, Brazil

Posição 2004, Parque Lage, Rio de Janeiro, Brazil
Dobra, Centre d’art Contemporaine de la Ferme du Buisson, Paris, France

Rio Trajetórias, Funarte, Rio de Janeiro.