Daniel Lannes - "Dentição" [Dentition]

No dia 7 de junho, Luciana Caravello Arte Contemporânea inaugura a exposição “Daniel Lannes – Dentição”, com cerca de 12 pinturas inéditas, produzidas este On June 7th, Luciana Caravello Arte Contemporânea will open the exhibition “Daniel Lannes – Dentição [Dentition]”, with around 12 previously unseen paintings produced this year specially for this exhibition. The artist has always used references to art history in his work and these pieces are based the ideas of the Brazilian modernist writer Oswald de Andrade (1890-1954), a founder-member of the movement launched during the Modern Art Week in 1922.

The paintings refer to the concepts of cannibalism and anthropophagy found in Oswald de Andrade’s 1928 Anthropophagic Manifesto, in which he states that "anthropophagy is the only thing that unites us" and proposes "gobbling up" the European cultural legacy and "digesting it" into a uniquely Brazilian form of art. Daniel Lannes’s paintings reinterpret these ideas by way of images from films, songs, ectc. “Various forms and styles of art are cited, ranging from old pornographic movies, to barbeque, to Copacabana and other visually impelling spectacles. I take mundane historical images that are nonetheless part of our history, and create a new narrative,” Lannes says.

Many of the pieces are inspired by classic poems and other works of literature, including “The Prodigy”, based on the 1928 novel Macunaíma by Mário de Andrade (São Paulo, 1893-1945), in which the artist paints a black face emerging from a yellow skirt, in imitation of the birth of Macunaíma, and “Guesa, the Wanderer”, based on the epic poem of the same name by Sousândrade (Maranhão, 1832-1902). This poem, which was highly influential in the Brazilian modernist and tropicália movements, was inspired by an Andean legend, in which an indigenous girl, Guesa, is to be sacrificed to the gods. Daniel Lannes portrays her as a bare-breasted woman seemingly being ravished by a man.

Another piece that appears in the exhibition is “The Asmat Heritage”, in which the artist paints a portrait of Oswald de Andrade in such a way as to include references to the cannibalistic Asmat tribe. In this painting, Andrade appears to be protected by a kind of shield. “Neapolitan Carousel,” meanwhile, was inspired by the video promoting Barry Manilow’s 1978 song “Copacabana”, which tells of music and passion in the fabled downtown district of Rio de Janeiro.

The “Anthropophagic Manifesto” first appeared in the Journal of Anthropophagy, published in two volumes, known as “Dentition”. Hence the title of the show. Lannes says that “this word gave rise to images that are not only figurative but also flesh out modernist ideas”, and adds that the manifesto makes reference to a wide range of fields, from Freudian psychoanalysis to the history of Brazil and these two are therefore also included in his paintings.

The pieces are initially produced using acrylic and then brought to life with oils. “Oil paint is more carnal. There is something more visceral about it”, Lannes argues, who uses a pre-existing image, often with various references, to produce each painting. “I need an image to put on the canvas, so I go looking for a variety of images, cutting and pasting them, seeing what I can put together. There is a point where I need to dispense with the image in order to finish the painting”, he recounts.


Daniel Lannes (born Niterói, 1981. Lives and works in Rio de Janeiro) and holds a Master’s Degree in Visual Languages from the Federal University of Rio de Janeiro (2012) and a Bachelor’s Degree in Social Communication from PUC-Rio (2006).

His solo shows include: “A Luz do Fogo” [Light of Fire] (2017), at the Magic Beans Gallery, Berlin, Germany; “Costumes” [Custome] (2014) and “Dilúvio” [Flood] (2012), at the Luciana Caravello Contemporary Art Gallery; “República” [Republic] (2011), at the Rio de Janeiro Museum of Modern Art; “Só Lazer” [Just Leisure] (2011), at the IBEU Art Gallery, in Rio de Janeiro; “Midnight Paintings” (2007), at the São Paulo Cultural Center, among others.

His group shows include: “HÖHENRAUSCH”, Eigen + Art gallery, Berlin, Germany, and “To the Love of the Public I” – Donations to ArtRio (2012-2015), both in 2016; “Tarsila and Modern Women”, at the Rio Museum of Art (MAR) and “Renaissance”, at the Maison Folie Wazemmes, France, both in 2015; “Believing in Ghosts” (2013), at the Caixa Cultural in Brasília; “Gramática Urbana” [Urban Grammar] (2012), at the Hélio Oiticica Art Center; “Arquivo Geral” [General File] (2009), at the Federal Court Cultural Center; “Painting’s Edge” (2008), at the RiverSide Museum of Art, USA, among others.

Lannes was one of the winners of the 6th edition of the Marcantonio Vilaça Fine Arts Prize (2017-2018). He was an artist in residence at Kunstresidenz Bad Gastein, Bad Gastein, Austria, in 2015. Also in 2015, he was selected to represent the city of Rio de Janeiro at the Lille3000 Art Festival, in Lille, France, and was nominated for 2013’s 10th edition of the Cisneros-Fontanals Art Foundation (CIFO) Prizes and Commissions Program and received the FUNARTE Contemporary Art Prize (2012). He was also nominated for the PIPA Prize in 2011 and, in 2012, won the IBEU Art Salon’s Novíssimos Prize (2010). He has also been artist in residence at the The Idyllwild Arts Program Painting’s Edge, California, USA, 2008, and was awarded a grant to study at the State University of New York Fine Arts Department, in 2004.

Some of his works are included in important public collections, such as those of the Rio de Janeiro Museum of Art (MAR); the Figueiredo Ferraz Institute, Ribeirão Preto; the Rio de Janeiro Museum of Modern Art, and others.