Júlia Milaré
1988.São Paulo, Brazil.

Bachelor (2012) and Postgraduate (2018) in Visual Arts by the Armando Álvares Penteado Foundation - FAAP.

Art teacher in elementary school and high school, at Alef Peretz School, São Paulo-Brazil.
She was coordinator of the educational program of the 29th São Paulo Biennial - Fundação Bienal de São Paulo.
2015-2017 Participated in the "August" study and accompaniment group, coordinated by visual artist Thiago Honório and curator Ana Paula Cohen.

2018 É um solo que os outros acompanham - MAB / FAAP; Libertas.são - SUBgaleria
2016 Proces / sos Cri / ativos - Ex / periência - Project linked to the Wesley Duke Lee Institute at Ricardo Camargo Gallery; Em oito atos - Estação Satyros
2015 Stay - Hotel Andradas in the Boca do Lixo area, SP
2011 Não é Ketchup, é sangue - MAB / FAAP

Julia Milare


Version. Perversion...

28.01.2019 to 01.02.2019

About the artist

Interest in topics such as imitation / copying, mass culture, repetition, kitsch, trompe l'oeil, original / false, accumulation, develop from languages such as installation, object and, especially, painting, which is thought of as a medium and a discussion of painting itself. The practice is based on searches in sources such as literature, philosophy, the streets of the mass market and art history, among other sources that connect and boost the aforementioned interests. The objective result, the material and the means normally used, all come from this process. At the present days, the interest runs through the idea of the image as reproduction, translation and betrayal, works of art from the collection of images, memory and virtuality.


"I imagined that network of tigers, that hot maze of tigers, giving horror to the meadows and herds to preserve a drawing."

"I saw infinite processes that formed a single happiness and, understanding it all, I also understood the writing of the tiger."
"Let the mystery that is written in the tigers die with me."
(Short story "The scripture of God", El Aleph, Jorge Luis Borges, 1949).

Tigers are frequently cited in the texts of Jorge Luis Borges. The animal's fur is an image and translation of the ideas that run through Borges' work: labyrinthine, mirrored, coded, symbolic, mise en abyme...

In this sense, I think of the visual data and issues that arise and suggest the fur (pattern, print, model, matrix, copy, repetition, accumulation, memory), and that interest me as a research. For me, the pictorial image has a translation aspect, trompe l'oeil, and the inverse and perverse that betrays our eyes.