Bola pra frente, 1994

Artist Lenora de Barros has been known to stage performances in front of the camera, thus documenting her actions in energetic images such as this—here, a photograph (produced in an edition of 30) captures the artist mid-air, playing with a ping pong ball. Beginning in the 1990s, de Barros established Ping Poem, an ongoing installation project that featured ping pong balls with text on them and through which she playfully explored the “verbivocovisual,” a Concretist concept that refers to the verbal, vocal, and visual qualities of words.

Lenora de Barros, whose work explores language from diverse, unexpected angles—video, performance, photography, installation, and sound art—earned a degree in linguistics from the University of São Paulo before establishing her artistic practice during the 1970s, a moment of widespread experimentation among Brazilian artists. De Barros is the daughter of Geraldo de Barros, a pioneer of Concrete Art, and starting out as a poet, her early work took cues from concrete poetry, in which words are precisely arranged in typographic designs. Throughout the course of her career, de Barros has remained committed to exploring the potentiality of language. In 1983, for example, she published Onde Se Vê (Where One Sees), an artist book featuring both concrete poetry and photo sequences, the latter being a tactic that marked her turn to a more visual exploration of linguistic themes. Since then, de Barros' work has evolved to a focus on the sonority of words, particularly through voice performances.

De Barros was born in 1953 in São Paulo. Her work has been shown globally including at institutions such as the Museu de Arte Moderna in São Paulo, the Casa Daros Latinoamerica in Rio de Janeiro, and the Musée Ariana in Geneva, as well as the 11th Lyon Biennial.

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