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The word “rever” is a palindrome: read backwards, it is the same. However, as we see in the works, the familiar becomes strange; the past, present; the technique, memory. Rochele's reverence affirms, in this path that seeks the truth, the impossibility of duplication – nothing ever repeats itself. It is not just about photography and its definition proposed by Roland Barthes, “that was”. In the span of life itself, nothing remains as it seemed to be, it can never be asserted that anything or anyone is or was, for "being" is never subject to confirmation. If we go deeper into this question, it will be necessary to indicate that his work operates a game of artistic meaning that wants, at the limit, to resist or even annul the very possibility of tautology, a canonical form of conceptual art.


The contemporary condition of these photos and their experience is indeed operated as a palimpsest, a form characterized by the conflicting coexistence of multiple layers–of images, information, experiences–in movements of mutual appearance and erasure. In the exhibition, we see different qualities of meaning being created, intertwined and destroyed in this way. In each work, familiar and strange, form and idea, text and image are romantically superimposed; real, representation and symbolic.


The work of Rochele Zandavalli search aesthetically establish doubt and the repressed.

Rever manufactures difference as a solution to duplication and its mortuary character. It is in the inadequacy between celebrating and lamenting that the creation of the artist opera. We see the picturesque desire for the other, the mourning of his absence, and more: the

notion that the truth is constituted in the living desire that motivates each encounter.

Excerpts from the text for the Exhibition catalogue, at Santander Cultural, 2012. Authored by Cezar Bartholomeu, curator, researcher and critic in Art History.

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10. rever retratos ressignificados , papel de algodão somerset velvet, 90x65cm, moldura ma
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