Biography
são paulo_ SP_ 1948_ lives and works in são paulo
http://www.gutolacaz.com.br/
Carlos Augusto Martins Lacaz (São Paulo, São Paulo, 1948). Multimedia artist, illustrator, designer, draftsman and scenographer. He graduated in industrial electronics from Liceu Eduardo Prado, in 1970, and in architecture from the Faculty of Architecture and Urbanism of São José dos Campos, São Paulo, in 1974. He is the art editor of the magazines Around / AZ and Via Cinturato. Between 1978 and 1984, he taught visual communication and architectural design at the Faculty of Plastic Arts at the Pontifícia Universidade Católica-PUC, in Campinas. In São Paulo, he teaches at Colégio Iadê, in the architecture course at the Faculdade de Belas Artes and in the free course Artur Cole, between 1981 and 1984. He performs performances such as Eletro-Performance (1984); Strange Accidental Discovery (1984); The Heavy Metal Executive (1987); Show Machines II (1999), among others. In the 1990s, he illustrated the books Crescente: 1977-1990, by Duda Machado; In a Zoo of Letters, by Régis Bonvicino (1955); and the Skazka’s Ballet, by Kátia Canton (1962). In 2005, he published the book Escolha a Letra, which brings together drawings made for the column by journalist Joyce Paschowith, in the newspaper Folha de S. Paulo.
Guto Lacaz’s production transits between graphic design, creation with everyday objects and the exploration of technological possibilities in art, always treated with humor and irony, as it is possible to notice in Crushfixo (1974), one of his first works, or in Fuscão Preto at the Acapulco Drive-In (1981), in which, through a model, he associates a popular song with the avant-garde music of composer Arrigo Barnabé (1951).
Several of her works relate to the universe of media and consumption, such as Oil Maria looking for Salad (1982), in which a can of oil moves on a tray equipped with radars, or Ono (1991), a work in homage to the architect Walter Ono, created from a container of washing powder. Lacaz also creates large installations, such as the Auditorium for Delicate Questions (1989), in which he makes an intervention in Ibirapuera Park, in São Paulo. In the middle of the park’s lake, he installs rows of chairs that, through hidden structures, appear to float on water. In Cosmos (1991), defined by the artist as a free interpretation of celestial mechanics, he arranges, in a dark room, pedestals of different heights, whose electric motors make small white spheres describe orbitals that vary in direction, diameter and speed. When walking through the installation, the viewer has the feeling of walking among the celestial bodies.
Guto Lacaz also puts on several performances, such as Show Machines II (1999) or Electro Performance (1984), with actress Cristina Mutarelli (1957), architect Javier Borracha and artist Nenê Lacaz’s brother, among others.