Paisagem n. 114 (MASP) was based on a photograph taken by the artist of MASP’s Picture Gallery. In the painting, one identifies references to several works from the museum’s collection: a detail of Édouard Vuillard’s The Flowered Dress (1891) mingles with plants from Laguna’s garden, while José Pancetti’s Self-Portrait with Sledgehammer (1941) finds itself with Ferdinand Hodler’s The Woodcutter (1910), both representing workers. The synthetic drawing of a side view of MASP by Lina Bo Bardi coexists with a Chinese guardian (618–907 AD), a sculpture that, in an earlier display, could be sighted upon entering the second floor of the museum. Scattered throughout the canvas, pieces of Rubens Gerchman’s Air—Superlative Primer (1967–1972) and the small, weeping figures in Maria Auxiliadora’s The Bride’s Wake (1974) seem to interact with characters from other works and different times. There are also two references to the kitsch collection, which are not displayed on the glass easels, but belong to the museum’s eclectic collection: a porcelain plate with embossed fish-shaped decorations and a platform shoe. There are also references to The Temptations of St. Anthony (circa 1500) by Hieronymus Bosch, Captain Andries van Hoorn (1638) by Frans Hals, Female Nude (1930–1933) by Pierre Bonnard, Façade with Flags (1959) by Alfredo Volpi, and Auguste Rodin’s Meditation (after 1897). The whole picture is sectioned by lines that allude to the edges of the glass pieces that comprise Bo Bardi’s easels, a ghostly presence that demarcates this space.

— Isabella Rjeille

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