Page 92 - ARTE!Brasileiros #41

WILD TALES ENGLISH VERSION

the career of sailor. That’s where he began painting, first AT MASP, THE EXHIBITION “Stories of sexuality” seeks
by decorating the boats and getting the appreciation of to investigate through almost 300 works one of the hottest
his commanders because of his ability. In the years 1930, is topics of humanity. As synthesizes Lilia Schwartz, one
discovered by the official circuit, making part, for some time, of of the curators responsible for the shows, the exibition
the Bernardelli group, association of modernist painters who seeks to understand how sex, gender and desire “are
sought an alternative to academic education. The repetitive fundamenta aspects in our social representations,
exercises and the lack of identity with other members end ideological formulations, everyday perceptions and
up putting him away from the group. But since then, starts to visual experiences”. After two years of investigations
join with frequency of Exhibitions of the National Academy and discussions, the exibiton brings a significant number
of Fine Arts. Enough to be awarded the highest distinction of works that are highlighted from a constant strategy
in 1941 – the prize trip abroad – but your frail health prevents of confrontation, sometimes exploring tuning, sometimes
him from travelling and he ends up changing the award for reinforcing differences, emphasize different forms of
financial aid to pay for their medical treatment. expression around the sex.
It is interesting to note how, over time, Pancetti will gradually On the other hand, the exhibition seems to sin by excess of
adopting an increasingly synthetic form of paint, moving from internal criteria, which leads to a forcible presentation and
more realistic representations of the landscape for quick tips, works reading. What was thought as a libertarian exibition,
intensely chromatic, which distance themselves from the more turns, in fiunction of it’s own structure - the segmentation
realistic representation to recreate, in strokes and concise, the in nine “thematic” sets without much internal consistency,
feel of the landscape. In addition to the color and gesture, a unless the fact of having close relationship to the topic
fairly accurate way and to position the elements on the screen. of sexuality or express strong relantioship with actuality
Pancetti uses winding angles, arms that protrude across on –, acquiring a character in a cast. In other words, if at
the screen. Creates an intense sense of depth through the times that excessive clipping helps you organize the ideas
manipulation of single elements as people on the seafront and gives the visitor a series of keywords through which
or sails of the boats. As Olivio Tavares de Araújo, says in he can “read” most of the work, for another the same
this quote on the large exhibition catalog, his “most peculiar computer effort ultimately leads too much enjoyment ,
and unmistakable quality is the way in which organizes the subjugating the poetics interpretation categories outside
images in space”. the work of art.
In addition to the contrasts, between the intense bluish It’s hard to know what were the criteria for the adoption
green of the sea, the white sand and light varied tones of of the nine elected groups, ranging from the initial core,
the sky (which sometimes is nothing more than a narrow titled “Naked Bodies” (with a nice selection of paintings
band violet squeezed at the top of the screen), there are also of the genre), the final block dedicated to “Body politics
on the screens of Pancetti the constant presence of popular and activism” – housed in the basement of the Museum
figures , with emphasis on the washerwomen, curved on the – through chapters like “Voyarism” and “Religiosity”, but
patches of dry clothes or carrying bundles on their heads, probably correspond to themes with significant presence
repeating like this one of the most classic forms of labour in the Museum.
representation in the history of Western art (especially the In some cases the significance and power of the work
impressive “Lenhadoras”, painting made in 1949 in Arraial exceeds the segmentation. Is the case for example of
do Cabo) and at the same time reaffirming his belonging to “Feminine side/ Male side “, by Chico Tabibuia, and
the working class. “ Sapho “, by Francisco Leopoldo e Silva that are among
the works that are not restricted to a particular category
1 | SERIES BAHIA, 1952, OIL ON CANVAS, 65 X 46.5 CM, PRIVATE COLLECTION FORTALEZA and open symbolically the shows, which can be seen until
2 | SAQUAREMA, 1955, OIL ON CANVAS, 24 X 33 CM, PRIVATE COLLECTION, SÃO PAULO 14 February. To choose the two works reveals a lot about
3 | LAGOA DO ABAETÉ, 1956, OIL ON CANVAS 45 X 60 CM, COLLECTION INSTITUTO SÃO the parties taken and the issues which the curator sought
FERNANDO-RJ to illuminate. First, there is an obvious clash between the
two sculptures. On one side we have a classic work, with
EXHIBITION SÃO PAULO | PAGES 42 TO 49 all the nobility of the marble, which is part of the respect
IT’S ALWAYS HARD TO for the precepts of academic representation of the female
nude. On the other hand, a fine example of popular art,
TALK ABOUT SEXUALITY made by an artist clearly excluded from the official art
circuit, whose crude representation of a naked man and
woman in a single wooden trunk illustrates one of the
SÃO PAULO MUSEUM OF ART OPENS IN NOVEMBER 2017, XXI most significant themes in this dip in representation art
CENTURY EXHIBITION WHOSE THEME CONTINUES TO BE DIFFICULT of sexuality: the notion of sexual identity and gender
TO TREAT AND CONTROVERSIAL TO PUBLIC, LAWYERS, CURATORS blurring theme.
AND INSTITUTIONAL ADMINISTRATORS Maybe that’s the issue more prominent along the
exhibition, present in almost all the branches, with a
BY MARIA HIRSZMAN block entirely dedicated to her (Gender Perform) and