Page 93 - ARTE!Brasileiros #41

symbolically drafted in the exemplary case of Gauguin At the end of the route, remains to the visitor the feeling
taking as starting point the screen “Self-portrait (near of a contemporary uneasing facing a permanent sexual
Golgotha), painted by him in 1896, it is all a digression repression now reborn with strength , and against which
on the importance of androgyny in the work of the the artists are fighting in a somewhat dispirited, but
artist, a deepening of character more psychological than intense. Illustrates that sense the work of Sergio Zevallos
plastic, which clashes with some of the conductive line Santa Rosa, associated with the context of persecution
of the exibitions that even aligned with a perspective of homosexuals in Peru, in which a man squatting, tied
multidisciplinary, search most of its references in the by ropes tied in front of your actual image, whose title
analysis of the links between society, their contemporary is “Esperar la hora que cambiará nuestra costumbre
problems and visual culture. Such approach underpins the no es facil”
Museum’s curatorial strategy, which for some time now
comes looking for investigating the relationship between 1 | AYRSON HERÁCLITO, GAYE WITH GU LEAVES, 2015
art and some themes that gain relevance at the present 2 | ABOVE, EISEN, NEW YEAR’S DAY [NEW YEARS DAY], 1835, WOODCUT ON PAPER.
time. The shows dedicated to sex is the fourth in a series 3 | ON THE SIDE, GRACIELA ITURBIDE, MAGNOLIA WITH MIRROR, JUCHITÁN, 1986&#X
of investigations, which in the past have devoted to themes 4 | NEXT, ANA MENDIETA, GUANAROCA (ROCK CARVINGS), [FIRST WOMAN (RUPESTRIAN
of childhood, of madness and of feminism, and the future SCULPTURES)], 1981, DIGITAL PRINT ON PAPER, COURTESY ESTATE OF ANA MENDIETA
will address the afro-atlantics and indigenous stories. COLLECTION. ABOVE, MARIA AUXILIADORA THREE WOMEN, 1972
The curators sought to actively implement corrective 5 | NICOLAS POUSSIN, TRANSVESTED HIMENEUS WATCHING A DANCE IN HONOR OF PRIAPUS
actions of inequalities, making room for works of popular 1634-38, OIL ON CANVAS , 166.5 X 373 CM, SÃO PAULO MUSEUM OF ART COLLECTION
origin, giving visibility to activist groups and seeking a ,(PURCHASE, 1958.) PHOTO: ALEXANDRE CRUZ LEÃO
fairer balance between women and men into all artists.
When embodied in own work, defense of minorities Stories of Sexuality
reaches high-impact results and acquire a revelatory From 20 October to 14 February 2017 2018
power of oppressions and use of language as a way of MASP
domestication. on the other. Is the case for example of AV. Paulista, 1578, SP
the approach between the screen “Moema”, painted in masp.org.br | (11) 3149-5959
1866 by Victor Meirelles and one of the great examples of
indianism romantic (which appropriates Indian image, but SÃO PAULO EXHIBITION | PAGES 50 TO 57
dominated, who dies of love by the white conqueror), and JULIO LE PARC
also nullifies your strength, showing a Moema impotent,
an extremely delicate photo of Claudia Andujar, where ORCHESTRA TWO
a real indian, in your particular context (a Yanomami
village), caught in repous spotted at rest. SHOWS IN SAO PAULO
Other dialogues, scattered along the exhibition,
deserve attention, such as the contrast between the
image of primitive woman created by Ana Mendieta and THE SET SHOWS THE FORMAL ELEGANCE ON THE UPTAKE OF LIGHT
photography “The Sculptor and the Goddess” by Ernesto AND MOVEMENT
Neto. The sensuality of the image of the mouth of the
artist “framing” a small female divinity is not something BY LEONOR AMARANTE PHOTOS PATRICIA ROUSSEAUX
common in the exhibition. Evidently eroticism and visual
representation of desire-important topic in the history JULIO LE PARC IS A MAESTRO of contemporary art
of art – has a place in the exhibition, but is diluted in which, since the 50, causes lines dance under the lights,
the midst of many other issues more present as solitary vibrating energy form evoke continuity, joy and involve
confinement, the the lack of differentiation, the use of the public in an unique optical-kinetic experience. His work
sex as power or as political weapon. seduces and magnetize at first sight. São Paulo lives a
There are a number of examples of emphatic denunciation, magical moment with two simultaneous exhibitions: the
as Descartes Gadelha’screens, who portrays the grotesque retrospective Julio Le Parc: from form to action, in the
character of sex tourism and pedofília on Iracema Beach Tomie Ohtake Institute and the exhibition 9 + 3 + RV, at
in Fortaleza, or series “For Heretics” , Leon Ferrari, in Nara Roesler gallery.
which erotic drawings are superimposed the engravings of The light is the raw material that reverberates, as guiding
Dürer, Bible passages explaining the links between religion, principle, by all the retrospective. The set attests Le
oppression and perversion. Seem less relevant the works foParc formal elegance to capture the light, work with
in which the eroticism and sensuality predominate, as in projections, objects and environments. Curated by
the case of Alair Gomes and Tracey Moffat (another of the Estrellita B. Brodsky and artistic consulting of Yamil Le
major dates of the exhibition). Who goes to the “Stories Parc, the retrospective spans several decades, bringing
of Sexuality” in search of torrid scenes or images that together more than 100 works of different phases, from
approach pornography will be frustrated. this precursor and greateractor of kinetic art and optical