Page 98 - ARTE!Brasileiros #42

ICONOGRAPHY & INSUBORDINATION ENGLISH VERSION

X-Range, reissue of the book published in 1977 in New York. The artist matrix”, - which was at the Museu de Arte Contemporânea in São
breaks out secrets by means of objects scattered or arranged in Paulo is a great example of this practice.
the domestic space of four artists: Hélio Oiticica, Lygia Clark, John Organized by Jacopo Crivelli Visconti, the exhibition not only reveals
Cage, and Vito Acconci, all her friends and, at the time, living abroad. this kind of basic level curatorial exercise, as well as all the perversion
The artist takes the space “as an instrument of analysis to the human of the mechanisms of law of incentives and the precariousness of
soul” as Gaston Bachelard says, a concept that touches X-Range. brazilian public museums.
All casual, because Vater created the book long before reading the Starting with the concept: the text that introduces “Matriz do
French thinker. The artist from Rio de Janeiro discusses the space tempo real” is pretentious when say that it is “conceived in the
poetics about images triggered from different spaces. Searchs the interaction between reflections and inspirations, ranging from the
origin and comes to a phenomenology of imagination when visiting 60’s conceptualisms and its reverberations, to the next few decades’s
dozens artists houses, studios and choose between them four to artistic production. It is expected, therefore, a breathtaking search
compose this unusual book format, printed in craft paper . on the topic and, again, citing the curatorial text, as the time “is
Regina tries to find the presence in the absence, as well as in other present in an almost phisical way.”
of his works. “Along the X-Range, I look to register, in a poetic way, Between design and implementation, it is normal that there are
how an individual or groups of individuals dealing with the domestic adjustments, but if there’s something that in fact the exibition doesn’t
space”. The artist is not beholded to territories and, wherever she is, delivery is a physical presence that translates into some kind of
she deals with the time and temporality of spaces as poetic material. effective time experience. What you see, in this sense, is a series of
“What interests me is that everyday poetry that human been prints illustrations of the theme, with a route that trivializes each work to
to your surroundings through gestures, an exposition of your way only one layer – the time- by reducing all its complexity. This is the
of being and living.” case, for example, of On Kawara, seen only in one painting from the
Each artist visited received a poem created by the Vater, with her artist’s series “Today”, that was held daily from January 4, 1966 to
body parts prinyed and interventions such as rips, folds or pieces January 12, 2013, twelve months before his death.
of paper glued with adhesive tape. Of the 30 copies edited in 1977, The work had eight sizes possible, three colors established by the
there’s only one left, guarded by her. The visual poem dedicated to artist and if it’s not completed on the same day, had to be destroyed.
Hélio Oiticica turns into a graphic performance to show a kind of The language used also depended on the place where the artist
“nest”, with Regina’s body impression, torn and pasted on it. The was and began in a time of questioning traditional mediums and
new edition keeps the performance in the 1500 copies. Kawara managed to paint even in conceptual form. The simplification
Alongside to the edition of the book, produced by Ikrek, Regina of a work with so many possible readings, reducing it to a date
performs the retrospective, Oxalá que dê bom tempo, on MAC,in is regrettable, as well as talking about the time without a lasting
Niteroi, with 70 works, including installations, drawings, photographic experience is even contradictory.
series and videos. The Assembly discusses issues related to woman, But the problems don’t stop there. The first work you see on the
body, nature, curated by Pablo León de La Barra and Raphael exibition, Ian Wilson’s “Certificado de autenticidade de Time Spoken”
Fonseca. The highlight is for Tina America, 1976, one of the works - Time Spoken’s authenticity certificate, belongs and is identified as
with strong pivotal on women positioning in society. The exibition is “moraes-barbosa collection” being that Visconti is the collection’s
an important rescue of one of representative artists of contemporary curator. By something similar one of the most renowned curators in
brazilian art’s work. Europe, Beatrix Ruf, resigned as director of the Stedelijk Museum in
Amsterdam, when it came out that she mixed private activities with
Oxalá que dê bom tempo the museum’s activities. This is a tipical case of conflict of interest,
Until April 1 after all Visconti is giving visibility, so value, to a particular work
MAC Niteroi with which he is connected.
Mirante da Boa Viagem, s/nº-Boa Viagem, Niteroi, RJ With that, again, the Museu de Arte Contemporânea da USP outsources
its space for external projects, with particularly problematic matters,
CRITIQUE EXHIBITION | PAGE 80 as occurred with Os desígnios da arte contemporânea no Brasil” ,
ART EXHIBITION AT MAC-USP The ways of contemporary art in Brazil”, in April last year, when it’s
curator exposed its own works-giving visibility and value to them- as
REVEALS PALE AND well as other works identified as the sponsor’s.
It is understandable that a public museum without sufficient
BUREAUCRATIC SURVIVAL resources for an appropriate program seeks partners. However, to
outsource its space, allowing exibitions to be mounted there without
any kind of control and even afforded by money from incentive law
BY FABIO CYPRIANO –“Real time matrix “has R$750,000 from Itaú bank support - reveals
the inability of the Museum in exercising its public function.
CURATORSHIPS with generic themes are lazy models, but in the For a museum with university character, which in the 60’s and
current system of art they are recurring. It’s an easy recipe: pick a 70’s, under the direction of Walter Zanini, even without money,
comprehensive theme, select works of various periods with artists was the center of the experimental production of the city, it’s like
of several generations, both national and international, and mix having lost the sense of its function and surrendered to a pale and
all with a text full of quotations. Matriz do tempo real- “Real time bureaucratic survival.

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