Page 112 - ARTE!Brasileiros #43

WHAT UNITES US? ENGLISH VERSION
The other movie that is part of the exhibition, Exhumación (2007), is the interview HOW CAN WE SPEAK of an art created in virgin soil, at a time when the dust was
with the Argentine forensic expert Alejandro Incháurregui who went to Bolivia, 30 still at the feet of the settlers? How to define the eccentricity of the newly arrived
years later, in 1997, and identified the remains of Che Guevara. Incháurregui is the royalty and his astonished gaze before the black slave and the Indian appeased?
same expert who participated in the work of identification of Nazi Dr. Josef Mengele, From Terra Brasilis to Aldeia Global, an exhibition that occupies the Espaço Cultural
in Brazil in 1992 and later, Santiago Maldonado, in Argentina at the end of last year. Unifor in Fortaleza until March 2019, tells how we were introduced to art, passing
On the walls of PROA 21, also the contact sheet and the copies from the negatives through almost all the schools and artistic movements that gave shape to what we
produced by Alborta that October 10, 1967, in Hospital Nuestro Señor de Malta, in can call today Brazilian art. The curator Denise Mattar had no difficulty in tracing this
Vallegrande. Images that served as inspiration for the British critic John Berger, who course, with 280 works in front of the rich and rich collection of the Edson Queiroz
made analogies with the works of Mantegna, the Dead Christ (1480) and Anatomy Foundation, all to commemorate the 45 years of the University of Fortaleza, Unifor.
Lesson (1632), by Rembrandt. Transgressing the script, a kind of timeline, I begin the text with the room of geometric
In another of the installations there is a chronology based on research that confronts abstractionism and emphasize the work of Ceará artist Eduardo Frota, a rigorous
more than ten sources- including the Bolivian Diary, from Guevara himself and How circle of thin steel blade painted red, which balances vertically and elegantly over
I captured Che, from General Gary Prado Salmón-and describes the events from the ground, without support, signaling the movement that gave north, strength
May 13, 1963 until October 17, 1997 , in other words, the background, the facts and and transcendence to Brazilian art. He shares the space with Léon Ferrari Samson
some of the consequences of the guerrilla war in Bolivia. Flexor, Judith Laund, Sérgio Camargo and Mira Schendel, among others.
Below we reproduce four short excerpts: I return to the zero point of the exhibition, proposed by Denise, for the copy of
Americae Tertia Pars, of the Belgian bookseller Theodore de Bry, published in Europe
October 7, 1967 – Eleven months after our inauguration guerrilla without in 1592, based on reports of trips made by Europeans in Brazil. The book has the map
complications, bucolic; until the 12 30 hour that when an old woman, herding their of Brazil, dated 1592, which was plotted oversized for display and glued to the wall.
goats, entered into where we had camped and I had to arrest her. The woman has The copy, transformed into a touch, can be virtually veneered by visitors. Denise
not given any reliable news about soldiers, answering to all our questions that she chose 280 works, among a universe of more than a thousand, that integrate the
doesn’t know, that a long time she wasn’t by there; collection of the Edson Queiroz Foundation, among paintings, engravings, drawings,
The army gave a strange information on the presence of 250 men in Serrano to sculptures, as well as several historical - geographical books, three of them written
prevent the passage of the rebels in number of 37, giving our refuge area between by Maurício de Nassau, to a map of the old Recife, dated 1632.
Rio Acero and Rio Oro. The news seems diversionist – Diario Boliviano, Ernesto Che Guevara. The exhibition touches on the center / periphery issue, a concept that has permeated
October 8, 1967 - It is reported that the enemy is in El Churo where meets Racetillo the art system ever since. In past decades, this was due to the imposition of artistic
and Jaguey . At 11:30 hrs is attacked by the Comps A and B, fall dead three and two and aesthetic rules that came from Europe. The national salons that rewarded the
wounded among the latter is Che Guevara and 2 soldiers dead and 4 wounded , all Brazilian artists repeated the canons and, it was common the artists to be awarded
of which are taken to La Higuera – No Disparen, Soy El Che, General Arnaldo Saucedo with the prize of trip to Europe. Internally the situation was not different with respect
October 9, 1967 - Released from the Fuerzas Armadas:”(...a) Ernesto Che Guevara to the São Paulo River axis, in detriment of the artists from the other Brazilian states.
fell seriously wounded in our troops hands “-After having ceased combat, was The curator points out that with this “some significant artists, because they lived
transferred to the town of La Higuera at around 20:00 hours of the day Sunday, outside this region, did not come to integrate the so-called art circuit”.
October 8, where he died from his injuries” – Como Capturé Al Che, General Gary Prado Salmon Collecting is like a narrative, it also has the role of leaving everything unsolved and
October 9, 1967 - “At one pm I left the little school and outside, waiting , was Sgto can invoke an aesthetic renewal. Structured chronologically, with a didactic course,
Mario Terán and Tnte Pérez who seemed drunk. I ordered them not to fire in the the show exhibits curiosities like the photo of Maurício de Nassau, considered the
face, only from the neck down. Ten minutes later I heard the shots “- most important ever made by the Governor of Dutch Brazil. Added to this, there
“Shadow Warrior, The CIA Hero of a Hundred Unknown Battles”-Felix I Rodriguez are also books, of equal importance, that have been incorporated.
Two women appear in the work of Katz. One of them is Monica Ertl, which is part There is so much to see and to be amazed at almost three hundred works. By
of the post guerrila phase and was the one who killed with three shots Roberto bringing together the various art trends, the Queiroz Foundation shows its concern
Quintanilla Pereira in 1971, then Bolivian consul in Hamburg. It is the military that for open museology and signals its rupture with the formal commitment of the
appears in the famous photo with hand in hair from Guevara’s corpse. private collector, closed in on itself. The constitution of a collection of art in Brazil
In the words of Cuauhtémoc, the work of Katz discusses the way that photography indicates important transformations in the Brazilian art circuit, resulting from the
of the mid-twentieth century permeated the entire social experience. Guevara dialogue between businessmen, gallerists, collectors, critics, artists, curators. The
was a producer of images and not only for making disguises as the one he used to nine modules in which the show is divided attempt to redraw, in panoramic flight, the
enter Bolivia, via Madrid and São Paulo, with a shaved head and the identity of Dr. movements of Brazilian art and its stridencies. The collection, in any of its latitudes,
Adolfo Mena González, official of the OAS. Guevara use to carry his camera, as an has specific works, and among the academics stand out Eliseu Visconti, Raimundo
ideological instrument. This “guerrilla lens” is the theme of the installation that has Cela and Almeida Júnior, among others. From the first modernism, there are Anita
Tania in focus, the other of two women . Malfatti, Tarsila do Amaral, Ismael Nery and many others.
Haydee Tamara Bunke Bider-Tania was her name on the guerrilla-died before Gradually the collectors usually tune their knowledge of art history in practice and
Guevara in the clashes with the Bolivian army, on August 31 1967. As well as Guevara, the look is calibrated. The Edson Queiroz collection does not have a curator to
Haydee/Tania also photographed a lot. Recorded the daily lives of the guerrillas and indicate the purchase of works. Everything was always done by the Queiroz couple
intended to use the material for propaganda purposes later as happened in Sierra and now by their children. Therefore, the quality of the abstract-informal ones such
Maestra in Cuba at the end of 50 years. In Bolivia they produced rolls and rolls of as Vieira da Silva, Antonio Bandeira, Iberê Camargo and Frans Krajcberg, as well
pictures. Many don’t have been developed. Were found in the camps, in the bag as concrete and neoconcrete, Ivan Serpa, Lygia Pape, Abraham Palatnik, Franz
of Guevara, in Tania possessions and ended up working as a double-edged sword. Weissmann, Hélio Oiticica and Lygia Clark are striking.
More than anything, the pictures served to identify the guerrillas and later, supreme It is often said that the work of art is the best translation of the spirit of its time. The
humiliation, were used to illustrate the books published by the Bolivian military, like years of 1960 -1970, period of the dictatorship, is represented by Antonio Dias, Wesley
general Gary Prado as the above quoted. Duque Lee, Sérvulo Esmeraldo, Lygia Pape, Cildo Meireles and Waltércio Caldas,
Project for El dia que me quieras is a fascinating historical recovery work with among others. The persistence of these artistic relations comes to contemporaneity
thorough care with the iconography and has MUAC organization, Museo Universitario and concepts of every order are mixed in works of artists as different as their origins
Arte Contemporáneo, Mexico and Fundácion BOW, curated by Cuauhtemoc Medina as Adriana Varejão, Henrique Oliveira, Vick Muniz, José Tarcisio, Efrain Almeida,
and Cecilia Rabossi. Luiz Hermano, Cildo Meirelles, Leonilson and so many others.
It is hard to gauge how such a collection can reinvent the local artist and spectator.
FOUNDATIONS EDSON QUEIROZ | PAGES 82 TO 86 But, certainly, the presence of the Edson Queiroz Foundation’s collection in Fortaleza
THE ORIGINS IN has contributed, in an applied way, to the understanding of the history of Brazilian art.
TERRA BRASILIS UNIFOR, 45 YEARS OF

TO COMMEMORATE 45 YEARS OF THE UNIVERSITY OF FORTALEZA, AN EXHIBITION EDUCATION AND CULTURE
WITH THE ARCHIVE OF EDSON QUEIROZ FOUNDATION MAKES A RETROSPECTIVE
OF BRAZILIAN ART SINCE THE COLONIZATION THE DEPUTY DEAN OF THE UNIVERSITY of Ceará Randal Pompeu speaks
to ARTE! Brasileiros. Over the years, Ceará has contributed to the Brazilian art
BY LEONOR AMARANTE system, with artists such as Antonio Bandeira, Sérvulo Esmeraldo, Leonilson, Aldemir