Page 110 - ARTE!Brasileiros #45

ART BEYOND ART ENGLISH VERSION
Despite the attractions of the labyrinth, Sumidouro draws attention, an On the opposite corner, the visitor finally discovers what the video, or rather the
unprecedented video that dialogues with the museum’s architectural structure. distance from the outlet, was “kind enough to erase”, as the artist says. Thousands
In it, the artist distorts the beams and rails of the ceiling and extends the walls of paperwork trimmed with care and wandering rest on the wall, make up small
of the MuBE. Regina had the idea of doing this work when she went to the place niches, contaminate the surfaces with their smoothness. It is a grand plan, made

for the first time to study the space, thinking about the exhibition. “I looked at up of a succession of small games, metaphors and seductive balances, like the little
the grid and knew exactly what I was going to do: put the architecture to devour paper hook that holds a thin ring, dancing in space like a small cell phone by Calder,
itself”. The grid is scattered throughout the museum designed by Paulo Mendes projecting its distorted shadow over the wall. Entitled “Global Myopia (paragraph
de Almeida, whom Regina calls a modular architect. “I ordered for Rodrigo in the corner)”, the work (which derives from the installation made for Venice),
Barbosa the design of the grid, the photograph from a certain point of view, functions as a subtle calligraphy that demands surrender, which intrigues and at
the middle of the ramp.” Everything was built to marry, in scale and in point of the same time entices our increasingly shortsighted eyes.
view, with what you see from the ceiling in that place. “When looking up, the
viewer has the sensation of virtual depth without limit, an animation in loops EXHIBITION SÃO PAULO | PAGES 72 AND 73
the edges of the projection to be rounded like a mask, like a phantasmagoria WHAT DO YOU DREAM OF?
of space devouring itself and for this I call it Sumidouro”. The artist wanted
projected onto the gray concrete and succeeded. Regina is right, this work is
subtle, a site specific, made especially for that space of the museum. Too bad GROUP EXHIBITION RAISES FLIGHT IN THE GALLERY LUISA STRINA, WITH
it’s ephemeral and you have to get out of there. PLAFORM PAVED BY THE WORK ‘FLOR MOHOLE’, BY DAVID MEDALA, AND THE
VIRTUAL SPACES OF CILDO MEIRELES
EXHIBITION SÃO PAULO | PAGES 70 AND 71
THE STRENGTH OF DELICACY BY LEONOR AMARANTE

THE DYNAMIC AND FRAGMENTARY NATURE of art opens itself to all
BESIDES ITS DISCRETION, WORKS BY MARCO MAGGI OVERLAPS THE SCALE sorts of delusions and can counteract simplifications and sameness. The gallery
OF SPACE IN MUBE Luisa Strina gives a poetic breath in the congested circuit of art this month with
the show “VOCÊ SONHA COM O QUÊ?” (What do you dream of?) A question of how
BY MARIA HIRSZMAN the arrogance of the world can be questioned with daydreams and imagination.
Mexican curator Magali Arriola sets up a game from A Flor Mohole by the Philippine
So delicate that it’s almost invisible, Marco Maggi’s interventions in the Brazilian artist David Medalla and Virtual Spaces by the Brazilian artist Cildo Meireles. In
Museum of Sculpture (MuBE) have an impressive visual and poetic power. Contrary the utopian Projeto Mohole, 1957/1966, the artist imagines planting a flower in the
to what often happens nowadays, in which works seem to scream to attract the center of the Earth to make it resurface “with petals, rolling on the crest of a wave
public, Maggi’s small constructions only whisper and gently invite our attention. reaching the shore” in different shapes and locations. Virtual Spaces by Cildo, from
The unsuspecting visitor, who finds himself at the entrance dozens of reams of the 1960s, questions how we approach space and how geometry can modify our
paper of the same height (always 500 sheets, A4 size), arranged neatly on the relationship with it, centered on the work A Penteadeira, 1967.
floor, will be intrigued. Only gradually will you realize the difference between The utopian and organic collective that touches on the concepts of inside /
seemingly similar things. The batteries are identical and seemingly trivial. But outside, above / below, brings together works by Marcel Duchamp, Pierre Huyghe,
beyond regularity, they serve as pedestals for crisp, vibrant landscapes, formed Laura Lima and Zé Carlos Garcia, Marie Lund, David Medalla, Cildo Meireles,
by small cuts, folds, delicacies, like extremely fine arches that have been released Theo Michael and Gabriel Sierra. The set reveals the thresholds of perception
from their place of origin to launch into space. that connect light and shadow, explores dramaticity and poetry like the one
It takes time to respond to the invitation of a close observation. The same that emerges from Bird, 2015/2018, a sculpture by Laura Lina and José Carlos
deceleration of rhythm and the same movement of retreat and approximation is Garcia. In the MMMMM ... Manifesto, 1965, Medalla dreams of sculptures that
required in the other works of this small but powerful anthology. They all deal with “migrate en masse to the North Pole”. Laura Lima talks about the Bird, inserted
what the curator Cauê Alves defined as “materiality of the idea”. Questions such in the desire to do a public work. “I realized how much architecture is present in
as scale, depth, contrast between light and shadow are part of Maggi’s repertoire. my work, and when I put this giant bird, I thought more of sculpture and not of
Two aspects, however, call special attention to this exhibition: the instigating performance.” Laura imagined a cataclysmic situation in relation to the people,
dialogue created with architecture, emphasized by its relation with the concise as if placing a bird on a small bonsai. “I thought of a fallen bird in the middle of
of the museum made by Paulo Mendes da Rocha and the game he proposes with the city and immediately chose José Carlos Garcia to work with me. He makes
scales and invisibilities. sculptures with wings, birds, is a great sculptor. Garcia says that this project
Master of contraposition - between idea and gesture, past and future, the tiny and reveals where the bird came in, where it hit and died. For him, this scenario is a
the immensely great - Maggi realizes in this exposition a deeply intriguing contrast great landscape that every spectator will do in his head. “Everyone points to a
between two ways of seeing his own work. In two close but opposite corners of place, to find their dream landscape”, he says.
the exhibition space, two closely connected works were arranged. In the first one, Daydreams also revolve around the work of Colombian Gabriel Sierra, who uses
the visitor is surprised by a video entitled “Language in Residence”, filmed on the organic matter to reinvent planets, a work that works as an experiment. “It interests
occasion of the artist’s participation as representative of Uruguay at the 56th me how we see the space we inhabit. To expand creativity and ideas, people seek
Venice Biennale. In the work, made in partnership with Maria Ines Arrillaga, we see more space, as a metaphor for the supposed lack of space, as if planet Earth were
a succession of visitors in an exhibition space. They enter, they look, they talk, they insufficient for creativity”. With the curious title CCCC (spark, body, house, cosmos)
make registers, they approach and they move away with a face now perplexed, he makes an allusion to the spirit that inhabits these territories. The freedom to think
now enchanted. Not surprising were it not that we, the spectators of the video, without frontiers is at stake. “It’s a way to escape the territory we know on Earth”.
saw only a white wall. Maggi’s work simply disappears for the video, such is its From each obsession of Medal and Cildo’s observation is a work, an experience, a
delicacy and ability to reveal itself only gradually, in a physical, epidermal intimacy. way of experiencing space. Be real, dreamy, distant or deep.

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