Page 112 - ARTE!Brasileiros #45

ART BEYOND ART ENGLISH VERSION
Luisa Duarte, curator of the exhibition, remember in her text for the catalogue, that INSTITUTION LICEU DE ARTES E OFÍCIO | PAGES 82 AND 83WW
related to a rushed look, a contemporary rhythm marked by a distracted attention, RESTORED MEMORY AND
for the artist there is a clear difference between view and see: “the view would be
while the see would be what his prints demand, in other words, a look able to delay EXPANDED LINES
in a same object, patiently. “
AFTER FIRE, OCCURRED FOUR YEARS AGO, THE CULTURAL CENTER LICEU DE
Santidio is not contaminated with the time acceleration neither from capital nore ARTES E OFÍCIOS ALLOWS TO TRAVEL THROUGH A PIECE OF THE HISTORY
from capital. And seems to have remained faithful to their roots, both in terms of OF SÃO PAULO
his perception and as his mnemonic marks, as of his unconscious memory.
Freud said, in letters to Wilhelm Fliess, right in the very beginning of his work, BY ANGÉLICA DE MORAES
that these three factors together would not be neither more nor less than what is
necessary to create: create a life like a psychic work. When a fire in the Cultural Center Liceu de Artes de Ofícios took place in 2014,
the sadness of those who cherish the country’s historical and artistic heritage was
Um olhar da memória Until September 22 enormous. The history of the city of São Paulo was seriously affected. Although
Galeria Estação Rua Ferreira Araújo, 625 - Pinheiros – 11 3813-7253 much of the building and the collection it housed were destroyed by fire, the
memory of the centennial institution, founded in 1873, could be searched in various
HOMAGE ARTISTS | PAGES 82 AND 83WW sources and private collections. It was reborn in detail, in vintage photos, objects
of decoration and furniture of refined design and execution. Exciting details that
ANTONIO DIAS AND MARIO guarantee a pleasant visit to the past of a project dedicated to quality technical
CRAVO JR. IN MEMORIAM education, which arrives at the present with updated courses for the future: the
challenges of design with computer graphics and the internet of things.
BOTH WERE REPRESENTED BY PAULO DARZÉ GALLERY IN THEIR REGION- The building, in the vicinity of the Park of Light, was revitalized by a project of
CRADLE, THE BRAZILIAN NORTHEAST restoration and reconstruction commanded by the architect Ricardo Julião. It gained
ample spaces illuminated by natural light and right foot of 11 meters, adapted to the
BY JAMYLE RKAIN current demands. All punctuated by references to the time adhered to details such
as the use of the original bricks in the columns. Part of the metal structure it burned
was recovered and painted. No longer supports the weight of the construction: it
“ANTONIO WAS SERENITY, balance, tranquility. Mario was moving force and
agitated”. This is how Thais Darzé, director of Paulo Darzé Galeria, in Salvador, anchors the constructive memory of the set, of great visual lightness.
summarizes her impressions of Antonio Dias and Mario Cravo Jr. Both artists died The reopening of the exhibition space of the Liceu happens with a curation by
Denise Mattar articulated in three moments The Yesterday, the Today and the
on August 1, also on Eleonore Koch’s day. The news of these departures, with a few Tomorrow and two simultaneous and complementary shows, in the poster since
hours of interval, left much nostalgia. the end of August. One, curated by the designer Fernanda Sarmento, called “Design
Both of the Northeast, Antonio, born in Campina Grande (PB), and Mario Jr., Brazil Century XXI”, is in print for four months and is a well-researched project of
Soteropolitan, found in the 80’s another friend in common. This would be special furniture that reduces the environmental impact of its production. The cast lays out
for being able to present them on Northeastern soil, in their home. Paulo Darzé consecrated names like the Campana brothers and certain bettors in young talents.
had just inaugurated the same name gallery when he met Mario. The friendship, The other show, called “History and Memory”, resulted from a survey that occupied
followed by the artist’s representation through the gallery, brought a very large Denise and his team for more than two years and will run until August 2019. The
backing to the rookie gallery. Having in its body of artists the Bahian sculptor gave detailed survey of the centennial institution founded in 1873 by a group of prosperous
much credibility to the gallery, explains Thais, who was also born in 1983. entrepreneurs linked to the coffee industry, yielded a time line that stitches the
The relationship with Antonio comes five years later. The artist also happens to entire course of the show. The 145 years of the Liceu, with its characters and works,
have exhibitions made by the gallery, when this one begins to expand the horizons, are materialized in photographs and photographic enlargements interspersed with
seeking great artists from outside the Bahian territory. Antonio was very successful objects (furniture, lamps, drawings and instruments of work).
wherever he went: “It enlarges all this universe, opens the eyes of the formation of There are some interesting photos, such as the lunch offered by the Liceu to the
the public here, in addition to his own international projection, which makes us also team of artisans who built the equestrian statue of Duque de Caxias, the work of
seek a syntony with everything that is happening in the world of art”, explains Thais. the modernist sculptor Victor Brecheret (1894-1955) installed in the Princesa Isabel
For Thais, it’s easy to talk about both. She remembers having lived with them since Square. The lunch spot: the interior of the horse’s belly, still without the upper half.
she was a little girl: “I had the honor and the luck of being able to live and grow, The Liceu appears in the eyes of the visitors as a living history and important
with two monsters of art, two wonderful people, one with a completely different testimony of an exemplary project of labor qualification to meet the demand for
energy from the other.” She saw in Antonio a sweeter personality. Mario, according high quality joinery and locksmithing at a time when the city was becoming more
to her, was the owner of a “personality with such strength” that he does not know sophisticated. The most important period of these beginnings, situate Denise,
about other people. “was between 1895 and 1928, when the architect Ramos de Azevedo directed the
The gallery was also the last to host exhibitions of artists still alive: Dias in March this finishing work of his buildings in the Liceu”.
year, Cravo Jr. in October 2017. Paulo Darzé, director and founder of the gallery, says It was in the Liceu’s workshops that the furniture and decorative elements of the
that Mario was very moved in this exhibition, which gathered a series of sculptures environments that still constitute the old center of the city were made. It was there that
in wood and iron. Already Antonio’s was a long-standing wish, since 2016 the gallery the red velvet armchairs carved in wood from the Municipal Theater were made, as well
had planned, but it was only possible a few months ago. According to Paulo, the as the design and casting of the sinuous iron railings of the former central headquarters
artist made every effort to get the exhibition out, even working hard in the catalog. of the Bank of Brazil and other buildings of the oldest region of the metropolis.
Besides the professional side, friendship extended to social life. “It was a great The collection of life-size replicas of famous sculptures from the History of Art,
shock to lose both on the same day”, says the gallery owner. which served as a model for drawing classes, were very precious by fire. Livio de

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