Page 113 - ARTE!Brasileiros #45

Vivo, president of the Council of the Liceu, remembers the eight pieces in the communicate, but clear and precise texts of the artist are a way to give some clues
collection, there were only eight left. Four are in the exhibition, highlighting a besides the visibility of each work.
copy of Michelangelo’s Pietà, restored by Júlio Moraes, the name of excellence in This reflective concern expands even more in the second part of the book organized
the sector in the country. by the curator Douglas de Freitas. “Carmela Gross” also gathers an interview of
The renowned school affiliated with the Liceu, Saint Louis, USA; Turin, Italy, etc ..., the artist conducted by him and three essays written by the curators Paulo Miyada,
offers regular paid and free high school for the semi-full term for needy students. Luisa Duarte and Clarissa Diniz.
For the second semester of 2018, it goes through a theory and practice course for
technological solutions in industrial automation and internet of things. “Liceu Tech BOOK FLAVIO-SHIRÓ | PAGES 92 AND 93
updates and develops a mission of excellence for the Liceu”, says Patricia Macedo,
director of the school. The results of this consultation are from partner companies, AN ENTIRE FLÁVIO-SHIRÓ
a gateway to the labor market. What has worked is teaching what needs to work out.
A BOOK THAT COMPOSES JAPANESE-BRAZILIAN TRILOGY RELEASED BY
CARMELA GROSS | PAGES 90 AND 91 PINAKOTHEKE, FLAVIO-SHIRÓ, WITH TEXT BY PAULO HERKENHOFF, IS UPDATED
BOOK FEATURES WORK AND RELAUNCHED
OF CARMELA GROSS THAT BY JAMYLE RKAIN

ENGAGES WITH URBAN ISSUES
In the early 2000s, Pinakotheke Gallery designed a trilogy of books that honored
BY FABIO CYPRIANO great Japanese-Brazilian artists. The initiative took shape in partnership with BTG
Pactual. The beginning was in a meeting of the work of Manabu Mabe produced
IN THE MIDDLE OF THE MILITARY DICTATORSHIP, at Bienal de São Paulo during the decade of 50. The following book honored the constructivism of Tomie
in 1968, the artist Carmela Gross presented three works, among them “Barrel”, a Ohtake. To end the trilogy, a dip in Flávio-Shiró’s trajectory was produced.
reference to the instrument of torture used at the time by the police to provoke On the occasion of the exhibition that honored the 90th anniversary of Shiró’s
a situation of drowning in jail. birth in the São Paulo headquarters of the gallery - from September 24 in Rio de
The work was presented in the Biennial of the Boycott, so named because many Janeiro --, Pinakotheke decided to update the volume, released in 2015, which
artists no longer participate in the shows in protest against the situation experienced brings the work of the artist born on the island of Hokkaido, Japan. The current
by the country. “As an instrument of torture, it [the barrel] was already, by that time, version, July 2018, adds a number of new works by Flávio, including those produced
North American oil industry waste. Metaphor minimised, almost not a metaphor, in the current year.
but involving the foreign domination and the Brazilian dependence, including in the With a presentation by Max Perligeiro, director of the gallery, the book (Flavio-Shiró,
underground practices of dictatorship “. The current statement, that after 50 years Editions Pinakotheke, 216 pages, R $ 90) has as its guiding thread a text by Paulo
presents a Brazil still submissive to the United States with threatened democracy, is Herkenhoff about the artist, also author of the texts in the other books of the
from artist herself in the book “Carmela Gross” (Editora Cobogó, 280 pp., R$150).
The new publication traces an overview of Gross work since 1967 until 2017, so collection. An expert and appreciator of Japanese-Brazilian art, the critic already
a broad vision of 50-year career, showing 76 works in detail, many of them with produced in 2008 an exhibition with about 400 works that demonstrated the Brazil-
reports of the artist, as is the case of “Barrel”. Japan relationship at the Tomie Ohtake Institute. In addition, Paulo has had a close
Gross has been an artist with a strong presence in the city of São Paulo, in temporary relationship with Shiró for over 40 years, says Perligeiro. In this way, there is no
shows as the Bienal de São Paulo (1968, 1989 and 2002), or in permanent works, doubt that the presence of Herkenhoff’s writings in the book is an essential part.
like”Grand Hotel”, most recently presented in the book. This work can be seen The book takes care of punctuating, even in a non-explicit way, all the influences that
at Sesc 24 de Maio, projected by Paulo Mendes da Rocha, opened last year in Shiró has of the places where it has passed. Especially of those where he settled
downtown. “The GRANDE HOTEL bright sign, installed in the lobby of the building, like resident and had an experience which passes to his works. It is remarkable
combines the discovery of a lost place with the evocation of a promise – the one of a France, a Japan and a Brazil in its production. In this way, having these points
the city as the bigger place of its inhabitants”, describes the artist in the publication. define the artist’s ability to put himself in a space.
Bright signs from neon lights take up a lot of Gross work, a way to establish links For Max, it is important to return to a course like that of Shiró, who “is an
with the forms of communication from the city itself, subverted, however, as her indescribable artist with incredible scholarship”. And there is another important
own desire. She wrote HOTEL on the Bienal de São Paulo, in 2002, a form that can point of the book, which does not take any effort to offer the public a privileged
point both to the temporary and passing character, as for the limiting character vision of the paintings of an artist who throughout his life has fed on the images
and of privileges that it carries of theater and cinema, including having contact with names like Akira Kuroswa.
This is a good example, in fact, of this very close relationship between the artist’s Exhausted since 2015, the first edition of the book could be found even being
poetic and urban codes, a dominant line in the publication, which also occurs with
the appropriation of metal street signs, used by Gross as strategies to appoint auctioned. This demonstrates the importance of the work of an artist like Shiró being
those who do not always have visibility. cataloged. In addition, undoubtedly, the book’s update and the exhibition-tribute at
“Extras” (2015) depicts this possibility, since: “alludes to an unusual procession of this time in Shiró’s life show, above a compilation of his work, the grandeur of an
dubious figures. They are those listed by Marx in the 18 Brumaire of Louis Bonaparte artist who, at 90 years of age, continues to paint with a conscience indisputable
(1852), as members of the December 10 Society, consisting of handymen, ruined of what you do.
heirs, vagabonds and bums of all kinds “, second account of Gross in the book. “I chose you to make my last book and my last exposition”, is how, according to
It’s very generous that way to address Gross’s career, using next to works images’s Perligeiro, Shiró speaks jocular when they meet. The gallery owner replies: “Every
her own first person narrative to know the creative process of the artist, their last is the penultimate”. With the energy of Shiró, constantly producing, there is
inspirations and objectives. After all, contemporary art is not always easy to no denying that this is only the first update of this book.

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