Page 104 - ARTE!Brasileiros #45

FREEDOM IS HARD WORK ENGLISH VERSION
From the use of documents, which aims to sharpen the perception, the judgment that Opens Wings 14, in Gentil Carioca curated by Clarissa Diniz, Hair, Ulisses Carrilho in Rio
completes the work is performed by the viewer. Thus, I am interested in creating an de Janeiro.
uncertainty to be able to explain the reactions and attitudes of those who approach work. IN 2017 at the 20 Video Festival Brazil, curated by Solange Farkas, Diego Matos, João Laia,
In this way I see the documents as an inaccuracy of what the file is, which is a public, shared Beatriz Lemos and Ana Pato at Sesc Pompéia in São Paulo.
archive that is both seductive and inaccurate. IN 2012 he won his first EDP in Arts Award at the Tomie Ohtake Institute, in São Paulo - SP.
As an example of this I can cite the work Welcome, President !. It emerged from the
observation that virtually all large companies in Vitória-ES had been inaugurated in the
period known historically in the city as “Great Projects” over the military period. This led BOOKS ZANINI | PAGES 80 AND 81
Gazeta of the 60s, 70s and 80s. From the date of inauguration of these projects, such as BOOK REINFORCES ZANINI
me to the Public Archive of the state of Espírito Santo and to research the newspaper A
the Tubarão Port, Aracruz Celulose, Samarco Mineração, CST, among others, I noticed that AS AN INTERPRETER
all the military presidents visited the city to inaugurate these enterprises. This inaugural
political event had an aggression and seemed interesting to understand the relationship OF CONTEMPORARY ART
with the city, so I tried from those dates to understand how the newspaper reported these
events. To my surprise I found several announcements of companies wishing a good stay THE TEXTS OF THE CRITICAL, TEACHER, HISTORIAN, CURATOR, PERCORREM
to the presidents in Capixaba lands. I cataloged these ads from several different decades, THE MULTIPLE CONCEPTS OF AN ART IN TRANSFORMATION.
some even from the same companies, and I sought support that simultaneously brought
the density of the texts present in the ads, but provoked an inverse relationship from work BY LEONOR AMARANTE
support, such as lightness, invisibility, and creativity a subtle gesture from the movement of
the greeting wind. Inkjet printing on Japanese paper fostered these relationships by how THERE ARE BOOKS THAT CAUSE CURIOSITY before being launched by the protagonism of the object
the work is fixed in the exhibition space. The challenge was to understand how the ads of study. This is the case of Zanini’s vanguards, dematerialization, technology in art, texts of
moved by the wind from the gallery and to use different density of papers so that the work the critic, professor, historian and curator, Walter Zanini, with Eduardo de Jesus, professor
gained movement at the same time that allowed the reading of the ads and emphasized at the Federal University of Minas Gerais. The intellectual closure of the research results
the fragility of the speeches. from Zanini’s close relationship with the everyday experience of art, revealing enigmas of
The work Bandeirantes, for example, was born from the displacements that I make to go to his intellectual artistic physiognomy.
Campinas by Rodovia dos Bandeirantes on account of the doctorate. The way the people I took The Zanini method of working includes exchanging experience with artists and a tireless
with a ride took pride in their roadmaps made me have an interest in the history of the highway. way of questioning the role of art. Two moments exemplify this practice: the art laboratory
created at the Museum of Contemporary Art of São Paulo MAC / USP (directed by him since
A!B — Tell me the research methodology and how you decide to turn this research its inauguration in 1963, where it opens space for young artists, conceptual art, postal art,
into this final product video art, performance and technological poetics, until 1978), and its curatorial renovations
I understand that the work is finished when I can raise the questions that led me to the in the 16th and 17th editions of São Paulo’s Bienal. It was him who instituted the analogy
research, but at the same time I can still imagine possible openings and overflows in their language by definitively eliminating the concept of exhibition of works by country, composing
readings. an international group of critics and curators of museums to assist him in this task.
In this sense, my methodology is part of the interest in getting involved with the subject The book is a theoretical-conceptual investigation about the presence of technologies in
in order to become a historian, engineer, anthropologist, archivist at the moment, without artistic production, in Brazil and abroad, from the 19th to the 20th centuries. The texts
ceasing to be an artist. That is, from the art open a field of reading and experimentation for reveal the systematic view of the critic on the revealing function of contemporary art, in a
society. In this way I read a lot about what I am addressing, the interpretive perspectives process. The texts show the advance of art, when the artisanal processes of production were
on the subject. In the case of the military regime I turn to historians to seek to support brought face to face with technological innovations and their various channels. There is a lot
my hypotheses, always realizing how these questions gain a new outline from the context to discover in these overlapping layers that have as their starting point the experiences of
and contemporary events. Art Nouveau and Deutsche Werkbund. The research goes through analysis of movements
Often the materials and supports indicate new paths and perspectives for the work, that is of historical vanguards, such as Italian and Russian futurism, Dadaism and Constructivism,
why the development of the works always go through a period of maturation. The graphics reaching the 1980s. This timeline runs through kinetic art, cybernetic and electronic art,
processes I use work a lot from a set of procedures, a process in which creating a project is crisis of the object, contestation of and the evolution of video art.
very important to respect some steps. For example, choosing the image is critical so that The inaugural chapter refers to art and one of its issues of identity. From the Artistic
your codes can reverberate to make you think, feel the work not just intellectually but and Mechanical Art to Electronic Art, he problematizes the interfaces between art and
bodily. In the same way the very exhibition space in which the work is presented promotes technology in the light of his relations with the transformations of architecture and design
new discursive possibilities, or even contradictions that often do not have to be overcome, in the 19th century. From this period the sequential chapter originates Kinetic art, the
but revealed. So my methodology comes from the curiosity to search for stories, to think impulse for the immaterial, aspects of contribution of the artist and experimental cinema.
about what makes me distressed, to share a feeling, to open files, to seek the unspoken. Zanini records that “with antecedents in Futurism, Constructivism and Dadaism and in
the Bauhaus School, the research for the development of works of art with movement,
Pagatini has participated since 2011 in numerous exhibitions: driven by the motor or turned to the effects and flickering of artificial light, reactivated
in multiplicity of solutions, by bundling the mobile in this dynamic field of form. “ Several
IN 2018 State(s) of Emergency with curated by Priscila Arantes and Diego Matos. At Oswald groups linked to the movement are quoted as the Zero, from Dusseldorf, 1957, in which
de Andrade Cultural Center in São Paulo. The power of multiplication, curated by Gregor participated the Brazilian Almir Mavignier; Recherche d’Art Visuel (GRAV), Paris, 1960,
Janser at the Art Museum of Rio Grande do Sul, Porto Alegre - RS. commanded by the Argentine Júlio Le Parc; MID Milan, 1964; Anonima, of Cleveland,
RSXXI – Rio Grande do Sul Experimental with curated by Paulo Herkenhoff at Santander 1960, among others. The work of Abraham Palatnik in Brazil is only quoted and then
Cultural. Porto Alegre-RS. commented on in another segment. The exhibition scene, from that moment on, changes
Unleashing at Teacher College, Columbia University, New York - USA, curated by Livia substantially, mixing traditional works with unprecedented realities that emerged from
Alexander and Isin Onol. new machines, incorporating the manifold manifestations of the period characterized

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