Page 106 - ARTE!Brasileiros #45

FREEDOM IS HARD WORK ENGLISH VERSION
In June 2018, FAMA began to work by opening its first exhibition, titled The Three Dimensional A SET OF RUGS HANGING from the ceiling move, spinning in different rhythms, creating a sense
in Marcos Amaro’s collection: front, bottom, top, bottom, sides, volume, shape and color. of dynamism, when shows in galleries usually have an almost sepulchral energy, especially
“From Aleijadinho, through Almeida Júnior to Adriana Varejão, Cildo Meireles, Iole de Freitas by the little public that frequents them.
and Nelson Leirner, these are some of the names that make up the exhibition - which begins In “Aquele vestígio assim... feérico”, which was on display until October 27 in Casa Triângulo,
in the 18th century and reaches the contemporary, allowing a journey in the History of Art the assumed vivid astro focus (avaf) made its own party, even when there was no public.
Brazilian The exhibition presents the collection in formation, which has as its interest the In an obscure phase of the country, warlike weather on social networks, the experience of
sculptural act as an artistic category of the three-dimensional. In this configuration, the color movement was like an oasis.
works go from two-dimensional to three-dimensional, between what would be a painting The project is an offshoot of “abstracto viajero andino fetichizados” exhibition, held in
or a relief on the wall. An installation or a sculpture. 2017 at the Museo Mario Testino (MATE) in Lima, Peru, when avaf produced a series of
Small, medium and large, with color or without color: it’s how the collection has constituted four tapestries inspired by the Wari culture that emerged in the Andean region around
over the last ten years”, says Resende. 680 AD, created together with Elvia Paucar Orihuela, an artisan from San Pedro de Cajas.
The selected works bring a cut from the Marcos Amaro‘s art collection to FAMA sheds. In São Paulo, there were six carpets, also made with Orihuela, in patterns similar to the 17
In the gardens surrounding the factory in restoration, some of the sculptures of the collection paintings displayed in the same room, number calculated to cover all the walls, creating
were installed. At the same time, these will be part of an exhibition specially organized with an immersive environment. To reach these standards, Eli Sudbrack, who created avaf in
the City Hall to be displayed on the avenues of the city. 2001, took a kind of zoom in on old work, as if he were watching them with a magnifying
There are works by Emanoel Araújo, Gilberto Salvador, Marcos Amaro, Mestre Didi, glass in search of their genetic components. This creates an immersion in the work of the
Mário Cravo Júnior, José Resende, León Ferrari, Caciporé Torres, Sérgio Romagnolo collective, which becomes reality and fiction, since even starting from existing images, it
and José Spaniol. arrives at completely different formats from the original.
After months of visitation, partnerships with institutions of the region and the beginning This somewhat kaleidoscopic procedure, however, is repeated with the ‘avalanche volcanoes
of relationship with schools, FAMA now receives two more exhibition rooms. asteroids floods’ program, which is based on a Sudbrack video archive, which displays 66
The exhibition Time and Engraving in Space - Sala Negra presents the Guida and José small selected sections of records from the last 15 years. There is a bit of everything there,
Mindlin Collection of Engraving Matrices, recently acquired by Marcos Amaro Foundation. related to the artist, of course. From excerpts from perfomances, such as the one held in
Organized by the bibliophile José Mindlin (1914-2010), who had a passion for books, and 2008, at the cathartic closing of the Bienal do Vazio (28th Bienal de São Paulo), private
his wife Guita (1916-2006), it is a unique collection. scenes, affectionate socializing with friends. It is as if it were possible, for about two hours, to
enter not only in the memories of the avaf, but in the inner circle that helps to build his work.
This collection of 450 arrays is the nucleus of the exhibition that brings together a selection Finally, the show is composed by a fourth work, in fact an installation that brings together
of woodcuts that show the dramaticity of the work of engravers such as Renina Katz (1925), paintings by Sudbrack’s assistants, alumni and friends (Camila Rocha, Gilson Rodrigues,
Djanira (1914-1979), Mestre Noza (1897-sl1984), Oswaldo Goeldi 1895-1961). Thiago Barbalho, Ricardo Alvez and Nadja Abt) in a structure created by he.
Following more lugubrious works like The Bird (2015-2018), by Laura Lima, co-authored The collective notion gains strength, since there is no identification of authorship in the set.
by the artist Zé Carlos Garcia, a sculpture made of black feathers that simulate a dead Since its inception in 2001, avaf has been a stranger to the nest in the plastic arts universe,
bird lying on the ground. Highly dramatic, ghostly, it seems to have come out of one of since he has avoided identifying or singling out his members in a scene where he still
the matrices seen at the exhibition. The final texture of the feathers and their positioning retains much of the mythical idea of the author, to the delight of collectors. Occasionally

seem to give life to a woodcut, now expanded in space. avaf becomes a duo with Parisian artist Christophe Hamaide-Pierson, who also develops
Nuno Ramos (1960) pays homage to Oswaldo Goeldi by engraving on low relief on a white avaf projects independently. And the avaf also transforms into a collective, depending on
marble “tombstone” an image of his woodcuts bathed in blackened oil, creating the shadows the different projects in which they are involved.
that characterize his engravings. Goeldi, like Nuno Ramos, is an artist who radiates a literary The name avaf itself is an acronym that changes according to the place and moment where
density, which can also be seen in Rodrigo Andrade’s paintings, Wesley Duke Lee’s etchings, some work is produced, like the recent America Votes Against Fascism. Obviously, it is a
Iberê Camargo’s painting, Siron Franco’s and Tunga’s installation. political attitude to believe in the necessity of collective effort, which presupposes elements
Regardless of curatorial criteria or the choice of works, which are always the target of so lacking in these times, such as respect, freedom, courage and generosity.
eminently aesthetic criticism, there is an immense ethical and aesthetic value in making A work composed of so many hands, as this installation in the Triangle, is only possible
this collection available to the public. when there is a genuine commitment by new practices, starting from libertarian attitudes.
Nowadays, in addition to the architectural reforms and the finalization of the technical For the avaf this commitment is kept in a party mood, so maybe the color is so important
reserve rooms, the planning and training of an educator capable of accompanying, listening, in its trajectory and is always vibrating so intensely.
telling stories and systematizing the experiences of visitation is in sight. New attitudes - and the mystery in defining who and what is avaf deserves to be seen as part
On the route contrary to the closure of cultural spaces in the country as a whole and of this strategy - need to be built with a powerful creative force, and that is precisely what is
previous censorship in the construction of projects, FAMA stands on the route of investing observed on carpets, paintings, videos and installation. There is an interdependence between
in contemporary culture and art, allowing young people and adults to be motivated to ask, all these works, it is worth remembering, that it also deserves to be seen as part of a political
think and reflect. strategy, when searching in small details of old works new images, in considering stories
apparently of no relevance as essential, in gathering people and works of unexpected way.
In addition to the shows in Casa Triângulo, avaf can still be seen in reTRANSpective # 2,
CRÍTICA AVAF | PAGE 45 another political irony by avoiding the usual retrospective term to approach new identity
THE VERTIGINOUS constructs with the prefix trans. Held at Viva Projects until December 21 (Rua Cristiano
Viana 201, São Paulo), the show brings together a set of 27 ephemeral works, many of them
LOVING PARTY utilitarian products, made in several partnerships, among them with brands like Amapô
or comme des garçons.
TWO SHOWS IN SÃO PAULO PRESENT AN OVERVIEW OF THE WORK OF THE Festa usually is an area of freedom, where it is necessary to be free of pre-established conditions

ASSUMED VIVID ASTRO FOCUS (AVAF), FOUNDED BY ELI SUDBRACK IN 2001 and in search of a liberating joy. The vertigo in the works and attitudes of the AVAF is nothing
more than a desire for new utopias, of the party as a unifying Dionysian element, where these
BY FABIO CYPRIANO utopias are not always expected: either in the gallery or in a commercial brand.

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