Page 91 - ARTE!Brasileiros #46

São Paulo, Tomie Ohtake Institute, Centro Cultural São Paulo and the Pinta Fair in This movement “is no longer an” ism “, but rather the most viable output that
Miami, among other spaces. Since the beginning of February and with the support existed for art in recent years and the reasons were simple: anti-bourgeois,
of the Estação gallery, he started to realize an artistic residence offered by the anticomercial, anti-system, etc.”, wrote the artist Paulo Bruscky in published text
AnnexB, entity that aims to promote Brazilian artists in New York. in 1976 in the Jornal Letreiro, Federal University of Rio Grande do Norte. For him,
Founded in 2016, the institution maintains a residency program exclusively for one of the national exponents of mail art, the movement was essential when it
Brazilian artists, having received from its foundation names such as Dalton de came to breaking down barriers, whether for crossing physical boundaries when
Paulo, Carla Chaim, Nino Cais and Ivan Grilo. AnnexB was designed by Larissa interconnecting artists from all corners of the planet or because there are “neither
Ferreira and has Tatiane Schilaro as creative director. Recently, it was announced judgments nor awards to the works”.
that the space will be the place that will host the winner of the recently announced With a marginal climate, since only those who receive and pass on have contact
Prêmio Parque Lage. with the works, the mail art was closed to its agents, creating an intimate fluidity.
During the month of residence, until the beginning of March, Santídio not only In Brazil, the movement won a great homage at the São Paulo Biennial in 1981,
developed new works but also carried out activities around the city, as a workshop where it had a space only to exhibit pieces produced in this flow, inviting artists
for children at the Lilian Weber School of the Arts in partnership with the Anne from all over the world. The general curator of that edition was the critic Walter
Fontaine Foundation. Throughout his stay, he met the paulistano Moisés Patrício, Zanini, who some years ago was dedicated to highlight the mail art in his lines
who was cover of our 43 issue with work of the series Aceita?, with whom he and in his writings. In a 1977 text for the newspaper O Estado de São Paulo, he
exchanged experiences and flourished a friendship. commented that one could not “deny that this activity triggers new communication
Also in early March, Santídio inaugurated an exhibition with some of the works and structural situations for artistic language”.
produced in the AnnexB, added to others he took from Brazil. The show, which runs Involved with research on marginal groups, such as the Poema-Processo and
until April 19, takes place in one of the b [x] venues, which hosts artists, creatives the Nervo Óptico, which have been exhibited at the Superfície Gallery in recent
and technologists for activities. With curatorship of Schilaro, it was titled Between years, gallery director Gustavo Nóbrega also devoted himself to researching mail
Two Skies and has six woodcuts produced in 2016 and 12 monotypes developed art, creating an interest in encouraging its circulation in the market: “The idea is
by the artist during his period in residence at AnnexB. For the curator, the show to create a look of collecting for this, in addition to publicizing and showing this
“invites us to imagine the collapse of the horizon, the multiplication of firmament production that was very important”.
and land when they become one.” During the last holiday of the end of the year, Nóbrega made a trip to the Northeast
Later this year, he will hold his second international exhibition, this time crossing to visit workshops of artists who participated in those activities, he points to the
the ocean to Paris, where he will present works at the Fondation Cartier pour l’art region as the cradle of the movement’s vanguard. In São Paulo, he found very
contemporain. The institution “is dedicated to promoting and increasing public little material, “one, two or three envelopinhos”, there he found works in the
awareness of contemporary art. Every year, the Fondation Cartier organizes a mountains, “gigantic archives”. Courier art, which had even greater adherence
program of exhibitions based on artists or individual themes and commissioning of by artists in Brazil around the 1970s, was not taken as commercial: “It was
artists, thus enriching an important collection”. There have already been several something even anti-market”, he says. The works were exchanged between the
names of Brazilian artists, such as Beatriz Milhazes, Luiz Zerbini, Adriana Varejão artists themselves, institutions and galleries did not integrate this substantially
and Véio. The exhibition at Cartier will be a collective, whose theme is the idea into their collections. Also, according to Gustavo, the artists themselves did not
of the tree and will take place between July 9 and November 10 of this year. intend to sell these works.
Superfície Gallery represents Silva Silva, one of the most produced names in the
mail art. It was in Falves’ studio that Gustavo found much of the work he brought
REPORT TENDENCIES | PAGES 48 AND 49 with him to São Paulo. A priori, he intended to make an exhibition only with works
DO NOT BURN of the movement, but thought it would be too much information. Some of the works
that have gone through the research of Nóbrega will be in the next exhibition of
AFTER READING the gallery, a panorama of the conceptual art of the 70’s, which will open at April
2nd. The exhibition will have a postal art by Avelino de Araújo, Paulo Bruscky, Edgar
ENTHUSIAST OF THE MAIL ART, GUSTAVO NÓBREGA, DIRECTOR AT Antonio Vigo, Silva Silva and the Australian Pat Larter, among others. Materials
SUPERFÍCIE GALLERY, WANTS TO FOMENT THE INTEREST BY PIECES OF of the collective Karimbada besides works of the exhibition Olho Mágico (1978)
THE MOVEMENT IN THE COLLECTIONISM also will be included.

BY JAMYLE RKAIN
EXHIBITION SÃO PAULO | PAGES 50 TO 53
Johnson and the New York Correspondance School, but also in manifestations SENSITIVE POWER
WITH A QUIET EXPLOSION FROM THE 1950s, mail art has its pioneering roots in Ray
such as Maciunas’ Fluxus. As the name delivers, it is a movement in which the art
fits into an envelope or package that can be transported by mail. The possibilities ROSANA PAULINO’S EXHIBITION, A COSTURA DA MEMÓRIA, FINISHES AT
are many and are not limited to letters or postcards. In Brazil, the movement began THE SÃO PAULO’S PINACOTECA AND GOES TO THE RIO ART MUSEUM (MAR)
to take shape in the 60s.
Also known as postal art - a term that has fallen into disuse for reducing it BY SOLANGE FARKAS
to just one of the things used, the postcard - the movement consists of an
exchange of information, networking and, at that time, a new medium for art. IN THE MIDDLE OF THE ARTISTIC production that emerges from the regions
It can not be fooled by the fact that only works made out of paper were sent by of the world’s colonial past, the work of Rosana Paulino has become
mail, but also objects, tapes and videos, some even exchanging pieces of cloth a reference before our eyes. In the curatorial research that seeks
from their own clothes. Artists sought ways to explore all five senses in what the voices and speeches of this geopolitical pole - and that feeds
was sent to colleagues. the actions of Videobrasil -, its force is imposed more and more. I

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