Page 97 - ARTE!Brasileiros #46

and I use art for it”. For this, he focuses on authors such as Michel Foucault and “Recipe for creativity: the month of May + a packet of cookies”, wrote in English
Vilém Flusser. on a notebook the artist Iole de Freitas in the middle of 1974, when she began to
André’s questions are summed up in a representation of reality, seeking to keep produce and exhibit her works. Many months of May and packs of biscuits have
up with the issues of the contemporary and looking at the past as well. From since passed, Iole’s production has been growing and developing. Photographs,
references to the candangos that built Brasília to those that surround the recent experimental films, installations, performances and sculptures have taken place
water crisis in São Paulo, André is involved with a kind of preservation of History, in the more than 40 years since then.
after all: “When you erase history, you erase the understanding about reality”. A panorama of her production and his language has just been published by the
publisher Cobogó, in the book Iole de Freitas – corpo / espaço. The thick volume
is organized by curator and art critic Paulo Venancio Filho, who already in the
BOOKS NATUREZA DAS COISAS | PAGE 78 opening text of the book outlines a logical framework between on the use of the
PUBLICATION PRESENTS body in Iole’s work, from the first photographs and recordings (“an intersection
between body art, performance and experimental film “) to the sculptures, which,
PLURAL VIEW OF PEDRO at the beginning, manifested “the search for something flexible like the body “,
MOTTA’S WORK without doubt exploring the space for it.
In addition to this essay by Paul that functions as an introduction to the book, there
is another one by the curator Elisa Byington who closes it. The latter focuses on
THE BOOK BRINGS TOGETHER TEN SERIES PRODUCED BY THE PLASTIC Iole’s most recent work, in which the artist explores the malleability of stainless
ARTIST AND PHOTOGRAPHER IN THE LAST DECADE, EACH ACCOMPANIED steel when folded, forming the most varied curves. Iole also participated in the
BY AN AUTHOR’S TEXT elaboration of the book herself, having been involved with her personal success
today at the Institute of Contemporary Art (IAC), in São Paulo, to offer the widest
BY THE EDITOR material for the edition, with the help of her daughter Rara Dias. In addition to
the essays, past and essential texts on the trajectory of the artist, written by Lucy
BY PRESENTING THE MOST SIGNIFICANT SERIES produced by Pedro Motta in the last Lippard, Sônia Salzstein, Paulo Sergio Duarte, Ronaldo Brito, Manuela Ammer
decade, accompanied by texts by curators, photographers, artists and writers, the and Rodrigo Naves are attached.
book Natureza das Coisas not only exposes the vast recent work of the artist from The fluidity evoked by a lightness in the forms of the sculptures or even the
Minas Gerais as it deepens - in several directions - the debate about their work. gestures of performance (even when with knives) is a very noticeable point in
This is because each of the ten series chosen to print the pages of the publication, the pages of the volume, perhaps because it is necessary for the courses of the
which is organized by the curator and critic Rodrigo Moura and published by drives, about which Ronaldo Brito points out: “Something in the fleeting and
UBU, is followed by the text of a different author, allowing multiple readings disturbing constructions of Iole de Freitas as that would translate the permanent
of the production of the photographer, artist and “archaeologist-traveler” - as and undecidable mobility of the impulses.”.
Ricardo Sardenberg writes.
Although all the works have photography as basic support, Moura points out in the
first text that Motta’s work does not fit in simple definition: “Direct photography, REVIEW CLAUDIA ANDUJAR | PAGES 80 AND 81
used and recombined to fictionalize reality or to bring the photographic document IMS ATTESTS AFFECTION
drawing, collage, digital manipulation, mock ups, simulacra and sculptures are
closer to fiction. In the post-truth era, these are strategies to denature nature AND DEFENSE OF
and landscape photography, the guiding north of their practice”.
In addition to Moura and Sardenberg, the book brings together writings by Eduardo THE YANOMAMI
de Jesus, Agnaldo Farias, Ana Luisa Lima, Luisa Duarte, Nuno Ramos, Kátia Hallak
Lombardi, Cauê Alves and José Roca. In the words of Lima: “Pedro Motta became a CLAUDIA ANDUJAR’S SECOND SHOW AT THE INSTITUTION BRINGS HER
witness and narrator of the hardships resulting from the interaction between ‘culture’ COMMITMENT TO THE INDIGENOUS CAUSE IN EXEMPLARY RESEARCH
and ‘nature’”. If, at times, the artist approaches, as Farias points out, the coldness
with which man deals with nature, in others he stresses its “insistence” on resisting. BY FABIO CYPRIANO
Whether it’s in works done in rural or urban environments, with more or less
clear interventions, “Motta’s work attracts the eye and then questions what we CLAUDIA ANDUJAR - The Yanomami fight, shown at Instituto Moreira Salles (IMS),
see, always putting the viewer on a state of alert. The oscillation between truth in São Paulo, has a manifest character. In about 300 images, the exhibition
and ‘built truth’ keeps attention unstable and requires a slow, conscious and portrays the nearly 50 years of the artist’s commitment to indigenous people,
questioning look”, writes Roca. at a time when the federal government encourages threats that endanger their
condition in the Amazon.
BOOKS IOLE DE FREITAS | PAGE 79 Andujar has been recurrently seen in the last 20 years, from the so-called Biennial
THE IMPULSES OF of Anthropophagy, in 1998, through Biennial How to live together, in 2006, having
the pinnacle of visibility at the inauguration of its pavilion in Inhotim three years
IOLE DE FREITAS ago besides dozens of other shows, collective or individual, such as in the State
Pinacoteca, in 2005, with The vulnerability of being.
BOOK LAUNCHED BY COBOGÓ AND ORGANIZED BY PAULO VENANCIO However, the cutting proposed by Thyago Nogueira, who organizes the current
FILHO SHOWS THE ARTIST’S WORK FROM THE PERSPECTIVE OF BODY show, gives strength to the work of Andujar, also presenting a vast material of
AND SPACE notes, interviews for the press, books and even recorded journals, which attest
to Andujar’s deep bond with the Yanomamis.
BY JAMYLE RKAIN This is, in fact, the second show on Andujar at IMS. The first, In the Place of the

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