Page 101 - ARTE!Brasileiros #47
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The magazine was launched in 1957, Larrain produced for her little more than a dozen   that accompany the plastic surgeries she made occupies one of the walls of the gallery.
               reports between 1957 and 1959. He was then invited by Cartier-Bresson to work at   In Nazareth there is a constant rebirth. On another wall, the letter a Scottish surgeon
               Magnum in Paris. The Cruzeiro Internacional ended in 1965 due to lack of advertisers.  wrote to her father about what should be done, Nazareth still small. A chain is built
               In France, Sergio Larrain, who was a friend of Julio Cortázar, one day revealing the   with the little bracelets that Nazareth used on this course through the procedures.
               films he had made through the streets of Paris saw, in the background in a photo, a   Sensitive soul violated by necessary interventions, now Nazareth chose to take care
               couple. He widened the negative and saw that the couple made love, leaning against   of her face. This life force has enchanted me since I met her. That's what led me to
               a wall. He met later with the Argentine writer and showed him the magnification. The   do the documentary "Gilete Azul. I bring here a small sample of the text that is in the
               photo served as inspiration for the tale Las babas del diablo, one of five published   book that was released in the exhibition Registros / Records:
               in 1959 in the book Las armas secretas. The tale, in turn, inspired the Italian director
               Michelangelo Antonioni who made the now classic and inspiring Blow-Up.  INVENTING BODIES AND / OR
               In Sire's words, the curator of the show, who has worked at Magnum since 1982 and   UNVEILING THE EROTIC IN DISQUIETING
               is director and founder of the Cartier-Bresson Foundation, "for Larrain photography   DEBAUCHERY: THE SORE SPELL
               was poetry, it was by no means a documentary issue".
               In a letter he wrote to a nephew in 1982, Sergio Larrain said: "Follow your taste and   IT IS IN OUR BODY THAT WE EXPERIENCE the work by Nazareth Pacheco: we are taken by
               nothing else, believe only in your taste... When you have some really good pictures,   the vertigo of a world that shatters us, spreading viscera in bizarre orgasms between
               enlarge and make a small exhibition - or a little book. Have it bound. And with that,   pain and ecstasy. It is our body that is exposed to sharp and sharp objects. It is the
               set your foot on a floor. By showing them, you realize what they are by seeing them   very notion of the psychic subject that is questioned, the play of mirrors is reversed,
               in front of others - that is where you feel them. To make an exhibition is to give   we lose sight of what has constituted us, we become exposed wound. Destructive
               something, it is like giving food, it is good for others to show them something done   movement of fields of desire, emptying contours, defrosting mountains. This is the
               with work and taste. It is not showing off, doing well done is healthy for everyone".   radicalism of Nazareth Pacheco's work: to establish a flesh-body in the one who looks
                                                                    at her work. And, in so doing, it forces a self-restoration work. In this, several selves
               EXHIBITION SÃO PAULO | PAGES 60 AND 61               become possible, several bodies can happen. Nazareth Pacheco works on the issue of
               NAZARETH PACHECO:                                    jouissance, that enjoyment that is barred by desire. This implies breaking barriers, a
                                                                    confrontation with limits. Joy is the field of what is not fit in the word, of which it can
               CREATION AS                                          not be named. Delight has to do with pure intensity, swirling forces. Delight strengthens
               TRIUMPH OF LIFE                                      the barrier of the pleasure principle, and therefore questions the interdict. Nazareth
                                                                    Pacheco proposes a more than desire, a meeting with what originates in eroticism. It
                                                                    transgresses, heading towards a real drive. Contemporary libertinism, the invention
               EXHIBITION REGISTROS/RECORDS... IN THE GALLERY KOGAN AMARO   of a language that matches meaning and sign. There is no possible metaphor, we are
               CONDENSES THE WORK OF MEMORY MADE BY THE ARTIST THROUGHOUT   on the level of the real, the passions of the body. And the real is beyond good and
               HER LIFE                                             evil. The work of Nazareth Pacheco seeks to disalienate our image, always built from
                                                                    a look that looks at us. We are obliged to retake ourselves as subjects of our desires.
               BY MIRIAM CHNAIDERMAN                                * Miriam Chnaiderman is a psychoanalyst and filmmaker, produced the documentary Gilete
                                                                    Azul currently published on our site: artebrasileiros.com.br/video/gilete-azul/ks, fissures...
               THE NAME OF THE EXHIBITION Registros/Records... is significant. Brings records, traces,
               marks, fissures... in the body, scalpel marks, authorized and even wanted violations.   EXHIBITION SÃO PAULO | PAGES 62 TO 64
               Her work is the expression of this force of life. This exhibition accompanied the  A PAINTING DONE OF
               This is Nazareth. Her body expresses a world where surviving is categorical imperative.
               launch of a book that brings together the work of Nazareth and texts that marked   DEBRIS AND MEMORIES
               her exhibitions. Registros/Records is an exhibition that carried the story of a life of
               creation. Or creation as the only possibility of life.  TIME SEEMS TO BE HANGING ON THE CANVASES OF DAVID MAGILA
               Successive surgical interventions to correct congenital defects have been
               necessary since she was born. In other exhibitions, the marks on the body have   BY MARIA HIRSZMAN
               become shocking, seductive works. Dresses built with razor blades and razor
               blades drives us out and fascinate. The game between the impenetrable (clear   A STRIKING FEATURE OF DAVID MAGILA'S WORK, simultaneity seems to have an effect on his
               reference to Helio Oiticica) and the impossible erotic was a constant theme. The   calendar as well. With three exhibitions inaugurating one after the other in the month
               question of the female body has always been a theme for Nazareth. In the last   of May 2019, the artist makes a striking entrance into São Paulo's scene. They are
               exhibition, the theme is the mourning of his parents, that died five years ago. The   three different spaces and with different vocations, in which it exposes a wide range of
               ability to work out so atrocious pain through her beautiful production touches.   works, almost all of them unpublished, which together make up a very comprehensive
               I wrote the text for the catalog of her 2003 exhibition at Galeria Brito Cimino, when I   panorama of the main issues that motivate it.
               made the documentary "Gilete Azul". In this exhibition a huge curtain of razors and   "It was a result of chance", he explains, emphasizing that each of these shows has
               razors surrounded the acrylic bed. Now, in this exhibition, the curtains are made from   its own history, but without denying the existence of important links between the
               the radiographs that her parents took during the course of the cancer that each lived,   different expository hubs. The first of these projects happened in the garden of the
               with very little time difference. It was when she and her siblings took the ashes of   mansion occupied by the Ema Klabin Foundation. It was conceived in the context of
               their mother to Paris that they knew that the father had already advanced symptoms   the Festival Labas, an initiative of the Lithuanian community in São Paulo, and led
               of cancer. Nazareth tells how she was attached to her father. In the exhibition at the   the artist to immerse himself in the history of his family, in the affective and symbolic
               gallery Kogan Amaro, her father's work instruments  - who was a neurologist - become   memory linked to the locksmith's place ran by his grandfather, who took refuge in
               bronze sculptures. Touching homage where the gestures of a father are eternalized. As   Brazil in the 1930s, and where he learned the craft by welding bins.
               in her all exhibitions, there also exists the presence of her body: a sequence of photos   The second show, which opened at the British Cultural Center, was marked by a dialogue






         BOOK_ARTE_47_JUNHO2019.indb   101                                                                       17/06/19   22:33
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