Page 102 - ARTE!Brasileiros #47

THE POWER OF ART ENGLISH VERSION
with the British artist Hurvin Anderson. It encompasses not only paintings - language Every movement to trigger disruption runs through the works that now take the 600
that the artist has been exploring more hard in recent times - but also sculptures, square meters of the gallery Jaqueline Martins, whose owner is also the curator of the
drawings and videos. Recent works of his own have also been exhibited in individual show. The novelties are the paintings on canvas, made when the artist was still an art
exhibitions at Galeria Janaina Torres. These last two hubs of works reveal, by means of student in the 1970s. A curious tension permeates the plurality of the work by Hudinilson,
a subtle yet intense dialogue, the at once fluid and coherent character of his poetics. one of the pioneers of the xerox art movement in Brazil. Best character in his own work,
In Magila's works there always seems to be a farther, more remote, starting point in creating Exercício de me ver (1981), he disorganized critical thinking by simulating the
than the first appearances indicate. His painting, despite the ethereal character, is sexual act with a xerox machine. It is intriguing to follow it in this experimentation by
not an invented construction. The inanimate objects and scenes that emanate these producing other meanings for man and machine. How not to remember Hélio Oiticica
constructions always derive from scenes of reality, which the artist collects as an when he sentenced: "to try the experimental"? Hudinilson expresses himself, without
explorer, usually in decadent and abandoned places, and recorded by photographs shame, by means of several languages which, in some circumstances, becomes an
or drawings of observation. instrument of speculation. For the critic Jean-Claude Bernardet, "the fragmentation
This careful record of landscapes and details is part of your process. Graduated in of the body by the xerox, converts it into abstract landscapes, in which the fragments
arts by Unesp in the early 2000s and often as one of the highlights of the young fade away". In his performance with the copying machine, he uses his body as a matrix
Brazilian painting, Magila has a very diversified trajectory, marked by moments of for the reproduction and investigation of visual possibilities.
exclusive dedication to graphic design and the search for an association between In 1979, Hudinilson created the group 3Nós3, with the artists Rafael França and Mário
different forms of expression artistic Ramiro. The union by elective affinities was of friends who agreed art and form of
Empty chairs, debris from bars, umbrellas not only populate his screens creating a making art. Until 1982 they intervened in several points of São Paulo, practicing the
somewhat nostalgic scene, but also serve as a structure for the entire composition. recreational and critical reappropriation of the city. The repertoire of actions ranges
"I do not paint the object, I paint around it", he explains. The empty architecture, from the bagging of public monuments to intervention in the breathing hole of a tunnel,
the deserted environments are their theme. They never see human traces in them, to the sealing of art gallery doors. All understood as a revolutionary mark against
but we know they've been there. Magila confesses interest for places that have the the rationalist and controlling determinations of the metropolis. Even acting with the
mark of a certain experience, places that feed a series of works. This is the case, for group, he never gives up his individual production that lasts more than three decades.
example, of a beach in Iguape, which is being eaten by the sea and which is the source From the beginning, Hudinilson maintains a strong relationship with collage, starting
of several of the works shown in the British Center. In several visits to the site he point for a commentator phase. To this are added experiments in the woodcut, support
collected not only scenes, but objects engulfed by the sea (any relation to an impulse by which most of the Brazilian artists experienced, using decals of photographic
of ecological denunciation would not be mere coincidence), later transforming these images. Hudinilson spent long hours picking nude body photos taken from American
spoils into a large facility. magazines. In 1984, he abandoned these models and focused all his attention around
Despite the chromatic power of the screens, it is always from the drawing that himself when he dedicated himself to Narciso/Estudo para Autorretrato (1984). In this
the image is structured, in a series of re-readings to the final form. The mixture of "essay" he dialogues with the myth of Narcissus and creates his own visual identity.
techniques, the influence of his formations in technical drawing (by the Lyceum of The project involves a series of works, like a sort of "opera". Narcissus becomes an
Arts and Crafts) and the experience as graphic artist - area in which he worked for a obsession for him who, in the last notebooks of collages, reveals his interest in the
long time - leave their marks in the work. And they contribute to create this feeling study of the male nude.
of a composition that does not necessarily seek a definitive harmony, but rather to In the 1980s, Hudinilson's place for art is the street, where he invents graffiti with
promote the coexistence, somewhat ambiguous, of elements only seemingly disparate. drawings embedded in writing, claiming a space for total freedom. His mentor and
His paintings seduce and defy the senses at the same time. accomplice, Alex Vallauri (1949-1987), was the first Brazilian artist to adhere to graphite.
Like him, Hudinilson works with masks or stencils in the search for a new formal space
EXHIBITION SÃO PAULO | PAGES 66 TO 70 to create, a resistance in vain, as if some naturalness in art were possible.
THE REINVENTED WORLD In life Hudinilson saved himself from experiencing the illusory vertigo of belonging to
the art market and participating in internationalization through repetitive marathons
OF HUDINILSON JUNIOR of fairs and biennials. It was only after his death that his work reached the exterior

TO BE CHECKED IN SHOW and he landed in June at Art Basel, Switzerland, the oldest and most revered art
fair in the world.

DANDI, DARK, FLANEUR, ANY ADJECTIVE DOES NOT TRANSLATE WHO WAS EXHIBITION SÃO PAULO | PAGES 70 TO 73
THE ARTIST, THE FACE OF SÃO PAULO
275 TIMES NORTHEAST
BY LEONOR AMARANTE
EXHIBITION À NORDESTE, AT SESC 24 DE MAIO, SEEKS TO DISCUSS THE
WHAT CAN ART? Hudinilson Junior always did what he wanted and the answer to this IMAGINARY ABOUT BRAZILIAN NORTHEAST WITHOUT FOLKLING IT
irreverence was to become a point outside the curve within the universe of Brazilian
art. His trajectory is marked by the collapse of the subject, explosion of the relation BY JAMYLE RKAIN
with the object and radicalization of performances. With sophisticated poetic vigor,
coupled with bodily and relational experiences, Hudinilson left a production closely OF THE MEETING BETWEEN THE RESEARCHERS OF THE
linked to São Paulo, whether in performances, graffiti or art in xerox. CURRICULATORS Bitu Cassundé, Clarissa Diniz and Marcelo Campos was born
Many of his works emerge in search of the simultaneity between thought and visuality, a great desire to carry out a project for an exhibition that would bring together works
as in the day when he surprised the city with the image of his penis xeroxed in a huge representing the northeastern Brazil not in its caricature form, but in its totality,
billboard, near the Ibirapuera Park. The reactions provoked by the boldness pointed entering the imaginaries in around him. The project for this was already about ten
to the dismantling of the hierarchies of the exhibition space, destruction of the power years old when, almost two years ago, it was approved by Sesc to be held in the unit 24
of location of the work and at the same time revealed the irreverence of the subject. de Maio. Thus, the three curators began to travel through all the states that compose

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