Page 122 - ARTE!Brasileiros #49

IT’S ENOUGH ENGLISH VERSION
Janeiro. He took advantage of the precarious materials that surrounded him to detailed project presented by Joaquim Lebreton, head of the french mission, in 1816
recreate the world in a priceless work. From the threads of his own uniforms, he and unpublished until 1958. addressed to the count of barca, the writing presents a
created cloaks and fabrics. He also conceived sculptures and murals covered with detailed proposal. for the foundation of an education system in the country. it is actually
objects that he compulsively collected, assembling an entire parallel universe. a project with two bases: it defends the creation of an imperial school of fine arts and
Deceased in July 1989, the artist’s work has been revisited, restored, sanitized and also a lyceum of the arts - that would only exist decades later. he argues for the need
cataloged since the end of 2016. In September 2019, the Bispo do Rosário collection to stimulate, at the same time, the science of drawing as the basis of art and as a vital
was listed by the Institute of National Historical and Artistic Heritage (Iphan), by technique for the formation of a skilled workforce.
unanimous decision of its advisory board. similar questions run through the subsequent texts. the writings of ruy barbosa and lucio
With sponsorship from the Marcos Amaro Foundation (FMA), the Bispo do Rosário costa, related to educational reform projects begun in the 1880s and 1930s, respectively,
Museum of Contemporary Art, in Rio de Janeiro, will incorporate into its current also emphasize the need to incorporate the art and tool of illustration, sketching, and
space, where the exhibition area and the restoration collection, one of the pavilions design into youth education, enabling not only to technique but to a formal sensibility,
of the former Juliano Moreira Colony, hospital where the artist lived for many years. developing an aesthetic quality whose germination is necessary for the not only economic
The building, which has to be completely restored, houses the cell occupied by Bispo, but cultural progress of the country, which longed for accelerated national updating
who saw it as a kind of studio. and modernization.
“The walls of the cell where Bispo do Rosário lived are completely filled with drawings mario de andrade, vilanova artigas and flávio motta, the authors of subsequent essays,
that have been covered with layers of paint over the years. We will remove them adopt differentiated and complementary points of view. what fascinates mubarac in
gradually, in a process of restoration of the original coat of paint, in an attempt andrade’s essay on lasar segall is his poetic tone, his boldness in trying to scrutinize the
to reveal the whole creative universe of the Bishop printed on those walls”, says relationship between visual work and writing. “if for lucio costa, scribbling is not drawing,
Ricardo Resende, curator of the Museum and also of the FMA. Once restored, the cell for mario de andrade,” exemplifies the artist and teacher at the school of communications
will function as a permanent exhibition space for the works of the Sergipean artist. and arts (eca-usp), who has long panned texts and reflections on the subject. “i’m not a
“The idea is precisely to present to the public his work in its natural environment, theorist, i’m a draftsman who likes to study,” he jokes.
where it was created - even because the Bispo’s work gains meaning, significance The appreciation of diversity, the importance of considering the different ways of thinking
and potency of immeasurable proportions when contextualized in that asylum / making / tracing images, gives emphasis to the essay of conclusion of his own, whose
landscape”, he comments. starting point is the effort of synthesis for a class on drawing, given in 2017 at the city
For the beginning of the pavilion restoration project, the Marcos Amaro Foundation school. for this closing text, the selection of graphic works to which it relates is even
donated to the Rio de Janeiro institution the amount of R$ 350 thousand. In 2017, wider. it includes visual essays by eight contemporary artists, with whom the artist and
the foundation supported the readjustment and renovation of the museum’s current teacher have been maintaining an intense exchange about graphic making for decades.
technical reserve. In early 2018, the incentives were for the readjustment of the they are alberto martins, elisa bracher, ester grinspum, jose spaniol, madalena hashimoto,
current exhibition halls, ensuring better museological conditions of exhibition marco buti, paulo monteiro and paulo pasta. the diversity and complementarity between
for the work. “With this support, the FMA reaffirms its purpose not only to boost them only reinforce the idea expressed by the author, regarding the complexity, centrality
contemporary production by creating awards and residencies for young and active and diversity of the theme, which can neither be reduced to a single point of view, nor
artists, but also for the preservation and conservation of contemporary Brazilian considered as something in decay, inexorable victim of profound transformations in
art”, says Raquel Fayad, Managing Director of the foundation. our visual culture.
“This procedure is the largest ever performed on contemporary works of art in although diagnosing that in the second half of the twentieth century there was a decline
Brazil. The method consists of removing oxygen from a structure built precisely in theoretical production on drawing (the task of gathering reflections on the issue was
for this purpose, a hermetically sealed bubble, where half of the work of Bispo do not easy), the 21st century appears, according to him, with a renewed view. “when i look
Rosário was accommodated in its first stage. From there, through a mechanism, at art, architecture and design courses and speeches, i see that drawing remains firm
all oxygen was removed from its interior leaving only hydrogen ”, explains Ricardo and strong, as praxis and as reflection,” he concludes.
Resende. “This process ensures effective elimination of termites, fungi or any other
asphyxiation microorganism. It is a technology that does not affect the work, it is
extremely fragile, and requires the utmost care”.
UTOPIAS: Life for All Times and Glory is currently on display at the Museum’s
headquarters, which continues the Museum’s proposal to guarantee and expand
access to art and culture outside the conventional axes of the city. Curated by Diana
Kolker and Ricardo Resende, the exhibition features works by Atelier Gaia artists,
linked to the Bispo do Rosário Museum, and works by artists Pola Fernandez, Val
Souza, Ercilia Stanciany, Veridiana Zurita and Seu Hernandes José da Silva, invited
to participate in the Casa B residency program.
Pola Fernandez’s work was also exhibited at the opening of the exhibition Bispo
do Rosário: Things of the World, opened at the Marcos Amaro Art Factory (FAMA),

in Itu, São Paulo, in September.
BOOK SOBRE O DESENHO NO BRASIL | PAGE 104 AND 105
AT THE TIP OF THE PENCIL

BOOK ORGANIZED BY CLAUDIO MUBARAC GIVES AN OVERVIEW
OF DESIGN HISTORY IN BRAZIL
BY MARIA HISZMAN
“ABOUT DRAWING IN BRAZIL”, a book organized by Claudio Mubarac and recently
published by the Escola da Cidade publishing house, bridges a gap, bringing the
reflection on drawing - which is usually relegated to a secondary position in arts
education in Brazil - to the place of protagonist. Bringing together sparse texts,
representative of different historical moments, and a powerful set of images, the
work brings a selection of seven studies on the subject. this dive is greatly enriched
by the option to accompany each of the essays with works of close artists - in time
and style - by the authors of written analyzes.
The choice to merge image and text, in this order, is a kind of positioning, a way of
putting theoretical discourse and artistic work on an equal footing. Thus, thought-
provoking dialogues are established between Joachim Lebreton and Jean-Baptiste
Bebret; Rui Barbosa and Henrique Bernardelli; Mario de Andrade and Lasar Segall.
In the cases of Lucio Costa, Vilanova Artigas and Flavio Motta, they are authors of
both written reflection and accompanying drawings, further deepening the intelligent
relationship between the two forms of expression proposed by the work.
The opening reflection, essential for all who study the history of art in brazil, is the

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