Page 106 - ARTE!Brasileiros #50

ENGLISH VERSION BACK TO THE NATURE

its group of followers”. Didiana remembers what Of the 27 selected for the publication, Vicuña, Ángel Rojas, from Colombia, that the publication
happened to this research on her Instagram. who has lived in New York for 38 years but always reinforces the current political debate that the
“He spoke of an aesthetic in my bubble and that returns to her homeland, was the most daring to continent is going through.
doesn’t interest me. I expanded the qualitative present her creative space. All the others opened Lately, curators have appointed Cildo
data and discovered anonymous artists all over their conventional studios, even if such places, Meireles, also present in the book, as the best
Brazil. This is the richness of the work, it is that as Pablo Leon de la Barra indicates in the essay Brazilian artist, in a denomination more suited
you expand your vocabulary with a larger sample that opens the book, are “the place that allows to the field of sport, which after all has clear
than without artificial intelligence I would not the artist to dream new works, new worlds”. formulas for such a definition, than art. What
have been able to do it”. Photographer Fran Parente is responsible for the book presents, in fact, is precisely the place
On the Calendar website you can view works all images in the book. of error, of trial, of the artist’s risk and not of
by professionals and ordinary citizens, with Vicuña, in her 70s, is from a generation of his best known work. And Meireles’s studio, in
intervention and memes. “Memes are incredible, pioneers in Latin American artistic production, this case, is one of the simplest, which doesn’t
they mark the immediacy of the visual culture which has only recently gained space on even look like a space for creation. But as La
of networks, made from images owned by the the international circuit, as is the case with Barra argues, it is a space that “can resist the
mainstream media, usually journalistic images Colombian Beatriz Gonzalez, Argentine Liliana capitalist logic of production / consumption”.
that speak of everyday life”. Didiana does not Porter and Marta Minujín, and Mexican Graciela Despite having the “coffee table book”
consider these images the most suitable to be Iturbide , all participants in the book, a merit format, Latin American Artists Workspaces is
investigated, since they are already discussed by in the selection. Representativeness, by the a publication that speaks of the place of creation
communication researchers. She is interested way, was an issue seriously observed in the in difficult times, at the same time that it presents
in collages and digital illustrations, typography publication: there are black artists, cases of a generation that has been going through
and vernacular illustrations. There is a rescue the Brazilians Lucia Laguna and Arjan Martins, setbacks for more than 50 years, long before
of things from popular culture, calligraphy, and indigenous people, as stated by Vicuña the boom, already fleeting, of Latin American
illustrations of cordel that are brought to herself. It is a positive sign that, at least in the art. And, most importantly, the book makes
contemporary times. field of art, the concern to avoid male and white real contributions to what it means to create in
These images, according to the designer, narratives is already an inevitable search. For Latin America, a more than necessary debate.
present new paradigms for the study of a book funded by the Cultural Incentive Law,
communication design of the post-internet that is, public funds, it should be a mandatory BOOk: JEAN-JACqUES ROUSSEAU [pAgE 90]
era. By algorithmic scanning, the Calendar standard.
tracks the main themes related to the images La Barra’s essay, poetic in form and content, BEYOND THE LIGHTS
of the day and offers the user the corresponding is a good introduction to the theme, after all,
thematic filters. the artist’s studio is a highly stereotyped Ubu’s partnership with UnB, book
The second phase of the project will present place and the Mexican curator based in Rio compiles “political-literary mosaic” with
a curatorship of images, selected from six de Janeiro addresses many of the possibilities texts by Jean-Jacques Rousseau’
pre-established aesthetic categories: factual; he represents today, being both “A place of
digital illustration; manual illustration; digital revolution and activism”, as well as responsible organIzed by pedro paulo pImenta, a
typography; vernacular typography and for “gentrifying the area”. professor in the Philosophy department at
appropriation. This stage is scheduled to air Another significant definition of La Barra is FFLCH-USp, the volume under the title Writings
in June this year. Now it’s waiting. that “entering the studio is like being on the on politics and the arts is divided into five parts
other side of the mirror”, to paraphrase Alice and brings together, in addition to the texts of the
BOOk: WORkSpACES [pAgES 88 AND 89] by Lewis Carroll. But this is a bit of what the Swiss philosopher, precursor of Enlightenment
book achieves, since in addition to the images ideas, translators ‘and researchers’ notes.
WHERE NEW WORLDS of the “creation spaces”, concise but in-depth Among the themes of the texts are inequality
ARE CREATED interviews, conducted by the journalist Beta between men, language and the illustrious social
contract, among others. The highlight, however,
Germano, give an account of what the studio
represents for each artist, as well as some is “Discourse on science and the arts”, which
Book maps studios of 27 Latin American poetic lines of their work, thus revealing this caused a great controversy between 1751 and
artists, with photo essays and interviews other side of what is generally seen in artistic 1752, culminating in discussions that permeated
the pages of Mercure de France, the famous
By FABIO CypRIANO production. French literary magazine, at that time directed
Another metaphor of the studio is recalled in
the mapocho rIver, which runs through the introduction text by Germano, taking up an by Thomas Raynal.
the city of Santiago, in Chile, was the location idea by Ronaldo Brito: “The artist in the studio This issue is unveiled in a critical text
chosen by artist Cecília Vicuña to represent her is like the lion in the jungle and the artist in the by Franklin de Mattos, a full professor in
studio in the book Spaces for the Work of Latin museum is like the lion in the zoo”. the same department as Pimenta. Another
American Artists, launched now in early 2020, Brazilian artists would be sufficient for a version of the Lights unravels the thought
under the editorial coordination of Fernando publication of this size. Names abound, such in Rousseau’s responses to the critics (the
Ticoulat and João Paulo Siqueira Lopes. as Claudia Andujar, Regina Silveira, Anna “bad polemicists”, as they were called by the
“Domesticated and transformed into sewage Maria Maiolino, Rosângela Rennó or Nelson Illuminist) of Discourse. The answers are also
and chemical waste deposit”, according to the Leirner, among many others. However, the published in the volume, which is edited by
Chilean artist, she says, in the publication, that Latin American approach proves to be highly Ubu and co-edited by UnB. Mattos’ writing
“I work in the river to recover the sense that this necessary, as it builds a character of identity also makes a binding analysis that puts the
is a majestic place”. In seven pages, an average that we Brazilians are not always used to. And Discourse in dialogue with other texts in the
dedicated to each artist, the river is seen in a it is in the testimonies of brothers and sisters, book, Discourse on the origin and foundations
truly catastrophic situation, almost disappearing, such as Cecilia Vicuña and Alfredo Jaar, both of inequality between men and On the social
which becomes a kind of manifesto, a work in itself. from Chile, or Beatriz Gonzalez and Miguel contract or Principles of political law.

106

10/04/2020 01:29
Encarte_INGLES_50_16pags.indd 106
Encarte_INGLES_50_16pags.indd 106 10/04/2020 01:29