Page 94 - ARTE!Brasileiros #52

ENGLISH VERSION AGAINST THE DEVASTATION

The cathartic character of the scenes atlas: the original and Aby Warburg, between in extensive research in the archives of the
represented comes in some way in shock with cosmos and pathos: Berlin works from the Warburg Institute, where the boards were
the technical rigor of the tapestry web and adds a Mnemosine image atlas, respectively occupy scattered among thousands of others. In
new element to the work, referring quite directly the cultured Haus der Kulturen der Welt (hKW) parallel, the exhibition at the Gemäldegalerie
to the tradition of narratives linked to the act of and the Gemäldegalerie museum. What makes brings together half a hundred works studied
weaving as a way of eluding time and postponing Warburg’s work so relevant to the present that it by Warburg and included in the Mnemosine
the consummation of an act of violence and deserves this double highlight and, even in times panels through reproductions. Together, the
sexual possession, starring mythical figures of pandemic, attracts an increasing audience? two exhibits offer a unique opportunity to see
such as Penelope and Sherazade. Aby Warburg (1866-1929) is no stranger in art the processes behind his thinking.
If there is one thing in common in all the history, but rather one of the great names of the What is the relevance of this intellectual legacy
works gathered in Trópicos, it is the hegemonic generation that theorized a “science of images” for today? There is no doubt that Warburg was
importance of the role of representation as a (Bildwissenschaft, in German), at the beginning a pioneer in conceiving images in a widespread
way of figuring a vulnerability, thus making it of the 20th century. With the resurgence of this and universal way, without hierarchical divisions
less threatening, even though it is aware that type of approach, in the wake of followers like between cultures and media. For him, a
fear, in life and freudian theory, is extremely Georges Didi-Huberman and Horst Bredekamp, photograph interested as much as a painting,
mutated. The soldiers of the film Les Carabiniers his intellectual reputation grew to the point non-European peoples as much as Europe.
(Wartime), by Jean-Luc Godard, who serve as that he became a fad among art scholars. The He was a precursor not only in his look at the
the guiding thread for the installation A Ordem e problem is that Warburg is one of those authors language of forms - the so-called iconology -
o Método, for example, use the images collected more referred to than read. Many who invoke but also for his interest in ethnographic studies
through postcards to face their fear of war and his name do so only to justify approximations as an instrument to understand art. He was a
death. It seems to become evident that, figuring between works from different contexts. To say thinker who understood human culture as a
or naming what frightens us would allow us to that Warburguian became, in the curatorial whole and sought to follow the future of images
make it less paralyzing. environment, a license to mix garlic with stuff. as a clue to discover what we have in common.
In a recent exhibition, in São Paulo space The so-called pseudomorphism (this looks He anticipated, in many ways, the ideas of visual
Auroras, Rivane follows the same effort, tries like that, so there must be a relationship) is a culture and global art that today challenge not
to give body to the fantasy and, through this common side effect of those who take Warburg only historians but also artists. We can learn a
complex process, full of deviations and mistakes, pills outside the indicated dosage. lot from his work - above all, that the best visual
show the powerful and often reassuring effect Much of the disorientation around Warburg thinking requires deepening the repertoire.
of facing our fears. In the specific case of this stems from the fact that his latest work, possibly Mnemosyne, after all, is memory. From his womb,
work, which unfortunately was little seen due the largest, has remained unfinished. When he arts and history sprang up.
to the pandemic ,the works were born from a died in 1929, the author worked on an image
workshop held parallel to the exhibition Histórias atlas entitled Mnemosine - in honor of the Greek exhiBition | sao paUlo [pages 60 to 63]
da Infância , no Masp (2016). The artist then goddess of memory, mother of the nine muses. AGUILAR’S 60 YEARS
asked the participating children to physically Following his own logic, Warburg assembled
place their ghosts in a certain architectural images on panels, organizing them by thematic OF ART
space. And from these drawings she created a groups and keywords, pointing out persistences In a new exhibition with 69 works, the artist
series of maps, covered with white paint, to be and coincidences, looking for echoes and reveals a cosmology that ranges from
scraped in a kind of treasure hunt (or fear hunt ), repetitions between works not necessarily from ancient philosophers to the defense of
Amazonian forests and rivers
thus figuring out a broad set of possible paths. neighboring cultural contexts. This allowed
comparisons, sometimes brilliant, sometimes By leonor amarante
exhiBitions | Berlin [pages 56 to 58] tortuous, between antiquity and modernity;
ABY WARBURG IN East and West; celestial cards and tarot cards; Delirium and affections translated into paintings
mark José Roberto Aguilar’s return to the art
Renaissance designs and advertising posters.
DIALOGUE WITH THE Based on his vast scholarship and historical circuit, with the exhibition Destinos, Homem
CONTEMPORARY knowledge, he developed an original method of Inventa o Homem, on display at Fiesp. The
Art historian active between the end of the thinking not only about the meaning of images, performance of each canvas is part of an
19th century and the beginning of the 20th but also the way they mean. ancestral flight proposed by him in an attempt
wins two exhibitions at important Berlin
institutions at the same time that the city At the time of Warburg’s death, the atlas to unveil the universe, man and nature, in the
receives the 11th edition of its biennial set consisted of almost a thousand boards show that marks his 60 years of art.
spread over 63 panels. The rise of Nazism Aguilar interprets the white surfaces
By rafael Cardoso questioned the fate of his library in Hamburg, of the 69 canvases as airstrips to exhibit
and his disciples organized the transfer of a cosmology whose thread runs through
at the verY moment when the berlin books and iconographic materials to London, the Greek philosophers, French Revolution,
biennale is making its contribution to the where they served as the basis for the creation Picasso, Van Gogh, Bispo do Rosario and the
effort to make the art scene more inclusive and of the Warburg Institute in 1934. Since then, city of São Paulo. His desires are spiraled like
current, two important exhibition spaces in the there have been several attempts to publish a tornado and evolve with the usual freedom,
German capital turn their attention to the work versions of the atlas, in whole or in part, which as in Picasso’s radical approach to Guernica.
of an art historian, who died more than ninety only increased disputes over the meaning of Painted this year, the intervention is an allusion
years ago , specialist in Italian Renaissance. The the work. The current exhibition at hKW aims to the political bipolarity of the current world in
exhibitions Aby Warburg, Mnemosine image to reconstruct the “original” version, mined a conflict that leads to the dilemma: either war

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