Page 91 - ARTE!Brasileiros #54

Glauco’s art, theorized by critics such selection of chosen projects, songs by Caetano, Sentimento na Sola do Pé (2001-2018) closes
as Frederico de Morais, Ferreira Gullar and Gil, Arnaldo Antunes and Racionais MCs mix the exhibition, a name taken from a verse of a
Roberto Pontual gains new contours with with works by plastic artists such as Claudio rap song by Racionais MC´s, which talks about
Bourriaud, In the interview with filmmaker José Tozzi, Nelson Leirner, Rubens Gerchman, Paulo the violent daily life of big cities. That is when
Teixeira de Brito for the documentary Glauco do Bruscky and with the brief texts of Leminski, the CEUs - Unified Educational Centers also
Brasil, 2015 (later published in the book Glauco Rem Koolhaas, Álvaro Siza , Mário Pedrosa ... appeared, created by the city of São Paulo,
Rodrigues – Crônicas anacrônicas e sempre All together stimulate perception and increase under the government of Marta Suplicy. A
atuais do Brasil, by Denise Mattar,( Glauco the pleasure of the visit. video brings scenes of the uneven daily life
Rodrigues – Anachronistic and always current The key to Infinito Vão is the music that opens that invades Brazilian cities and brings us back
chonicles of Brazil) Bourriaud states: “What is and contextualizes each of the six cores in to Paulo Mendes da Rocha’s wise comment
evident in Rodrigues’ work is that he recovers which the show is divided, in addition to the when opening this exhibition: “Architecture is
fragments of history, remains of images that architectural projects that represent each one a way of saying who we are and who we will be”.
come from heterogeneous times and places. of them. From Guarani to Guaraná (1924-1943)
From this point of view he is very contemporary. part of Lamartine Babo’s carnival marchinha, REPoRt | ARtiFiCiAl intElligEnCE in thE ARtS
From a small fragment, reconstructing the História do Brasil, with the question that [PAgES 48 to 53]
destroyed building is a characteristic of the animates generations: “Who invented Brazil?...”.
current art that Glauco Rodrigues anticipated”, In this period, the country, as Wisnik observes, WILL ROBOTS BE
concludes Bourriaud. “leaps from indigenous romanticism and slavery
to industrial and urban culture”. It was the THE ARTISTS OF
ExhiBitionS | SÃo PAUlo [PAgES 44 to 47] moment of the Week of Modern Art and the THE FUTURE?
Manifesto Antropófago (1928), by Oswald de
INFINITO VÃO: A UNIQUE Andrade, concerned with the construction of Art created by Artificial Intelligence
generates reflections on the nature of
APPROACH TO THE aesthetics that included the roots of Brazil. creativity, the importance of experience
Noteworthy is n shows the first modernist
HISTORY OF BRAZILIAN house in Brazil, by Gregori Warchavchik in São in creation and the ethical barriers of
Paulo, starting point of the exhibition, passing
technological development
ARCHITECTURE through the Ministry of Education and Health,
in Rio de Janeiro, until reaching the Pampulha By MigUEl gRoiSMAn
Curated by Guilherme Wisnik and complex, in Belo Horizonte.
Fernando Serapião, the show is divided Base é uma Só (1943-1957) is born from the On october 25, 2018, the renowned auction
into six groups based on verses music Samba de uma Nota Só, by João Gilberto, house Christie’s put up for sale a work made with
of songs that marked different periods which marks the creation of bossa nova, a Rio an Artificial Intelligence (Ai) program. Portrait
of national culture movement that placed Brazilian music on an of Edmond Belamy ended up being auctioned
international level. The period chosen by the for $ 432,500 (approximately R$ 2.5 million) -
By lEonoR AMARAntE curators goes from Pampulha to the contest about 45 times its estimated value. In place of
for the pilot plan for Brasília and to the new the artist’s name, however, the blurred portrait
infinitO vãO: 90 anOs de arquitetura cities projected in Amapá and Mato Grosso, was signed with the equation used to generate it.
brasileira, at Sesc 24 de Maio, subverts which open the way to Brasília. This fact was also used by Christie’s to increase
any concept of exposition of the genre. Scenic, At the core Contra Chapadões Meu Nariz the murmur about their own auction; in a text
without being theatrical, it has a narrative (1957-1969), the architects are inspired by the published by the house it was reported: “This
centered on the hybridization of various poetics, verse of Tropicália, music by Caetano Veloso portrait is not the product of a human mind”.
such as music, visual arts, literature and video, made in a moment when Brazilian music was However, the formula used by the Ai to generate
and allows the visitor to pluralize this encounter influenced by the counterculture. Rubens Portrait of Edmond Belamy was created by
throughout his journey. Gerchman creates A Bela Lindoneia (portrait the human minds that integrate the Parisian
Curated by Guilherme Wisnik and Fernando version), from 1967. In architecture, Niemeyer’s art collective Obvious. Regardless of this, the
Serapião, the exhibition was already exhibited first sketches appear before the launch of the work was the first to use an Ai program to go
in 2019 at the Casa da Arquitetura de Portugal national contest for the Brasilia’s pilot plan. In under the hammer at a large auction house,
and brings together projects by 96 architects. a text from 1970, and present at the exhibition, attracting significant media attention and some
The temporal arrangement spans from the Clarice Lispector says that “Brasília is built on speculation about what Artificial Intelligence
1920s, marked by the Modern Art Week of 1922, the horizon. Brasília is artificial. As artificial means for the future of art.
to the present days, with projects of names as the world should have been when it was For the past 50 years, artists have used Ai to
already expected such as Oscar Niemeyer, created ”. create. One of the most prominent examples of
Vilanova Artigas, Paulo Mendes da Rocha, The show lights up in the core Eu Vi um this is the work of AARon, the program written
Lucio Costa and Lina Bo Bardi, who they add Brasil on tv group (1969-1985), with the score by Harold Cohen. Another is the case of Lillian
up to others less known to tell a story of nine by Bye Bye Brasil, by Chico Buarque and Schwartz, a pioneer in the use of computer
decades together. Roberto Menescal. It marks the period of the graphics in art, who also experimented with
Visiting the exhibition is not an invitation, impeachment of architects Artigas and Paulo Ai. What, then, sparked the speculations
but a recommendation by Guilherme Wisnik, Mendes da Rocha and other intellectuals who mentioned above about Portrait of Edmond
“because it dialogues with our reality”. An are exiled. The favelas multiply in São Paulo and Belamy? “The auctioned work at Christie’s is
emotional dose packs Infinito Vão for the in another social point Lina Bo Bardi transforms part of a new wave of Ai art that has appeared
moment of socio-political and cultural a drum factory in the current Sesc Pompeia and in recent years. Traditionally, artists who
obscurantism that we live. The exhibition proves Eurico Prado Lopes and Luiz Telles design the use computers to generate art need to write
that architecture can represent much more than São Paulo Cultural Center, both playful spaces, detailed code that specifies the ‘rules for the
itself. At the opening of the exhibition, Paulo of culture and coexistence. Claudio Tozzi, one desired aesthetic’”, explains Ahmed Elgammal,
Mendes da Rocha says that “architecture is a of the artists who best portrayed the period a doctoral professor in the Department of
way of saying who we are and who we will be”. of repression, paints one of his emblematic Computer Science at Rutgers University. “In
The title, Infinito Vão, comes from the works, Multidão (1968). contrast, what characterizes this new wave
verses of Drão (1982), music by Gilberto Gil: The group Inteiro e Não pela Metade (1985- is that the algorithms are set up by the artists
“True love is vain, it extends infinite, immense 2001) starts from the song Comida, by Titãs. to ‘learn’ the aesthetics by looking at many
monolith, our architecture”. In the language of “We don’t just want food ...”, when Brazilian images using machine-learning technology. The
the curator architects, “vain is something to be rock launches bands across the country. In algorithm then generates new images that follow
overcome, a challenge to be overcome, is to architecture, in contrast to the housing estates the aesthetics it had learned”, adds Elgammal.
reduce the amount of support, expand the slabs built by the dictatorship, the Favela Bairro The most used tool for this is gAnS, an acronym
horizontally, launch yourself into the air void program appears in Rio and, in São Paulo, for Generative Adversarial Networks, introduced
opening an immense light to the ground floor. cooperative organizations. In the arts, two by Ian Goodfellow in 2014. In the case of Portrait
In the Portuguese language it is something that multimedia artists whose works belong to of Edmond Belamy, the collective Obvious used
did not work, it was done in vain ”. the Sesc Collection of Brazilian Art stand out: a database of fifteen thousand portraits painted
Right at the entrance of the exhibition, Nelson Leirner, with Sem Título Work of the between the 14th and 20th centuries. From this
sounds of short videos with images from Sotheby´s Series (1999), and Paulo Bruscky, collection, the algorithm fails in making correct
different decades set the tone. In addition to the with Poema Linguístico (1992). imitations of the pre-curated input, and instead
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