Page 117 - ARTE!Brasileiros #57
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explains Francisco Vaz, “was bringing pieces of   The dramatic origin of this material activates the   during the period of the Cold War. More than 30
          something to Brazil, not a finished work”. The   imagination of the spectator concerned with the   years after the fall of the Berlin Wall, the recent
          group prioritizes the joy of doing it, and their first   brutality of cities. Also from him, Patuá Platz is   memory and historical legacy of this country
          action upon arrival was to place the container that   born within the architecture of his box, which   are reviewed in numerous facets, but it is in this
          transported the materials in Recife’s Marco Zero.   supports a red hammock, a symbol of experimental   exhibition that an icon of contemporary art is
          a boat where they held the first work meeting.   leisure impregnated with territorial, political and   analyzed under a magnifying glass, as an example
          Francisco Vaz comments that from that moment   amorous impermanence. The installation feeds   among many others existences are part not only of
          on, “all the decisions were taken together and we   on protective plants such as St. George’s Sword   the imagination, but of a cultural political legacy.
          were all curators”.               and Rue. Within reach, it boasts the jureminha,    Does the exhibition address issues relevant to
           Each artist received a wooden box representing   an indigenous drink made from jurema, a   understanding what we associate with Picasso?
          the twentieth part of the shipping container. An   hallucinogenic root.  And what did postwar Germans associate with
          intense and short-lived process for carrying out   The imagination is sometimes stronger than   him when his fame was at its height? It is not just
          the works has leveraged a climate of cooperation,   reality: the young Tobias Heine, even before   the artist, but his audience, who in the capitalist
          where waste and objects coexist, generating   traveling to Brazil, anticipated what he would find   west and the socialist east assimilated Picasso’s
          propositions that underline the sensory aspect   here. He read A Hora da Estrela (The Hour of the   art in conceivably different ways. The German
          of the materials. The public can follow everything   Star), by Clarice Lispector, researched images of   Picasso was a divided and fragmented art, but
          up close and understand the concept of assembly   Recife and, upon arrival, made a video recording   the division inspired communication: everyone
          or disassembly of works by Paulo Bruscky,   the route between Olinda and Recife, which he   questioned this art because it had something to
          Marcio Almeida, Maria do Carmo Nino, Silvio   projected in his living room. Heine learned about   say to everyone, regardless of which side of the
          Hansen and Francisco Valença Vaz, from Recife;   the magic of Candomblé, allowed himself to be   country the admirer of his work was.
          and Christian Haake, Wolfgang Hainke, Tobias   influenced by Exu’s colors and introduced them    The reception of Picasso’s work in post-war
          Heine and Rebekka Kronsteiner, from Bremen   into his installation by placing black and white   Germany was determined by two periods: the
          (Germany). The exhibition, scheduled for 2020,   shirts on red and black chairs.  Nazi era and the Cold War. The Nazis put an
          with 21 days to carry out the works, had its schedule   Even being the founder and curator of CKD,   abrupt end to any involvement in Picasso’s art;
          changed due to the pandemic. The Germans   Francisco Vaz, who graduated from the University   after 1945, modernist art underwent scrutiny.
          stayed for a week, did the work and returned with   of Bremen and now lives in Vienna, didn’t know   But the Cold War forced capitalist and socialist
          the arrival of Covid-19. The exhibition, which was   what to do when he arrived at the museum. As part   Germany to come to their own interpretations.
          resumed in 2021, has an introductory text signed   of his concept, he quickly created Tramontana,   In the West, Picasso was praised for his formal
          by Moacir dos Anjos, which touches on the theme   a mural made with recycled Styrofoam boards,   diversity and productivity. The Orient, on the
          of impermanence.                  taken from the city’s post office. There were dozens   contrary, celebrated its commitment, because
           What moves the collective, as heterogeneous   of pieces that went up the walls. “After they were   from 1944 Picasso was a member of the French
          as it is experimental, is the intersection between   fixed, I painted a spray paint that contains acetone   Communist Party. Did the Nazis usurp art? Does
          narratives and utopias. The works, in general, are   and shrinks the styrofoam.” The result of the work   this mean that art must now be exempt from
          hybrids and have a close relationship with the   is minimalist gestures, almost a calligraphy written   political aspirations? That was the conclusion in
          materials. Arte em Vão, by Paulo Bruscky, a red   in yellow and black. “When these pieces go to   the West. Or should art be now even more involved
          carpet with the quoted phrase, placed between a   Bremen I want to dump them in a pool of acetone   in the political struggle? That was the thinking in
          door frame, converges into the aesthetic space,   and shrink them down to a two-centimeter plate”.   the East, and also the thinking of Picasso. There
          illusory interpenetrating the internal/external. The   Still in Recife, Maria do Carmo Nino packed   are also no shortage of surprises: Picasso was
          installation, with an apparently simple language,   everything she could of her imagination into her   banned from the West. And although his work
          is complex and opens up to other critical issues   box, transformed into a safe haven for her life   has almost never been seen in the Gdr – German
          already contained in the artist’s work. Almost all   references, a kind of memorial of her academic   Democratic Republic (Eastern), the debate about
          works have variable dimensions and are therefore   history. Linked to literature, wrote texts in grafitti   him was more lively there than in the frG – Federal
          easily adaptable to other spaces. After Recife,   in different existential rhythms. At another point   Republic of Germany (Western). Furthermore,
          they all go to Bremen, as works or fragments of   of thought, the enigmatic work of 25-year-old   state borders were often crossed - which is also
          them, and become new experiments.  Rebekka Kronsteiner seems to be a premonition of   part of the history of the Ludwig Museum, as
           Among the Germans, Wolfgang Hainke, 76,   the pandemic. Her inventory consists of images of   Peter and Irene Ludwig, collectors, had promising
          stands out, with much to tell from his militancy   surgical gloves and condoms printed on canvas,   businesses in both Germanys.
          in art, some of which lived in the Fluxus group.   objects that prevent physical contact, over which    The exhibition features political works, such
          One of his works suggests a kind of column that   she spilled latex exported from Brazil, referring   as the painting Massacre in Korea, 1951, from the
          dialogues with the Cartemas (modular visual   to the possible immobility imposed on human   Picasso Museum in Paris. In 1955, just before
          compositions, in this case made of ceramic) by   beings. The work was carried out days before   Picasso’s great touring West German retrospective
          designer Aloísio Magalhães, which occupies   the lockdown was decreed in the country and,   in Munich, Cologne and Hamburg, the Ministry of
          one of the walls of mamam. There is still a box   perhaps, it is the first to approach the subject,   Foreign Affairs advised the exhibition directors to
          that Hainke has worked on since 1991 and that he   even if by chance.  refrain from showing political works. This included
          has just donated to the museum, with works by                       Massacre in Korea, which denounced the role the
          poet Emmett Williams (from Fluxus) and Richard   exhibitions GErmany  [paGEs 64 to 67]  us army played in the Korean War (1950-1953). The
          Hamilton. Objects such as images of September                       painting was, however, exposed, but it did not raise
          11 and the fall of the Berlin Wall, episodes in which  “DIVIDED PICASSO”: THE   any great discussion. At the same time, there was
          he was present, complete the installation. Among                    a fight over Picasso in the German Democratic
          the books is Os Sertões, by Euclides da Cunha,   ARTIST AND HIS IMAGE   Republic. The rfa specialist art magazine Bildende
          translated by Bertholt Zilly - awarded in Germany   IN COMMUNIST AND   Kunst leveled the charge that works like Massacre
          and Brazil -, who taught Brazilian literature at the                in Korea were like caricatures and insulted the
          Free University of Berlin. Still on display is an  CAPITALIST GERMANYS  victims. The artist, according to the magazine,
          oversized painting of a fish, restored by Hainke,                   tended towards “formalism”. Picasso’s supporters
          which had belonged to the Bremen town hall for   The Catalan artist is put on the spot by the   pointed out that, among other things, changes
          nearly a hundred years.           two Germanys still divided in the Cold War,   in people’s perceptions in the modern era also
           His contemporary, Brazilian Silvio Hansen,   in a controversial exhibition at the Ludwig   required a change in form.
          who worked in postal art, was a political prisoner   Museum, in Cologne  In addition to this iconic work, around 150
          during the military dictatorship, worked for the                    works that reflect Picasso’s production and
          exhibition, but died before it was put into practice.   By tErEza dE arruda  its effect can be seen in the current exhibition,
          Some of his works denounce episodes of violence                     such as exhibition photos, posters and catalogs,
          imposed on Brazilian democracy.   DiviDeD piCasso is an exhibition conceived by   journalistic texts, letters, films and television
           Today’s art captures the violence produced   the Ludwig Museum in Cologne with the special   reports, as well as a theater curtain from the Berlin
          by society, no matter the country. On the same   support of the Musée National Picasso in Paris,   Ensemble in which Bertolt Brecht painted “my
          floor of stars, by Marcio Almeida, belongs to the   under the curatorship of Julia Friedrich, with the   brother Picasso’s belligerent dove of peace.” The
          matrix of the artist’s political works and displays   purpose of reviewing the role and visibility played   artist was suitable as a figurehead and projection
          plates with targets taken from a Shooting Club.   by Pablo Picasso in the two Germanys, still divided   in both systems, given the different perspectives
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