Page 117 - ARTE!Brasileiros #57

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
117