Page 85 - ARTE!Brasileiros #60

in the favelas, all of them erased as subjects. creating a more horizontal and complex often not so visible. The latter, for example,
In the confrontations for the retaking of our model for thinking about the hidden ended up approving, after very careful

lands, the mainstream media sees everyone poetic and formal nexus of modern and technical analysis, the idea of temporarily
as invaders”, laments Sandra. contemporary production. removing the frame from iconic canvases
The core Parties closes the exhibition There are many unlikely encounters such as those by Morandi, Volpi and Matisse,
and its curators, Amanda Carneiro and resulting from this process. Among them in a simple but transformative move.
Adriano Pedrosa, believe that the works are the chromatic and formal approach
presented there put the public in contact between Lucio Fontana, Alexander Calder EXHIBITION SÃO PAULO [PAGES 54 To 57]
with the contradictory ways of celebrating, and Emmanuel Nassar and the emphasis
from different groups. Madame Satã’s on the intense relationship between art A TRIBUTE TO
razor stands out (Pernambuco, 1900-Rio and the world of work present in Renina JOSÉ CLAUDIO
de Janeiro, 1976). João Francisco dos Katz’s prints and in Laercio Redondo’s Dozens of works by the painter,
Santos, the mythical Madame Satã, was installation. Interestingly, there are draughtsman, sculptor and essayist from
a homosexual, a kind of high-end bandit, even two works that share the same title, Pernambuco were brought together under
the curatorship of critic and art historian
who lived in Lapa in the 1930s, a territory That’s How They Taught Me, adopted by Aracy Amaral
free from carioca trickery, and which is also both Flávio Cerqueira and Felipe Cama.
part of the legendary stories of Brazil. Still life and, more broadly, an affective By lEonor AmArAnTE
relationship with the world of things
EXHIBITION SÃO PAULO [PAGES 50 To 53] and objects, permeates practically the looking in the rearview mirror, José
CONNECTION entire exhibition, echoing in the works of Claudio da Silva’s artistic repertoire stands
out due to the achievements obtained
Eleonore Koch, Giorgio Morandi, Marcelo
AND DIALOG Zocchio, Nina Moares, Sidney Amaral, over more than seven decades. At the
In a process of accumulating layers that talk Yozo Yamaguchi , amongst others. Another age of 90, the artist exhibits around 150
to each other, the show Lugar-comum , from highlight of this subjective process of works, including paintings, drawings and
MAC USP, proposes a de-hierarchization of valuing and resignifying the collection stamps, which occupy the entire Nara
works and agents of art
– as a place not only for storage and Roesler gallery, in São Paulo. The extensive
By mAriA HirSzmAn preservation, but also as a source for new exhibition, carried out with tenacious
investigations – is the panel of drawings by re-readings and disciplined encounters,
Common plaCe, an exhibition held by the Di Cavalcanti selected by Carmela Gross manages to bring together three longtime
Museu de Arte Contemporânea da USP among the approximately five thousand friends, and it all starts when art critic and
(mAC USP), is an exercise in connection and works on paper by the modernist artist historian Aracy Amaral spends New Year’s
dialogue that is born from a project aimed at present in this collection. Eve in Recife and goes to the artist’s house,
the de-hierarchization of works and agents, Emphasizing the procedural and as she does whenever she´s in town. “I
mixing categories and adding new poetic polyphonic character of Lugar-comum, enjoy being with José Claudio, listening to
layers over time. The process unfolded over Marta Bogéa, Helouise Costa and Ana his life stories,” she says. Upon returning to
several months and was organized into three Magalhães, who are responsible for São Paulo, she receives an invitation from
different phases of work. In Act 1, 12 artists curating the museum and for the general Nara Roesler to assume the curatorship.
from different generations and languages coordination of the show, recall how the A prodigy of energy and method, Aracy,
were invited to select and show creations exhibition somehow rescues the legacy of close in age to José Claudio, rolls up her
of their own authorship and belonging to Walter Zanini. Seen as a kind of “myth of sleeves and takes to the field. She mines
the collection for exhibition. In Act 2, these origin” of the museum, the management works in museums, private collections,
same artists assumed the role of curators of the critic at the head of the institution galleries, within a temporal arc between
and selected works from the collection and is explicitly represented by the rescue the 1950s and 1990s. Curating an exhibition
by different authorships to be exhibited – proposed by Rosângela Rennó from transforms the intermediate critic into an
together with the first set. In Act 3, which the reading of a text by Helouise author, through the process of selecting the
can be visited until August 2023 and brings Costa –, from the exhibition Unknown works and analogy between them. Aracy’s
together around 150 works, choices made by Photographers, organized by him in 1972. logic is the logic of accumulated knowledge.
this collegiate were also incorporated, plus The exhibition had an open call for artists Without stumbling, she finds such as the
the museum’s curatorial team and six other with 263 participants. After a series of expressive series Aventura da Linha (1955),
guest artists and curators. It is possible to disagreements between the judges, they worked with ink on paper, belonging to the
identify, through the subtitles system, the chose to eliminate any exclusion criteria collection of mAm SP; Symmetry ( 1982 ),
moment of incorporation of a certain work, and show all the works presented. The erotic/sensual dance developed on the
as well as which artist was responsible for current version gathers only the photos ground, with Matissean touches, and the
its inclusion, in case the visitor is interested that remained in the mAC collection, signed reinterpretation of works by Almeida Júnior,
in going deeper into the process. by authors such as Moema Cavalcanti among many others.
The concrete result was not one, but and Paulo Cleto. José Claudio’s journey is made by the
three successive exhibitions, which were The emphasis on freedom and expe- passion for his territory, the same passion of
consolidated from the contributions. rimentation also ended up moving the the “situated man” named by Gilberto Freyre,
With each act – as the stages are called institution internally, involving all instances of this exemplifies his participation in the Ateliê
by the montage – new additions were the museum, triggering and mobilizing areas Coletivo, directed by Abelardo da Hora,
brought to light. Iconic pieces gained such as the documentation, education and and which took into account the struggle
different configurations and little conservation sectors of the works, which of the oppressed people, highlighting rural
evident convergences were established, deal with backstage and details that are and urban activities from the daily life of
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