Page 87 - ARTE!Brasileiros #61

ENGLISH VERSION FERTILITY AND KINDNESS

wide terrace of Casa do Parque, in Alto de everything that happened to me and, in The maturity with which Geoneide Brandão Book rapHaEl GalvEz [paGEs 66 to 71] his production, art and craftsmanship were outlined by Galvez, which, I hope, can further
Pinheiros, in the São Paulo neighborhood, Brazil, I kept many things inside me. It approaches the LGBTQIA+ universe does not united, with no disconnection. between the awaken the interest of readers. I chose to
confirming the lightness with which was a vomit”. It took Fabiana just a week match her 22 years. The repertoire brings PETIT MAÎTRE artist and the craftsman who lived there. comment on what the artist wrote about the
Leandro Muniz, 29, develops Sunday, his to complete the painting, which uses black intimate scenes of queer bodies painted from Some reasons to read the recently released In Martin’s words: sculptor Nicola Rollo and about the painter
recent exhibition. Each piece of fabric has as a guiding principle. In another work, the photography she learned using her cell autobiography of the sculptor and painter Tarsila do Amaral.
a different pattern and receives layers of Arapuca, she distills her indignation about phone when she was 14 years old and lived Raphael Galvez Galvez is a being from a social class in Nicola Rollo, despite being one of the
paint in the small squares and rectangles today’s political moment in an intense red in Ouro Branco, in the hinterland of Alagoas. By tadEu cHiarElli which people have no biography except main figures in Galvez’s life (or precisely
that he arbitrarily chose to paint. and leaves a synthetic message: “Fora”. “At the age of 16 I was already dedicating through mediations, which is different from for that reason) did not receive a specific
“I am interested in the identification of All the screens were made this year and myself to painting within this process and in this year in whiCh the centenary of the what happens in selfish social classes, in chronicle in the Personalities and Friends
the work with the house, which is Casa dialogue with each other. Self-taught, her for a year I have been living in Recife where I Modern Art Week of 1922 is celebrated, with which people are authors of themselves. chapter, which brings together all the
do Parque, a modernist architectural pictorial construction is elaborated from attend the collective studio Escadaria, with the exception of two or three titles relating This characteristic of his personal history profiles drawn by him. The presence of the
project whose elements are opposed to experiences worked with chalk, oil pastel a group of young people”. Geoneide works to it, one of the main bibliographic releases has a lot to do with his work, an expression sculptor, however, permeates much of the
vernacular elements such as the tricoline”. and acrylic paint. from the body and its symbologies. “My in the field of art history in São Paulo was of experience and alterity. 3 text, because Rollo served as a reference
The chromatic relations employed were Its purpose, artistic and political, emerges interest focuses on sexuality, gender issues Raphael Galvez: autobiography. Organized Further on, in his effort to single out for Galvez, not limited to his first formation.
worked on by Leandro for about a year. in all the works exhibited at the São Paulo and human relations as a whole”. by scholar José Armando Pereira da Silva the sculptor/painter in the context of São The various moments in which Galvez
The paintings are made up of many layers Flutuante gallery, in Barra Funda, by Regina Her painting, executed with wide and and editorial project by entrepreneur and Paulo art, the Professor demonstrates the quoted Rollo are also worth reading his
and procedures, some are more material Boni, known for always encouraging young continuous brushstrokes, is gaining collector Orandi Momesso, the book differences between the horizons of the 1922 memoirs because they bring a considerable
and others are almost transparent. “The artists. With a trained eye and knowledge space. She is currently exhibiting at the re-presents the artistic environment of São modernists and that of Galvez: amount of data about the artist born in Italy,
fabrics contribute a lot, they are pictorial accumulated over decades, the gallerist Reforest collective, at Christal Galeria, a Paulo at the beginning and middle of the Other differences give meaning to this with a significant presence in the São Paulo
in themselves, one of them, with geometric saw Fabiana’s works, brought by her new cultural space in Recife, where she last century from a peculiar point of view: autobiography. For the modernists, São environment, but still practically unknown
matrices, refers to Paul Klee”. partner and fellow artist Manu Maltez, and has a commissioned work. It was chosen Galvez’s text – a petit maître of sculpture Paulo society was the size of the world: it to the public.
As Leandro defines it, the work is polysemic, invited her to her first exhibition. Fabiana through a public notice and shows two and painting. began on a farm in the interior of São Paulo The information about an important
because it allows both textual and more says that preserving her independence is works from the Amor ardor series, which Autobiographies of Brazilian artists are and ended in Paris, Russia and England. sculptural project by Nicola Rollo – the
generic readings. The set is also imagery with fundamental. “I was never very interested reflects questions about affection and the rare articles. A listing that would exclude The society of Galvez, and of the artists model of a monument in honor of the
a small painting of the landscape, vegetation, in the market, my concern was not to intimacy of the body. In September, she notes for future writings (never materialized) of the Santa Helena Group, was from São bandeirantes, to be placed on the slopes of
waterfall, in an apparently prosaic dialogue. be famous, to sell a lot.” She has always was selected in the call by Coletivo Vozes would not go much further than the names of Paulo, starting in Barra Funda and going to the garden in front of the Museu Paulista – is
The brushstrokes happen on the front and maintained a certain resistance to the circuit, Agudas, curated by Bruna Fernanda, Érica Antônio Parreiras, Carlos Oswald, Emiliano Canindé, the parish of Ó, Santana, Várzea yet another element that marks the interest
back of the fabric, which makes the visitor but believes that now things can change. Burini, Khadig Fares and Thais Rivitti, which Di Cavalcanti and José Antônio da Silva . do Tietê, the Limão neighborhood, Casa of Galvez’s autobiography.
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move all the time, between sheets. Involved Regina Boni considers Fabiana’s work to resulted in the exhibition Vivemos pra Isso, This exceptionality alone makes it clear to Verde, Pari and, much further away, Santo All (probable) readers of these Bar Talk(r)
in this scenario, I remember A Very Special be extremely mature for a young artist. “I part of the VoA 2022-2023 public call for me the importance of launching Galvez’s Amaro, at the other end of the city. 4 are certainly aware of how much I am
Day, a film by Ettore Scola about Hitler’s have no doubt about the promising path women artists and non-binary people, which text. But he doesn’t stop there. This is yet another reason to read interested in the aspects that involved the
arrival in Italy, starring Sophia Loren and it will take.” took place at Ateliê397 and at the Galeria Like all other works of the genre, this Autobiography. Through doing this, it is debate on São Paulo identity that, at first,
Marcello Mastroianni. There is a long Defined by himself as a walker, R. Vermelho shed, both in Barra Funda, São autobiography projects an idealized interesting to be able to think about how would culminate in the construction of the
dialogue between the actors amongst Trompaz, 33, usually walks the streets of São Paulo. The exhibition brought together character (the author himself), thus his experience develops outside the great Monument to the Bandeiras authored by
sheets on clotheslines, a scene from Italian Paulo. During these wanderings, he passed artists from all over Brazil and raised becoming a kind of exercise in self- theaters and cafes and salons of the “aristô” Italian-Brazilian sculptor Victor Brecheret,
neorealism of the 1940s. in front of São Paulo Flutuante, entered questions pertinent to the cause. It also fiction. Above the scenes recalled and in São Paulo. This peculiarity brings the in the mid-1930s . Thus, before commenting
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Returning to the Sunday installation, with his portfolio under his arm. Regina recently went through the sieve of an edict in described by the artist hovers the image reader to a São Paulo that is perhaps less on some peculiarities of Nicola Rollo’s
which could be an ode to expanded painting, received him, approved what she saw and Canada. Visual arts student at the Federal of an incorruptible, naive, pure individual. glamorized, it is true, but certainly much habits revealed by Galvez, I propose a
the white wall at the entrance that leads the invited him to exhibit. Influenced by rappers University of Pernambuco UFPE, one of her Someone who just unwittingly provides more human. small digression to bring to the debate on
visitor to the installation stands out. On top Emicida and Racionais MC’s, among other focuses is researching the intersections some clues that your life has not been so As Martins also suggests, the city is Monument to the Bandeiras the information
of it, Leandro draws tiles with irregular black artists from the same social matrix, he says between body, gender and sexuality linked linear and devoid of mistakes or regrets. another character in the text, it is the artist’s present in the autobiography.
lines, creating movement. The painting he learned a lot from musicians, especially to issues of affection, alterity and politics. One of these clues becomes visible when circumstance, the real and affective space In the art produced in São Paulo in the
refers to the service areas tiled in white and reflecting on Brazil’s structural inequality. As for the market, she says she is Galvez, in the last paragraphs, writes: in which he, his friends, acquaintances first decades of the 20th century, Nicola
dialogues with the sheets. For a teenager R. Trompaz lives in the Capão Redondo insecure, because she doesn’t know to I really hope that there is reincarnation and relatives moved. A city between the Rollo is one of the professionals whose life
who left home at age 16, Leandro has not neighborhood, on the outskirts of São what extent a young woman like her, who so that we can make up the differences of provincial past from which he wanted to and work still await further studies, despite
lost focus on his life project. He graduated Paulo, enjoys skateboarding and enhances addresses a topic of this nature, will be things that were not realized in this first life. break free, and its becoming a metropolis; the steps already taken in this direction .
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in visual arts from ECA-USP, is doing a his visual repertoire from his experience able to establish herself. “The art scene And, if that is true, I will spend my new São Paulo as the infinite limit of Galvez. Everything indicates that his work in the
master’s degree and curating. with the city. in Recife is open, I communicate with life with much more control and with more Throughout the text, the sculptor/ field of sculpture in São Paulo seems to have
“The danger of life is to asphyxiate under In the black and white drawings, he incredible artists from whom I learn a lot. accomplishments, because what remains painter writes about some of the main art been eclipsed by that of Victor Brecheret,
the weight of existence”. The phrase by stamps the ills of the rulers, the trigger The market is conservative, people who are the works… 2 teaching establishments in the city, about a sculptor who had the support of a group
the philosopher María Zambrano does for his production. “Everything I produce have money don’t want to invest in this The idealization of the artist’s self – an the environment of the marble works that of modernist intellectuals from São Paulo.
not shake Fabiana Wolf, 27 years old from comes from the social criticism that is linked topic”. With many challenges, Geoneide’s “inevitable deviation” in all autobiographies thrived around the main cemeteries of A fact rarely mentioned in the bibliography
Sergipe who, at 20, left Aracaju and landed to the Social Segregation Geographically talent opens doors in other spheres, she is – does not, however, remove a fundamental São Paulo, about the collective ateliers on art in São Paulo during the early 1920s
in the capital of São Paulo. Now she has her Widespread (SSGE) project”. The images one of the artists in the Novas Aquisições component from it: within the limits that of that time (the Santa Helena Group) , as is the fact that, when the modernists
first exhibition at the São Paulo Flutuante are juxtaposed, mixed, interconnected and collection, from Banco do Nordeste. this type of writing imposes (I am referring well as the universe of exhibitions and art “discovered” Brecheret working in his studio
gallery. With unusual courage for a beginner, capture scenes of floods in the periphery, Finally, Regina Boni leaves the message. to all repressions and self-censorship), salons. He names the streets, avenues at the Palácio das Indústrias – borrowed by
she exposes Obituary, a five-meter canvas, precarious housing, as well as middle- “If in an important newspaper, in which, Galvez he never stops being – or trying to and parks he passed through, where he the architect and businessman Ramos de
made under the impact of the death of her class buildings spared from tragedies, among other famous Brazilian names, works be – a meticulous interpreter of his life, his and his friends lived, worked, circulated Azevedo –, Nicola Rollo also worked in the
mother and stepfather, by covid-19. “I’m with the influence of Livio Abramo. The by Emanoel Araújo, a Bahian artist, recently career, his friends and acquaintances and, and got lost and found. same Palace, in a studio obtained under the
also referring to the enormous number of paintings, on the other hand, bring a deceased and never recognized in life as the equally, his city. São Paulo is one of the main Galvez also took care to write short same conditions . And more: responsible for
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people who have died around the world.” geometric abstractionism developed great creator he always was, [it is because] characters in Galvez’s book. chronicles about some personalities. For the sculptural decoration of that building,
Her neo-expressionist painting brings with quick brushstrokes, executed with posthumous recognition is more common In the text that introduces the publication, the most part, these small reports bring Rollo was also already working on the
Basquiat’s gestures and mixes texts, dates acrylic varnish and powdered pigment. in our country, capitalist and unjust. Hence Professor José de Souza Martins outlines important data, and perhaps this review conception of the model of the monument
and a tangle of nervous strokes. But where R.Trompaz has a degree in visual arts the importance of dealers opening their the artist’s profile, highlighting one of would take too long if it were to focus on that would honor the bandeirantes, to be
did the courage to face such a dimension from Belas Artes and expects to start eyes to new names. New people. new ideas. his peculiarities: of humble origin, an all the subjects focused on there. Thus, I placed on the slopes of the garden of the
come from? “I was very anxious about a new cycle. believing in new futures”. immigrant, Galvez was a worker and, in dedicate myself to reflection on two reports Museu Paulista . Such data, little publicized,
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