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A Cidade Do Homem Nu Catalogo Flavio de Carvalho Mam
A Cidade Do Homem Nu Catalogo Flavio de Carvalho Mam
DO HOMEM NU
A CIDADE
DO HOMEM NU
Museu de Arte Moderna de So Paulo
15.04.2010-13.06.2010
Com esta mostra, pode o pblico compreender a influncia das propostas arrojadas de Flvio de Carvalho na arte contempornea, artista que o MAM-SP
homenageia simultaneamente com uma importante exposio retrospectiva.
Mil Villela
Presidente do Museu de Arte Moderna de So Paulo
With the A cidade do homem nu [The Nude Maris City] exhibit, the Museu de Arte Moderna de So Paulo
(MAM-SP) reaffirms its purpose ofsupporting avantgardist curatorial approaches, thus contributing
to theproduction and divulgation of contemporary art in Brazil.
Based on an article by the great Brazihan artist Flvio de Carvalho, published in the Dirio da Noite
newspaper in 1930, the exhibit proposes a meditation onan utopical city of the future, where men and
women could live totally free ofprejudices. Artists ofseveral countries were invited to revisit this idea
by generating a show in which humour and counterculture harmonically coexist.
Visitors can apprehend from this show the inuence ofthe challenging de Carvalhos ideas on contemporary art, an artist who is simultaneously honored with an important retrospective exhibit at MAM-SP.
Mil Villela
Inti Guerrero
I.
Em 1930, a vanguarda antropofgica enviou o arquiteto Flvio de Resende Carvalho (1899-1973) como seu representante ao 4 Congresso PanAmericano de Arquitetura, no Rio de Janeiro. Ele, que havia retornado ao Brasil em 1923 logo aps a concluso dos seus estudos de engenharia e pintura na
Inglaterra, realizou sua exposio nesse congresso introduzindo o plano geral
para a construo de uma nova cidade nos trpicos. Sua proposta, intitulada
"A cidade do h o m e m nu", idealizava uma metrpole para o h o m e m do futuro, na qual, segundo Flvio de Carvalho, no haveria Deus, nem propriedade,
nem matrimnio. Em outras palavras, tratava-se de um urbanismo pensado
para uma humanidade despojada (despida) da construo cultural do corpo.
Ou, tal como ele como dizia, um homem "sem tabus escolsticos", "livre para
raciocinar e pensar", para comear um contnuo e irrefrevel processo de
curiosidade, mudana e transformao pessoal. Em sua proposta, Flvio de
Carvalho enfatizava com seus colegas arquitetos a naturalidade de construir
essa cidade no continente americano, j que "a cidade do homem nu procura a
ressurreio do primitivo, livre de tabus ocidentais [...], o selvagem com todos
os seus desejos, toda a sua curiosidade intacta e no reprimida [...] em busca
de uma civilizao nua". 1
In 1930, the anthropophagist avant-garde sent architect Flvio de Carvalho as a representative to the
Fourth Pan-American Conference of Architecture, which took place in Rio de Janeiro. De Carvalho
(1899-1973) had returned to Brazil in 1923 after studying engineering andpainting in England. In his
address to the conference, he introduced the generalplan for the construction ofa new city in the tropics. Hisproposal, titled "A cidade do homem nu" [The Nude Mans City] idealized a metropolis for the
man ofthe future, which, according to de Carvalho, would have no God, noproperty, and no marriage.
In other words, he was presenting an urban plan fora humanity that had stripped itself(nude) of the
cultural construction of the body, oras de Carvalho describes, a man "free ofscholastic taboos," "free
to reason and to think," in order to begin a continuous and implacable process ofcuriosity, change
andpersonaltransformation. In his proposal, de Carvalho emphasized to his architect colleagues the
nature of constructing this city in the American continent, for "the nude man's city looks to resurrect
the primitive, free of Western taboos [...], the savage with ali ofhis desires, ali ofhis curiosity intact and
unrepressed[...], in search ofa naked civilization." 1
Flvio de Carvalho imaginava sua utopia urbana como uma constelao de centros e laboratrios localizados em crculos concntricos: um "centro
de ensino", um "centro de parto", um "laboratrio de ertica", um "centro religioso" e um imenso "centro de pesquisa", em cujo interior o cidado poderia
"descobrir as maravilhas do universo, o prazer pela vida, o entusiasmo em
produzir coisas, o desejo de mudar". 2 Esses lugares da cidade do futuro seriam
sustentados como reas de criatividade individual que, segundo ele, continuavam ausentes nas cidades do presente e negadas peremptoriamente a seus habitantes, dentro da diviso burguesa do trabalho que limitava (e ainda limita)
o gasto de energia das populaes.
Integrante de uma gerao de arquitetos funcionalistas e sistemticos,
que avaliavam a produtividade de suas criaes pela eficincia da simbiose
entre forma e funo, Flvio de Carvalho defendia a "cidade do h o m e m nu"
com argumentos de eficincia. Porm, eficincia na produtividade da energia
emanada por seus habitantes. Em outras palavras: seu urbanismo parecia criar
lugares e mecanismos para estimular ou catalisar uma energia interna localizada entre a psique do habitante e o impulso de seu desejo. 3 No caso especfico
do "laboratrio de ertica" dessa singular cidade, Flvio de Carvalho idealizava-o como u m lugar onde "o h o m e m nu selecionaria ele mesmo suas formas
Flvio de Carvalho imagined his urban utopia as a constellation of centers and laboratories situated
in concentriccircles:an "educationcenter,"a "birthcenter,"a "laboratoryoferotics,"a "religious center,"
and an immense "research center" inside of which the citizen would be able to "discover the marvels
ofthe universe, the pleasure oflife, the enthusiasm forproducing things, the desire to change." 2 These
places of the city of the future were sustained as areas of individual creation, which for de Carvalho
remained absent in the cities of the present, and were especially denied to the population within the
bourgeois division of labor that limited (andstill limits) peoples energetic output.
As part ofa generation of functionalist and systematic architects who evaluated the productivity oftheir
creations in terms of their symbiosis between form and function, Flvio de Carvalho likewise sustained
the "the nude man'scity"withargumentsofefciency, butefciency in terms ofthe energyemanatedby its
inhabitants. In other words, his urbanism seemed to create spaces and mechanisms forstimulating and
catalyzing an internai energy located between the inhabitant's psyche and the impulse of desire.- In the
specific case ofthe "laboratory oferotics"ofthis singular city, de Carvalho envisioned it as a place where
"the nude man himself would select his own forms oferotics, wherein no restriction would demand this or
II.
A exposio A cidade do homem nu parte justamente do esprito transgressor de Flvio de Carvalho em sua singular formulao para construir uma
thatsacrifi.ce ofhim; his cerebral energy would be sufficient for controlling and selecting his desires [...], it
wouldbe theplace toencounterhis ancientsoul, wherehe wouldprojecthis free energy inany way, without
repression, where he would realize his desires, he would discover new desires, imposing on himselfa rigorous andefficient selection, forming his new ego, orienting his libido." 4 In understanding the experience of
sexuality as a type of libido without a determined perspective, or rather a constructed desire, but rather
precisely as a continuous, rhizomatic experience, which bifurcated in the laboratory oferotics according
to the subjectivity of the individual Flvio de Carvalho, already in 1930 seemed to propose a "master
plan" thatwouldbreakwithallnormative sexuality. Mostlikely his libertarianismwouldpointspecifically
toward the abolition of monogamy and catholic marriage, but his words resound today as an urbanist
manifesto seeking to dissolve any socio-cultural binds on individual sexuality.
The exhibit A cidade do homem nu [The Nude Mans City] departs precisely from de Carvalho's
transgressive spirit in his unique formulation to construct a new urban landscape in the tropics, a new
nova paisagem urbana nos trpicos, uma nova realidade. Tomando principalmente a experincia da sexualidade no "laboratrio de ertica", a mostra rene
obras e artefatos culturais que, ao invs de "ilustrar" o pensamento de Flvio
de Carvalho em conjunto atravs do percurso museogrfico, construir o significado radical e contracultural do seu urbanismo, abrindo as possibilidades
de imaginar como poderia ser aquele lugar "sem tabus escolsticos", "livre
para raciocinar e pensar", onde a corporalidade e a energia sexual do indivduo poderiam dirigir-se em "qualquer direo, sem represso":
Colocando a cmera no cho de uma das ruas de pedestres mais movimentadas do centro de So Paulo, Claudia Andujar conseguiu captar o olhar
individual dos transeuntes curiosos que por u m instante detinham seus passos em meio ao congestionado fluxo urbano. Na srie de fotografias Rua Direita (1970), o sinistro olhar de cada indivduo detm a temporalidade da agitao coletiva da cidade. A confrontao da massa pela artista parece inverter as
relaes de poder entre fotgrafo e fotografado; nesse caso, so os transeuntes
que controlam o olhar da fotografia. Coincidentemente, a rua Direita a mesma em que Flvio de Carvalho realizou, em 1931, sua primeira Experincia
no
reality. The collection unites v/orks and cultural artifacts, taking, from above ali, the experience of
sexuality in the "laboratory of erotics."Ratherthan illustrating de Carvalhos thinking in a museum inventory, these works willconstruct the radical and countercultural signicance ofhis urban planning,
thus opening the possibility of imagining how such a place might be that is "free ofscholastic taboos,"
"free to reason and think," where the individuais corporality and sexual energy may be directed in
"any direction, without repression."
Placing her camera over one of the most heavily trafficked pedestrian streets ofthe center ofSo Paulo,
Claudia Andujar managed to capture the individual gaze of the curious passers-by, vjho for an instant
paused among the crowded urban fow. In the series ofphotographs Rua Direita (1970), the sinister gaze
ofeach individual detains the temporality ofthe city's collective agitation. The confrontation of the artist
with the crowd seems to invert the power relations between the photographer and who is being photographed. In this case, the passers-by are the ones in control of the photographer's gaze. Coincidentally,
rua Direita [Direita Street] was the same street on which, in 1931, Flvio de Carvalho realized his rst
Experincia in urban space foranalyzing masspsychology. Titling it Experincia n 9 1, de Carvalho infil-
Paulo, sem tirar o bon verde que ostentava e, alm disso, caminhando entre
os paroquianos em direo contrria ao fluxo religioso. Essa "simples" ao
instigou de forma imediata a raiva coletiva dos fiis, que imediatamente comearam a persegui-lo, exigindo seu linchamento ("Lincha! Lincha!'^). O ato individual de Flvio de Carvalho entre a massa revelou, naquela poca, a falta de
individualidade das pessoas, que reagiram violentamente sob a influncia das
doutrinas ideolgicas da Igreja. No caso das fotografias da Andujar, os olhares
dos habitantes da cidade remetem a uma busca por sua prpria representao,
"livres para raciocinar e pensar", na ausncia de uma representatividade poltica sob o contexto repressivo da ditadura militar (1964-85).
Na mesma linha de encontrar interstcios subjetivos dentro do espao pblico, o vdeo Secta de Egl Budvytyt narra as prticas habituais de uma comunidade fictcia inventada pela artista. A forma pela qual se manifesta a identidade
das pessoas que pertencem a essa sociedade oculta seu uso particular do espao
pblico; ou melhor, seu mau uso. Os atos de "lamber as frutas no supermercado
para degustar sua qualidade", "raspar as pernas fazendo uso da gua de um canal
pblico" ou "mulheres usando banheiros pblicos projetados especificamente
para homens", so exemplos de pequenos fragmentos de um vdeo que apresenta
o raciocnio existente nessas situaes aparentemente "absurdas".
tratedaCorpusChristiprocessioninSoPaulowithouttakingoffhisgreencap,andfurthermore,walking
among theparishioners in the opposite direction ofthe religiousprocession. The artists "simple"action
immediately instigated the collective rage ofthe believers, vihopromptly began to follow him, crying out
for him to be lynched, "Lincha! Lincha! "[Lynch him! Lynch him!"]. De Carvalhos individual act before the
crowd at that time revealed the lack of individuality ofthe people who reacted violently under the influences ofthe Churchs ideological doctrines. In the case ofAndujars photographs, in their gaze, the citys
inhabitants seem to be searching for their own representaiion, "free to reason and to think"in the absence
ofpolitical representation under the repressive context ofthe military dictatorship (1964-85).
In the same vein offinding subjective interstices within public space, the video Secta by Egl Budvytyt narrates the habitual practices ofa ctitious community invented by the artist. The identities
ofthe people belonging to this hidden society are manifested through private use of public space, or
rather its "misuse."Examples from the video include "licking fruits in the supermarket to determine
quality,""leg-shaving using the water ma public canal," and "womenusing public urinais designed for
men." These small fragmentspresent the rationale ofthese apparently "absurd"situations.
In the 16 mm film Soft Materials (2004) by Daria Martin, two dancers, a woman and a man, enter
an artificial intelligence laboratory where they find robotic prostheses constructed with humanoid
forms and gestures. Through subtle movement and choreography, each dancer tries to interact with
these artifacts, which after a time begin to react by sensually touching their naked bodies. Like a
courtship between man and machine, Soft Materials recalls the historical avant-garde's imagery of
eroticism. Perhaps the most convincing is Ballet Mcanique (1924) by Fernand Lger, in which the
cinematographic language centers around revealing sexual archetypes in the forms and movements
of machinery and industrial objectspresent in modem life. In contrast, desire in Soft Materials seems
to have noprevious cultural archetypes. Instead, the work deals with an instinctive, archaic moment
of the encounter ofone body with another. It is a primitive encounter with that which appears to be unfamiliar.yet simultaneously a visceral manifestation of man with an object that is culturally charged
by the history ofhumanitys technologicalprogress.
Miguel ngel Rojas carried out an extensive photographic project in 1979 making use only ofthe
light conditions emanating from movie screens inside Bogotas movie theaters, where homosexual
encounters were occurring. The long exposures created blurred, gestural, and sinister images that
revealed the minimal indication of sexual activity; disrupting the spectators voyeuristic gaze and
conserving the clandestine and anonymous atmosphere ofthese encounters. Six photographs were
selected alongside the artist from the Faenza project for the A cidade do homem nu exhibit. The majority contain smallphrases superimposed by Rojas which describe the theaters as architectures of
desire, as laboratories oferotics.
Two works m the collection deal more directly with cultural constructs in gender identity, and their possible deconstruction. On one hand, Burlesque (2007) by Santiago Monge appropriates a male underwear advertisement from the 1970's, in which the photographs ofthe models of "cut-outs" revealing each
individuais "interior." This "endoscopic"gaze at clothing subtly reveals the cultural layers that construct
social codes signifying masculinity. In the case of Cristina Lucas, her video You Can Walk Too (2006),
literally represents a sexist metaphor used by different English writers throughout history, to represent
women who try to stand out in societyas "dogs whowalkon their hindlegs."Lucas'work isasequence in
which different dogs in a village escape from their masters and leave their homeswaling on their hindlegs.
Other types of visual materiais are incorporated into the exhibit that do not strictly pertain to the eld
of art. Take for example, the series ofblack and whitephotographs from the article "A verdade andava
nua" [Truth Went about in the Nude],published in the magazine O Cruzeiro in December ofl949 The
images document a group ofmiddleclassyouth from Rio de Janeiro, who one day decide to go to the
beach in banquei and winter clothing, as a protest against the law that prohibits walking around in
swimming clothes in other parts of the city that are not strictly the beach. Their action subverted the
norm by exaggerating the absurdity ofthe law.
On the other hand, take Ney Matogrossos material. His eccentric costumes and makeup, along with
his peculiar feminine tone ofvoice, made him and his band Secos & Molhados, the most transgressive proposal ofBrazilian rock of the 1970's. It is interesting that Matogrosso, with his androgyny, his
ambiguity, his strangeness, his queerness, insteadofremaininginsubculture,waspopularlyreceived
in the repressive climate of the dictatorship. His stadium-packing shows and his TV appearances
were a type ofpsychic catharsis for the singer, which was translated on stage through his "aggressive"
physical movements. For the exhibit Matogrosso will show the video Flores astrais, 1974, by Secos
forma, ser exposto o estudo fotogrfico realizado em 1975 para a capa do seu
primeiro lbum como solista, cuja trama cnica trata de recriar um "retorno
selvagem" a Ney Matogrosso, como um ser "sem tabus escolsticos".
III.
O nico trabalho de Flvio de Carvalho includo na mostra o desenho New look (1965), que apresenta u m traje executivo masculino, concebido
especificamente para as condies climticas, econmicas e culturais do
h o m e m urbano nos trpicos. Segundo Flvio de Carvalho, o traje executivo
corrente era anti-higinico, pois o design fechado e de tecido grosso recolhia
e guardava o suor do corpo. A soluo proposta pelo New look era melhorar a
circulao do ar ao redor do corpo, ao defender o uso de uma minissaia branca pregueada e uma camisa leve de m a n g a curta de cor viva, com orifcios
na rea axilar e uma estrutura de metal em seu interior que separaria a roupa
do corpo da pessoa que a usasse. Em vez de expor o traje ou alguma rplica,
sero exibidos revistas e jornais que, em 1956, documentaram amplamente o
lanamento de sua vestimenta futurista tropical (incluindo a revista Time),
que se tornou conhecido como a Experincia
ng 3 de Flvio de Carvalho.
&Molhados and the original metallic costume he wore for the filming ofthe video. He will also show
the photographic study from 1975 for the cover of his first solo lbum, scenic them of which attempts to
recreate a "retum to the savage" for Matogrosso as a being "free of scholastic taboos."
III.
The only work by Flvio de Carvalho included in the exhibition is his sketch for New look (1965), amasculine business suit designed specically for the climatic, economic, and cultural conditions of the
urban man in the tropics. According to de Carvalho the common business suit was anti-hygienic, for
its closed designed ofgrey wool trappedandprotected thebodys sweat. The solutionproposed by his
New look was to improve air circulation around the body, by incorporating a white, pleated miniskirt
andalightshortsleevedshirtofvibrantcolors.withopeningsaroundthearmpitandametalstructure
on the inside to separate the fabric from the wearers skin. Instead ofshowmg the suit or a replica, the
exhibit will include a signicant number of magazines and periodicals (including Time Magazine,)
that widely documented the 1956 launch ofhis futuristic tropical apparel, for which Flvio de Carv-
Experincia
alho carried out his Experincia n s 3. .As part ofthe series of experiences to study mass psychology, de
Carvalho walked around the city sporting his New look, but this time, rather than being chased to be
lynched, he was followed by hundreds ofbusinessmen,youth, and some women.
Although unable to carry out his master plan for the nude man's city.perhaps with the New look and
Experincia n 3 de Carvalho managed to strip the city ofitspresent, liberating ali who followed him
oftheir scholastic taboos, opening the road toward the new naked civilization. Theyear that de Carvalho launched the New look is therefore of great symbolic importance, for it was precisely theyear in
which the recently elected president ofBrazil Juscelino Kubitschek, launched the project that would
steer his technocratic politics toward modernization and the technication of the State: the construction ofthe new federal capital, Braslia. A new metropolis would be built in the tropics with an architectural language very different from that imagined by de Carvalho for his nude man's city. Braslia
poseda paradox, for it tried to create a discourse of"national"identity by means ofimplementing an
"international"architectural language which, no matter the extent of its submission to a certain levei
of local appropriation and affirmation, synthesized by the officiahst tradition of Costa-Niemeyer-
The curator would like to thank: Participating artists, M AM's valuable team, Cosmin Costinas, Denise
Mattar, Fbio Morais, Guilherme Altmayer, Helmut Batista, Lisette Lagnado, Luiz Camillo Osorio, Paulo
Herkenhoff, Paulo Mauro, Galeria Vermelho, Maureen Paley Gallery, Sicardi Gallery
NOTAS
1. Flvio de Carvalho, "A cidade do homem nu". Proposta apresentada no 4 Congresso Pan-Americano de Arquitetos, Rio de Janeiro (1930), publicada no Dirio da Noite (01/07/1930). Republicada
por Luiz Carlos Daher, em Flvio de Carvalho: Arquitetura e expressionismo (So Paulo: Projeto,
1982) e traduzido para o ingls em Valeska Freitas (org.), Cem anos de um revolucionrio romntico
(Rio de Janeiro: CCBB, 1999, p. 58).
2. Id.
3. E importante entender que, ao longo de sua extensa e multidisciplinar prtica, Flvio de Carvalho sempre manteve um contnuo interesse em investigar a psicologia do indivduo e a psicologia
das massas. Seja atravs de seus retratos expressionistas, peas de teatro, estudos antropolgicos,
design de cenografias, crtica de arte, jornalismo, direo de cinema, design de moda, intervenes
no espao pblico ou, mais claramente, como arquiteto, urbanista e engenheiro, suas criaes, por
mais absurdas e bizarras que paream primeira vista, sempre mantiveram um raciocnio analtico.
Textos de Sigmud Freud como Totem e Tabu (1913), ou O ramo dourado (1922) do antroplogo social
James Frazer, no s se convertiam em referncias que acompanhavam veladamente o esprito ateu,
secular e iconoclasta de Flvio de Carvalho, como eram inclusive citados nas mesmas colunas de
jornais e publicaes de sua autoria. Freud, principalmente, converter-se-ia na base fundamental
para suas pesquisas, em seu estudo dirigido especificamente para analisar a psicologia das massas
atravs de intervenes artsticas no espao urbano e que ele chamava Experincias, as quais hoje
em dia so entendidas na historiografia da arte no Brasil como precursoras da performance.
4. Id.
Notes
1. Flvio de Carvalho, "A cidade do homem nu", presentation at the IVCongreso PanAmericano de Arquitectos, Rio
de Janeiro (1930). Alsopublished as an article in Dirio da Noite, 07/01/1930, republished by Luiz Carlos Daher, in
Flvio de Carvalho: Arquitetura e Expressionismo (So Paulo: Projeto, 1982) and translated into English in Valeska
Freitas (ed.), Cem anos de um revolucionrio romntico (Rio de Janeiro: CCBB, 1999, p. 58).
3Jtisimportant to understand that throughout his vast and multidisciplmarypractice, Flvio de Carvalho alwaysmaintained a continuai mterest in researching individualpsychology and masspsychology. .As absurd and bizarre as his
creations may seem at rst sight, they always maintained an analytic reasoning, whether in his expressionist portraits,
theater, anthropological studies, scenography, artistic criticism,journalism, film directmg, fashion designs, actions in
publicspace, orclearly asan architect, urbanplanner, and engineer. Texts by SigmundFreudsuch as Totem and Taboo
(1913) or The Golden Bough (1922), by social anthropologist James Frazer, were not simply behind the scenes as references to de Carvalhos atheist, secular, and iconoclastic spirit, but the works themselves were cited inhis ownpublished
works and journalistic columns. Freud, above ali became the foundation for his investigations, in his study specically
focused on analyzing mass psychology by means of artistic interventions in urban space that he called Experincias
[Experiences], and which today are understood in the history of Brazilian art as precursors to performance art.
4-Id.
Flvio de Carvalho
A CURIOUS THESIS:
THE NUDE MAN'S CITY
The world progresses, moves on. Study ofexisting laws leads us to believe that the cities of the future
will have to deal withproblems diametrically opposed to those hitherto engendered. by the Christian
concepts of the family and private property.
It behooves those ofus born free of the weight ofancient traditions, to study the habitat ofthe nude man,
the man of the future, without God, without property, without matrimony. In Northern Germany, as in
various parts of the civilized world, free relationships are a fact of life. The trend towards the idea ofthe
State as the singleproperty-owner is on the rise with the socialization ofchildren and wealth and, even in
conservative England, inheritance tax has already reached40%. The man who is haunted by the Christian cycle, brutalized by scholasticphilosophy, exhausted by1,500years ofentrenched monotony, in our
century, seems to be a worn outmachine, tragicallyparroting the teachings ofAristotle. Christianity has
the distinction, compared with other religions, of having come to dominate the most civilized human
beings. But these civilized human beings have woken upto the fact that Christianity has sown the seeds
of its own destruction. The other religions are identical opiates. The bourgeoisie reveres the past and
past events as a decadent tradition perceived them: it repeats the past without knowing why; it is slowly
destroying its own organism and thepossibility ofprogress and change.
Nos dias de hoje a fadiga manifesta, o h o m e m mquina do classicismo, moldado pela repetio contnua nos feitos seculares do cristianismo,
no mais pode aturar a monotonia dessa rotina. Ele perecer asfixiado na
seleo lgica, pelo mais eficiente, pelo h o m e m natural.
A fadiga o ataca, ele precisa despir-se, apresentar-se nu, sem tabus escolsticos, livre para o raciocnio e o pensamento.
Apresentar sua alma para pesquisas; procurar a significao da vida.
Violentamente atacado de cristianismo, o processo que cura ser talvez lento,
mas no impossvel.
Perseguido pelos tabus da sociedade, ele limita seus desejos, aperta o
seu crebro, impedindo o raciocnio de funcionar, dando preferncia repetio por encontr-la feita; evitando a todo custo e a todo instante a mudana,
transformao indispensvel ao progresso.
Por que entravar o progresso com o velho mecanismo escolstico; por
que venerar o passado, quando no conhecemos nenhum limite ao pensamento; por que abafar os nossos desejos, quando no conhecemos a natureza ltima desses desejos, no conhecemos sequer as conseqncias desses desejos?
O h o m e m livre, despido de tabus vencidos, produzir coisas maravilhosas, a sua inteligncia liberta criar novos ideais, isto , novos tabus, o
Nowadays the sense ofweariness is obvious. The machine-man ofclassicism, moldedby repetition of
the ancient Christian rites can no longerendure the monotony ofthis routine. He will be crushed under
foot, in the logic of natural selection, by the more efcient natural man.
He feels tired and weighed down, and needs to shed his clothes and appear nude, free of scholastic
taboos, free for reason and thought.
To muster his soul for research; togoin quest ofthe meaning oflife.
ity, the cure mayyet be slow, but it is not a hopeless case.
Persecuted by social taboos, he reins in his desires, closes his mind, choking offhis rational faculties
andprefers the comfort ofready-made routines. At ali costs, he is constantly atpains to avoidchange,
the transformation that is indispensable ifprogress is to be made.
Why block progress with the old scholastic mechanism? Why venerate the past, when thought now knows no
bounds? Why stifle our desires, when we do not know the ultimate nature or consequences ofthese desires?
The free man, disburdened of out-dated taboos willproduce marvels. His intelligence will create new
ideas, that is, new taboos, his ego will be organized automatically into groups, seeking to group ten-
seu ego se selecionar automaticamente em grupos, procurando caracterizar em cada grupo uma srie de tendncias. Livre, ele sublimar os seus
desejos com saciedade, aparecendo logo novos desejos, apontando para
novas tendncias... isto , mudando... progredindo.
Livre, ele se organizar automaticamente, porque no encontrar
nenhum impedimento social que proba organizar e poder progredir.
Presentemente, ele labora lutando contra as suas tendncias sem
um objetivo em vista, sem saber por que ele luta, nem aonde vai. um mecanismo de repetio no produtivo, um mecanismo nefasto que procura
destruir o que h de mais grandioso; procura destruir a sua possibilidade
de melhorar, de progredir.
O homem se destri a si mesmo, sem saber por qu.
A viso de uma nova era se apresenta para a humanidade. Um novo
momento atrai o homem: como progredir?
A sua ndole repele o passado, porque no passado nada viu seno
a repetio dos d o g m a s inconvenientes. Ele deseja saltar fora do crculo,
a b a n d o n a r o m o v i m e n t o recorrente e destruidor de sua alma, procurar
o m e c a n i s m o de p e n s a m e n t o que no entrave o seu desejo de penetrar
no desconhecido.
deneies together. In his freedom, he will satisfy and go beyond his desires and new desires will soon
appear, suggesting new tendencies... leading towards furtherprogress and change.
In their freedom, human beings, will organize spontaneously, because there will no longer be any
social impediment to organizationandprogress will bepossible.
Human beings are struggling against their tendencies for no reason, with no aim in view, not even
knowing what they are struggling for, nor where theyare going. It is an unproductive repetitive mechanism; it is a nefarious mechanism that seeks to destroy everything that is grand; that seeks to destroy
the very possibility of improvement, progress.
Humamty is destroying itself, without knowing why.
The vision ofa new era has presented itself to humankind. People are attracted to a new movement.
How can they make progress with this?
This type is repelledby thepast, because, in thepast, they see nothing but the repetition ofinconvenient
dogmas. They want to think outside the box, to throw offthe repetitive destructive churning movement of
their souls, to seek out a way ofthinking that does not stifle their desire to explore the unknown.
In So Paulo, a fewyears ago, the anthropophagic ideology was founded, an exaltation of the Nietzschean
biological man, that is, the resurrection of the primitive man, free of Western taboos, presented without the
ferocious culture of the nefarious scholastic philosophy. Man as he appears in nature, wild replete with ali
his desires, his curiosity fully intact, not repressed The man who totemizes his taboo, deriving the maximum
benefit from it. The man who seeks to transform a non-metric into a metric world, creating new taboos toyield
new benets, encouraging reason to strike out into new elds. This idea, rst aired in So Paulo byRaul Bopp,
Oswaldo Costa, Clvis Gusmo, Oswald de Andrade and others, producing reverberations in Rio and other
States, was enthusiastically received by the philosopher;Keyserling and the architect and urban planner, Le
Corbusier, who saw in it a way forward: a far offglimpse ofpossible happiness. The anthropophagic man,
stripped of his taboos, is like a nude man. The nude mans city will certainly be a proper dwelling for anthropophagic man There hewill be able to sublimate his desires inan orderly fashion. There hewill be able to feel
the constantrenewalofthe spiritwithinhimself; the movement oflifewillappearwithstunningrealism and he
will understand that living is swift reasoning and taming taboos through knowledge.
American citiesare no longer the fortress-cities ofthe Conquest. They are geographical, cities for criticai times, cities ofnude men, offree rational thinkers and eminently anthropophagic men.
The anthropophagic city satises the nude man because it suppresses the taboos of matrimony and
property; it belongs to the whole collective, it is an enormous monolith functioning homogeneously, a
gigantic motor in motion, transforming the energy of ideas into the needs ofthe individual, realizing
collective desires, producing the happiness which lies in understanding life or movement.
The whole of the nude man's city will be the home ofman. Men will find in this immense home ali his
needs arranged for him, filed away in the appropriate place, easy to access immediately. He will not
waste energy fruitlessly as people today do. He will not get tired that often, and will be astounded by
his own productivity. He will find a new joy in life, the joy of efhciency, a new pride in have conquered
his soul, the pride ofhaving understood his own existence and the desire to be in continuai change.
The organized city will take the shape of a single uniform monolith. It will be a function of human
needs. Its shapes and colors will symbolize the mechanism ofthe nude man's soul.
A cidade organizada formar u m nico monolito com aspecto uniforme. O aspecto ser funo das necessidades do homem. Ela simbolizar pelas
suas formas, pelas suas cores, o mecanismo da alma do h o m e m nu.
A cidade ser a imagem matemtica do h o m e m livre, o h o m e m que repeliu a angstia do dogma escolstico, do h o m e m que libertou o seu raciocnio
de uma decrepitude indesejvel.
As necessidades do h o m e m sero concntricas por ser a disposio
concntrica mais igualmente acessvel a todos. Elas sero localizadas em crculos concntricos. O bem-estar geral da cidade, a magnitude da eficincia da
vida da cidade, depende da posio relativa dessas zonas.
Uma zona inconvenientemente locada, em relao ao centro, poder
trazer srios distrbios no equilbrio orgnico das cidades, perturbando o seu
processo.
As nossas cidades de hoje so verdadeiros pandemnios e vivem em
constante desequilbrio.
O homem de hoje gasta as suas energias inutilmente devido ao organismo doentio da cidade. A cidade cansa o homem, destruindo a sua energia vital.
O h o m e m da cidade de hoje no aproveita a sua capacidade de produo, no pode aproveitar, porque o organismo burgus desorganizado tudo faz
The city will be the mathematical image ofthe free man, the man who has driven off the anguish of
scholastic dogma, the man who has freed his rationality from an undesired decrepitude.
Human needs will be concentric, because this makes them equally available to alL The general well-being of
the city, the extent to which the life of the city is efficient, will depend on the relative positioning ofthese zone
Ifa zone is locatedin an inconvenientposition in relation to the center, this can cause serious disruption
to the organic equilibrium ofthe city and its processes.
Our cities oftoday are a veritablepandemonium and live in constant disequilibrium.
Human beings today waste most of their energy because ofthe unhealthy organism ofthe city. The city
wears people out, sapping their vital energy.
Human beings living in cities today do not fully realize theirpotential forproductivity, because the disorganized bourgeois organism spares no effort in expunging any love oflife, any enthusiasm toproduce
things, any desire to change.
The nude man's city will be a metropolis of opportunity, a center for the natural sublimation of human
desires, a center for breathing new life into worn out desires; a great center for the production of organic
__
Ml
e distribuio dessa vida em formas de energia til ao homem. Um grande centro de pesquisas para descobrir as coisas do universo e da vida, para conhecer a
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life, for selecting and distributing this life in forms ofenergy that are use fui to human beings. A great
center for research into the stuff ofthe universe and life, the soul ofman, making it metric and using it
for the well-being ofthe city. The nude man's city is dominated by the research center; this is the only
established authority; it selects and distributes according to scientic criteria, it masters and orders
ali the energy ofthe metropolis. It is a mutable god, a god in continuous movement, a god who symbolizes the marvelous desire to reach out into the unknown. The research center is shaped like a ring and
is the outermost and most important ofthe concentric rings that make up the city.
The center for teaching and human guidance is an annex ofthe research center. The management center, a huge machine where life is studiedandcatalogued is separated from the research center by a park.
In view ofthe excellent hygiene conditions in these cities, the hospital center is small and forms part
ofthe research center.
Sex plays a vital role in the life of the nude man. The nude man will choose his own sexual proclivities;
there will be no restrictions and no need for renunciation; his own mental energy will be sufcient for
controlling and selecting his desires.
A ertica, ocupa na vida do h o m e m nu uma posio de destaque. O homem nu selecionar ele mesmo as suas formas de ertica; n e n h u m a restrio
CGNlTto fc> c a t a r 5
exigir dele este ou aquele sacrifcio; a sua energia cerebral ser suficiente para
controlar e selecionar os seus desejos.
A ^ o n a ^ t i c a ^ realmente u m imenso laboratrio onde se agitam os
Do
Dsofttfe
Ci DO
jo^f
A ^ i o Nf\L
pode projetar a sua energia solta em qualquer sentido, sem represso, onde ele
realiza desejos, descobre novos desejos, impe a si mesmo uma seleo rigo-
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5<UA coAm<iDo
/VO\7o5" PS"C6
rosa e eficiente, forma o seu novo ego, orienta a sua libido e destri o ilgico,
aproximando-se assim do deus-smbolo, sublime angstia do desconhecido da
mutaj
i mtrico.
^religio/tem o seu lugar adequadamente localizado na zona ertica, sendo
ido
P6
I^AACyNArt M A
F ^ I ^
ela uma forma de erotismo, como ficou esclarecido pelo mecanismo He Freud.
O centro de alimentao est tambm situado na zona ertica. A administrao se encontra no ncleo central da cidade, assim como a locomoo, que
toda subterrnea, e se irradia desse ncleo. A habitao est localizada num
grande anel central prximo administrao.
A cidade do homem nu a habitao do pensamento; o homem produz idias
que so orientadas e aproveitadas na melhoria da raa e no caminhar do progresso.
The sex zone is really a vast laboratory where a wide range of desires are indulged in The nude man can find
his ancient soul, can project his free energy inany direction, without repression, discover new desires, impose
on himselfa strictly efficient selection, shape his new ego, guide his libido and destroy the illogical, thereby
approximating to the symbolicgod the sublime anguish of the Unknown ofnon-metric changeability.
Religion is appropriately enough located in the sex zone, since it is, as Freud has shown us, a form oferoticism.
The food center is also situated in the sex zone. Government administration is located in the central
nucleus ofthe city as is the transport department. The transport system is ali underground and radiates out from this nucleus. Housing is situated in a large ring near the administration unit.
The nude man's city is a home for thought; men produce ideas that are guided towards and used for
the betterment ofthe whole human race and the attainment ofprogress.
The city is a vast idea machine, constantly calculating the degree ofprogress and the processes of
mental renovation.
The industrial and productive nuclei are situated outside of this great calculating machine. The nude
man's city is a motor, generating ideas, guiding and directing the country, controlling industry and
E uma grande mquina de idias para calcular o meio de progredir sempre, calcular um processo de constante renovao mental.
Os ncleos industriais e produtivos esto situados fora da grande mquina de calcular. A cidade do h o m e m nu um motor gestador de idias, que
orienta e dirige o pas, movimentando a indstria e a agricultura, preparando
o homem para ser feliz.
O continente americano, pela sua privilegiada situao histrica, est
mais apto que qualquer outro a contemplar o problema do homem nu.
O continente americano no herdou do passado o recalque trgico da
filosofia escolstica; ele possui elementos prprios para criar uma civilizao
nua, um novo mecanismo despido dos tabus da velha Europa, uma renovao
cientfica e esttica que o colocar na vanguarda da organizao humana.
Convido os representantes da Amrica a retirarem as suas mscaras de
civilizados e pr mostra as suas tendncias antropfagas, que foram reprimidas pela conquista colonial, mas que hoje seriam o nosso orgulho de homens
sinceros, de caminhar sem deus para uma soluo lgica do problema da vida
da cidade, do problema da eficincia da vida.
Publicado no Dirio da Noite, l s de julho de 1930.
Flvio de Carvalho
UMA CONCEPO
DA CIDADE
DE AMANH
ACONCEPTION
OF TOMORROWS CITY
Icarit understand how the housingproblem is still being discussed today separately from the city issue,
as much asldont understand the discussion of man's problems without considering the collectivity.
The interview that Dirio da Noite has asked me to do seizes to be an architectural issue and can't
only be confmed in an isolated discussion about a minimal house, a standard house, and a rational
house. This intervievj will be an introduction on the need to create a new home within a social system
that allows for human life to develop its utmost aspirations.
And to start offone must emphasize the importance of the machine.
While machine provides humanity with the glorious idea of economy of labor and life efficiencytransforming man's rst needs intopracticallyworthless thingswe still finda large number ofpeople
around the world without appropriate roofs over their heads and even food.
This century has shown that machine is a powerful invention in a social and skilled organization for
itsefficiency in completely changingpeoples work.
For the first time in history the machine has reached the character of disturbing force, becoming the
most important factor in social evolution, threatening to completely change commodities' relative
value. This is how housing, clothing and food have been reduced considerably of their unitary values
because of the machine and the idea of efficiency. The unit slowly loses even its characteristics of
highlighted unit; becomes a part ofa whole, the small part ofa collective intelligence. And it's this
collective intelligence that becomes new highlighted unit.
However, this tremendous force has notyet been controlled by a collective spirit; itstill lies in the hands
of individuais, working as a disturbing game, always seeking to destroy the impetus of civilization, the
ardent romanticism of human invention. A sort ofhara-kiri.
A city's technical development has shown that man's home is no longer the desire ofan individual, but
it must be the product ofa collective intelligence.
The entire city will be the home of tomorrows man and will be solely ownedby the State.
Todays city presents a heterogeneous and ridiculous aspect: it's the ethic image ofdecaying bourgeois patriarchy, and it's incapable of keeping itself intact, of defending itself against the gadgets
inventedby man. The art ofkilling has muchsurpassed the art ofbuilding and defending oneself. One
notices that aggressive outtting has developed within a spirit of collectivity, while man's housing
has followed the path ofa stupid individualist fantasy, adorning itself with accumulation ofcash as
a means of mundaneness. Tomorrow's city will be designed to fulll a certain end; the same way one
designs an engine today. It wont be an entirely free city; it will have its emotions limited by destiny,
by thepurpose offulfilling.
The development oftechnical aggressiveness, the garnering ofnew emotions bring about a curious
expectation in tomorrow's man;a Dionysian mixpermeated by dissatisfaction and servitude, imposing the creation ofa secular ethic organism capable of ensuring a more collective form of understanding as a need for life; for instance, the surrender ofthe home as a private property, as a disturbing
and destructive unit in the fight for life; the different units ofa 20th-century city need to compete to
increase the levei oflife's efficiency, otherwise we would risk losing the huge scientic potential accumulated throughout history and which undoubtedly is one ofthe most important forces in the path
toward a new civilization.
Evidently, todays cities can only be recommended; also because the social system in use is contrary to
the idea of efficiency, the new determining factor that has just appeared in the 20lh century.
It would be impossible to fit a new soul inside a bourgeois carcassinconvenient indeed, because it
Evidentemente, as cidades de hoje s podem ser recomendadas, mesmo porque o sistema social em uso contrrio idia de eficincia, o novo
fator determinante que acaba de nascer com o sculo XX.
Seria impossvel ajeitar uma nova alma dentro da carcaa burguesa
- inconveniente, mesmo, porque ser logo compreendido que o rendimento
gigantesco de uma cidade funcionando pelo esprito coletivo justifica a construo imediata de novas cidades.
A nova arquitetura se impe dentro da nova alma, sem o dedo do divino
mono antropomrfico, sem o passado como enfeite e a b a n d o n a n d o mesmo
todas as runas da decadncia patriarcal.
As cidades sero erguidas para agentar uma vida anmica intensa, sero cidades sugestivas, sem a sombra do deus, com uma viso sempre jovem;
sero as usinas que construiro a nova inocncia, a do h o m e m sem passado
- um novo modo de ser virgem.
Que eu saiba, s a Rssia deu u m passo para a frente, fundando uma
sociedade com cinco milhes de ateus capaz de esmagar o velho smbolo e
possivelmente erguer a diretriz do h o m e m de amanh.
Publicado no Dirio da Noite, 17 de maro de 1932. Reproduzido, em fac-smile, em Luiz
Carlos Daher, Flvio de Carvalho e a volpia da forma (So Paulo: MWM-IFK, 1984)
would be understood right away that that gigantic yield ofa city functioning through the collective
spiritjusties the immediate construction ofnew cities.
The new architecture imposes itself within a new soul, without the mono anthropomorphic divine
finger, without the past as adornment and giving up ali ruins of patriarchal decadence.
Cities will be built to sustain intense soulful life; they will be suggestive cities, without god's shadow,
with an forever young look; they will be factories which will develop a new innocence, that of man
without a pasta new way ofbeing virgin.
/s far aslknow, only Rssia took a step forward, founding a society with ve million atheists capable
ofcrushing theoldsymbolandpossibly toestablish thedirectionoftomorrowsman.
Published at the Dirio da Noite newspaper, March 17,1932. Reproduced as facsimiile in Luiz Carlos Daher,
Flvio de Carvalho e a volpia da forma (So Paulo: MWM-IFK, 1984)-
OBRAS
EXPOSTAS
[ARTWORKS IN
THE EXHIBITION]
%JOOKEY
J L
todos
los
dias
INe*te Nmeros
A RAINHA DRIS
Dris Monteiro, a rainha da voz suave,
em uma reportagem com belas fotos coloridas de Ed Keffel. O declogo do sucesso, segundo a maior artista da TV.
ALERGIA
'jtBt
I ria na
*
piilj. 32:
li safas di (UVIO
O PINTOR FLVIO DE CARVALHO LANA NA
CIDADE DE SAO PAULO A NOTA MAIS EXTRAVAGANTE EM MODA MASCULINA
CONSE-
Tato do NEL
I FERRER
IA Fotos 4o HENRI BALLOT
Achando que d e v e m o s nos vestir de acordo com o habitat, Flvio descobriu <|ue o brasileiro no sabe viver sob o clima t r o p i c a l
Principalmente no vero. Idealizou um t r a j e que, na sua opinio,
vai a r q u i v a r as calas e relegar o palet a um triste ostracismo.
Passou trs meses d e s e n h a n d o o modelo, e o resultado de seu t r a balho algo de estranho. U m m i s t o de roupa da Idade-Mdia, com
saiote e blusa rendada, mais uma sandlia de couro cru e meias de
corista de t e a t r o musicado. E a cidade de So Paulo, tradicionalm e n t e carrancuda e e n g r a v a t a d a , foi a escolhida para o l a n a m e n t o
do " n e w look".
AS SAIAS DE FLAVIO
CONTINUAO
BAILE
LISTA
DE OBRAS
[ARTWORKS
LIST]
CLAUDIA ANDUJAR
NEY MAT0GR0SS0
Rua Direita,
Agua do
cu-pssaro/Homem
de Neanderthal,
1975
1970/2008
Palcio do Planalto, i n a u g u r a o
de Braslia, 1960
Traje metlico
CRISTINA LUCAS
DARIA MARTIN
2004
e mscara,
1975
1975
EGL BUDVYTYTE
SANTIAGO MONGE
Secta, 2006
Burlesque:
fotografia
de archivo,
2007
andava
nua
O Cruzeiro, 31/12/1949
Quatro fotografias p&b
[Four b&w photographs], 50 x 36 cm
Trs fotografias p&b
[Three b&w photographs], 36 x 36 cm
Arquivo [Archive] Dirios Associados
Fotos [Photos]: Jos Medeiros
Time Magazine
Vol. 67, no. 7,13/02/1956
DOCUMENTOS [DOCUMENTS]
Flvio de Carvalho a p r e s e n t a n d o o New
look em passeio pelas r u a s de So Paulo
Dirio de So
24/06/1956
Time Magazine
Vol. 67, no. 26, 25/06/1956
MIGUELNGELROJAS
Flvio d e C a r v a l h o explica o d e s e n h o
1965
17 x 11,5
Paulo
Coleo [Collection]
Manchete
No. 236, 27/10/1956
Cruzeiro
MUSEU DE
ARTE MODERNA
DE SO PAULO
Presidente [President]
Mil Villela
Vice-Presidente Executivo
[Executive Vice-President]
Alfredo Egydio Setbal
Vice-Presidente Snior [Snior Vice-President]
Jos Zaragoza
Vice-Presidente Internacional
[International Vice-President]
Michel Claude Etlin
Diretor Jurdico [Legal Director]
Eduardo Salomo Neto
Diretor Financeiro [Finance Director]
Alfredo Egydio Setbal
Diretores Administrativos
[Administrative Directors]
Cludio Galeazzi
Srgio Ribeiro da Costa Werlang
Diretores [Directors]
Csar Giobbi
Eduardo Brando
Orandi Momesso
Tadeu Chiarelli
Superintendente Executivo
[Executive Superintendent]
Bertrando Molinari
Curador [Curator]
Felipe Chaimovich
Coordenador Executivo
[Executive Coordinator]
Andrs I. Martin Hernndez
CONSELHO [COUNCIL]
Presidente [President]
Alcides Tpias
Vice-Presidente [Vice-President]
Carmen Aparecida Ruete de Oliveira
Conselheiros [Members]
Adolpho Leirner
Ana Maria Lima de Noronha
Angela Gutierrez
Antonio Hermann Dias de Azevedo
Antonio Matias
Benjamin Steinbruch
Chella Safra
Chieko Aoki
Danilo Miranda
Denise Aguiar Alvarez Valente
Edmundo Safdi
Edo Rocha
Fbio C. Barbosa
Fernando Moreira Salles
Geraldo Carbone
Gilberto Chateaubriand
Graziela Leonetti
Gustavo Halbreich
Henrique Luz
Idel Arcuschin
Israel Vainboim
Joo Carlos Figueiredo Ferraz
Joo Rossi Cuppoloni
Jos Ermrio de Moraes Neto
Jos Olympio da Veiga Pereira
Leo Slezynger
Lily Marinho
Luciano Amaro
Luiz Antonio Viana
Manoel Felix Cintra Neto
Marcos Arbaitman
Maria da Glria Ribas Baumgart
Mauro Salles
Michael Edgard Perlman
Otvio Maluf
Paula P. Paoliello de Medeiros
Paulo Setbal
Pedro Piva
Peter Cohn
Plnio Salles Souto
Roberto B. Pereira de Almeida
Roberto Mesquita
Roberto Teixeira da Costa
Rolf Gustavo R. Baumgart
Simone Schapira
Thiago Varejo Fontoura
Vera Lcia dos Santos Diniz
Conselho Internacional [International Council]
Alexis Rovzar
David Fenwick
Donald E. Baker
Eduardo Costantini
Jos Luis Vittor
Patrcia Cisneros
Robert W. Pittman
PRESIDNCIA [PRESIDENCY]
Presidente [President]
Mil Villela
Assistentes [Assistants]
Anna Maria Temoteo Pereira
Angela de Cssia Almeida
Barbara L. G. Daniselli da Cunha Lima
Maria Lcia Maciel
Valeria Moraes N. Camargo
SUPERINTENDNCIA [SUPERINTENDENCY]
DEPARTAMENTO DE CURADORIA
[CURATORIAL DEPARTMENT]
Curador [Curator]
Felipe Chaimovich
Coordenador Executivo
[Executive Coordinator]
Andrs I. Martin Hernndez
Assistentes [Assistants]
Ailton de Arajo Teixeira
Ana Cristina Pinheiro Franco
Paula Volpi
SETOR DE PESQUISA E PUBLICAES
Coordenadora [Coordinator]
Magnlia Costa
Erico Melo
Silvia Blum
ADMINISTRAO [ADMINISTRATION]
BIBLIOTECA [LIBRARY]
Gerente [Manager]
Nelma Raphael dos Santos
Coordenadora [Coordinator]
Maria Rossi Samora
Lia Carmen Cassoni
Estagirias [Intems]
Tamara Cintra Leoni
Daniela Sipriano da Silva
SETOR DE DOCUMENTAO E CONSERVAO
OF THE COLLECTION]
Coordenadora [Coordinator]
Ana Paula dos Santos
Lvia Lira
Patrcia do Nascimento Guilhoto
SETOR EDUCATIVO [EDUCATION]
Coordenadora [Coordinator]
Patrcia Manhes Naka
Educadores [Art Instructors]
Diana Tubenchlak Peres
Leonardo Polo Tavares
Mirela Agostinho Estelles
Orientadores [Visit Guides]
Amanda de Ftima Cuesta
Brbara Jacqueline Soares
Bruno Storni
Bruna de Andrade
Jorge Cavalcanti Arajo Neto
Luiz Custdio da Silva Jnior
Marcelo da Conceio
Nilma Maria de Oliveira
Rafael Aurichio Pires
Estagirio [Intern]
Thiago Teixeira de Barros
Jurdico [Legal Affairs]
Mariana Giorgetti Valente
Recursos Humanos [Human Resources]
Paulo Rodrigues da Silva
Tecnologia [Technology]
Rogrio Nascimento Soares
Gilmar Mesquita Soares
PATRIMNIO [PREMISSES]
Supervisor
Jaroslaw Roszczewski
Adilto Souza do Monte
Carlos Jos Santos
Jos Nilton Santos Carvalho
Eventos [Events]
Coordenadora [Coordination]
Marina Olivia Bergamo
Auditrio [Auditorium]
Alekiom Lacerda
Douglas Peanha da Silva
PARCEIROS [PARTNERSHIP]
Coordenador [Coordinator]
Wilson Roberto Bueno Filho
Captao [Fundraising]
Luciana Fortes Flix
ASSOCIADOS [MEMBERS]
Coordenadora [Coordinator]
Flavia Velloso
Estagiria [Intern]
Maria Renata Ramos de Aguiar Lopes
NEGCIOS [BUSINESS]
Coordenadora [Coordinator]
Julie Belfer
CLUBES DE COLECIONADORES DE GRAVURA
E FOTOGRAFIA
Coordenadora [Coordinator]
Maria de Ftima Perrone Pinheiro
Keli Regina Sousa
SHOPMAM
Coordenadora [Coordinator]
Solange Oliveira Leite
Erik dos Santos
Filomena Pitta Pecego
Michelle Conventi Moreira
CURSOS [COURSES]
MARKETING
Coordenadora [Coordinator]
Celisa Maria Beraldo dos Santos
Grupo Belfort
Interfile
James Lisboa Escritrio de Arte
KPMG Auditores Independentes
Martima Seguros
Paulista S. A. Empreendimentos
Revista Dasartes
Revista Ocas
Santa Art Magazine
So Paulo Convention & Visitors Bureau
PARCEIROS
MANTENEDORES
Banco Bradesco
Gerdau
Banco Ita
Banco Santander
Fundao Telefnica
SNIOR PLUS
Credit Suisse
Levy & Salomo Advogados
Montagem [Installation]
Setor de Conservao do Patrimnio
MAM-SP
Iluminao [Lighting]
Marcos Franja
Multimdia [Multimedia]
NB3
Transporte [Shipping]
Millenium
SNIOR
PROJETOS ESPECIAIS
Abril
Banco Esprito Santo
Banco Safra
BNPParibas
Companhia de Seguros Aliana do Brasil
Deca
DPZ
Folha de S.Paulo
Itautec
Pirelli
Setor Educativo
Patrocnio
Santander
Apoio
Votorantim
Agradecimentos [Acknowledgments]
Famlia Flvio de Carvalho
Joymi Eventos
Mondriaan Foundation
INCENTIVO
Rdio Bandeirantes
Ministrio da Cultura
Instituto do Patrimonio Histrico e Artstico
Nacional
Secretaria de Cultura do Estado de So Paulo
Assembleia Legislativa do Estado de So Paulo
Secretaria da Educao do Estado
de So Paulo
Prefeitura da Cidade de So Paulo
Secretaria da Cultura
Secretaria Municipal do Verde
e do Meio Ambiente de So Paulo
PLENO
Bloomberg
Editora Escala
Farol Filmes
GNT / Globosat
Ita Cultural
Ita Seguros
Livraria Cultura
PricewaterhouseCoopers
Saint Paul
Institute ofFinance
Ticket
TV Globo
EXPOSIO [EXHIBITION]
Realizao [Realization]
Museu de Arte Moderna de So Paulo
MASTER
Casa da Chris
DMgDDB
Gusmo & Labrunie/Prop.
Jokerman Postais
Rdio CBN
Editora Finaflor
Seven English /Espanol
APOIO CULTURAL
Alves Tegam
Century Consulting
Consulte Arte & Decorao
D-Link
Fiap
Fundao Victor Civita
Intelectual,
Curadoria [Curatorship]
Inti Guerrero
Produo [Production]
Setor de Produo MAM-SP
Projeto museogrfico [Museographic projete]
Marta Boga
Design visual [Visual design]
Lia Assumpo
Documentao e conservao do acervo
[Documentation and conservation
of the collection]
Acervo MAM-SP
CATLOGO [CATALOGUE]
Realizao [Realization]
Museu de Arte Moderna de So Paulo
Coordenao editorial [Editorial coordination]
Magnlia Costa
Traduo para o ingls [English translation]
Cristiano Astolphi Mazzei
Reviso [Proofreading]
Erico Melo
Produo editorial [Editorial production]
Mariana Cesarinoy Pi Trevas
Design grfico [Graphic design]
Lia Assumpo
Fotos [Photos]
Jos Medeiros
Luiz Fernando Borges da Fonseca
M. M. Fontenelle
Peter Fauland
Impresso [Printing]
Pancrom
Agradecimentos [Acknowledgements]
Diretoria de Patrimnio Histrico e
Artstico do DF (DePHA)
Famlia Flvio de Carvalho
Mondriaan Foundation
CDU: 75.036(81)
CDD: 759.981