Escolar Documentos
Profissional Documentos
Cultura Documentos
Jens Olesen
Diretor internacionalllnternatianal directar
Diretores!Directars
Fbio Penteado
Ivo Rosset
Ricardo Ohtake
Secretrio de Estado da Cultura/ State Secretary af Culture
Rodolfo Konder
Secretrio Municipal da Cultura/Municipal Secretary af Culture
Srgio Telles
Chefe do Dept Cultural do Itamaraty/Officer af Itamaraty's Cultural Department
Wladimir Murtinho
Representante do Ministrio da Cultura/Culture Ministery Representative
Celso Neves
PresidentelChairman
Oscar P. Landmann
Vice-presidente/ Vice-president
Membros vitalcios/ Life time members
Alex Periscinoto
Jorge Eduardo Stockler
Jorge Wilheim
Luiz Oiederichsen Villares
Luiz Fernando Rodrigues Alves
Oscar P. Landmann
Roberto Muylaert
Membros/ Members
Adolpho Leirner
Alex Periscinoto
lvaro Augusto Vidigal
Angelo Andrea Matarazzo
Antonio Henrique da Cunha Bueno
ureo Bonilha
Caio de Alcntara Machado
Carlos Bratke
Carlos Eduardo Moreira Ferreira
Celso Neves
Din Lopes Coelho
Edemar Cid Ferreira
Edgardo Pires Ferreira
Eduardo de Moraes Dantas
Ernst Gunter Lipkau
Fernando Roberto Moreira Salles
Ferno Carlos Botelho Bracher
Gilberto Chateaubriand
Hlene Matarazzo
Henrique de Macedo Netto
Jens Olesen
Jorge da Cunha Lima
Jorge Wilheim
Jos Ermrio de Moraes Filho
Julio R. MO~ Landmann
Lcio Gomes Machado
Luiz Antonio Serphico de Assis Carvalho
Manoel Ferraz Whitaker Salles
Maria do Carmo Abreu Sodr
Maria Rodrigues Alves
Mrio Pimenta Camargo
Mendel Aronis
Miguel Alves Pereira
Oswaldo Corra Gonalves
Pedro Aranha Corra do Lago
Pedro Franco Piva
Pedro Paulo de Sena Madureira'
Pietro Maria Bardi
Roberto Duailibi
Romeu J. S. Mindlin
Rubens Jos Mattos Cunha Lima
Rubens Ricupero
lhomas Farkas
Wolfgang Sauer
American Express
Antarctica
Banco do Brasil
Banespa - Banco do Estado deSo Paulo
Banco Real
Bolsa de Mercadorias & Futuros
Gillette
IBM
ING Bank I Seagram
IOCHPE
Kolynos
McCann-Erickson
Philip Morris
Price Waterhouse
Rosset
Semp Toshiba
Su;zano
Tintas Vpiranga
Votorantim
AGRADECIMENTOS
ACKNOWLEDGMENTS
Akzo Nobel
Alitalia
Arquitetura da Luz
AZP
Banco do Brasil
Banco Santos
Centro Cultural So Paulo
Charter - Union Insurance Brokers
CNAP
Cobercirco
Codesp
Coldclima
Coord. Ger. do Sistema de Controle Aduaneiro
Corpo de Bombeiros de So Paulo
2M
Elevadores Villares
ENGEVE
ENSIC
ESTRU-TEC
Eucatex
Evguniia Petrova, Museu Russo de So Petersburgo
Galerie Tokoro, Tquio
Geraldo Pougy, Fundao Cultural de Curitiba
GVPSALUM - auto portante
Guarda Metropolitana Municipal
Hanart T Z Gallery
Hunter Douglas do Brasil
Infraero
ING Bank - Internationale Nederlanden Bank
Inspetoria da Alfndega/AISP
Inspetoria da Alfndega/Porto de Santos
Inspetoria da Receita Federal
Instituto Goethe
IRFFllnternacional
Istituto Italiano di Cultura
Jardine Insurance Brokers Int.
JBA
Kodak Brasileira
Kulturkontar, Viena
Lufthansa Cargo/SP
Masterpiece International
MEC/FNDE
Metalrgica Garra
Metropolitan Transports
Min. dos Transp./Transp. Aquav. de Santos
Minas Gois Transportes
Museu da Imagem e do Som
Museu de Arte Contempornea/USP
Newpower Group, Hong Kong
Otvio Donasci
PAMEBO
Pincis Tigre
Polaroid
Polcia Militar de So Paulo
Rental Rdio
Rijksakademie, Amsterdam
Rio Sul Companhia de Aviao
RHOR
Robert Bosch
Rosset
Rudi Fuchs, Stedelijk Museum de Amsterdam
Seco de Est. da Cult. de Minas Gerais
Shangai Ta"g Department Store
Soco Amigos da Cult. de Minas Gerais
Springer Carrier
Teatro Municipal de So Paulo
Telesp
The New China Hong Kong Group
Tintas Vpiranga
Transportes Fink
Varig
Vera Cruz Servios
Vidraria Santa Marina
Vladimir Gusev, Museu Russo de So Petersburgo
Wim Beeren, Stedelijk Museum de Amsterdam
II
NA l
Jens Olesen
Diretor internacional/lnternational diFector
Nelson Aguilar
Curador-geral/Chief curator
Correspondentes internacionais!
Overseas correspondents:
Bart de Baere
Museum van Hedendaagse Kunst (Gont,
Blgica)
Catherine Millet
Art Press (Paris, Frana)
Henri Maldiney
Universit de Lyon (Lyon, Frana)
Jan Hoet
Muse d'Art Contemporain (Gand, Blgica)
Jorge Glusberg
CAYC (Buenos Aires, Argentina)
Jos Sommer Ribeiro
Fundao Calouste Gulbenkian
(Lisboa, Portugal)
Llilian Llanes
Centro Wilfredo Lam (Havana, Cuba)
Pieter Th. Tjabbes
Stedelijk Museum (Schiedam, Holanda)
Zelmir Koscevic
Muzej Suvremene Umjetnosti (Crocia)
Assistentes da curadoria!
Assistants to curator's office:
Anna Carboncini Masini
Cristina Ricupero
Regina Teixeira de Barros
Gerncia internacional!
Internatonal management
Gerente/Manager:
Suzanna Sassoun
Carlos Verna
Claudia Sachs
Cristiane Pedro Piza
Janete Alves de Souza
Kyra Carbonell
Lucy Amlia dos Santos
Marcella Bokel
Marina Ancona Lopez Soligo
Marize Nbrega Martins
Renata Motta
Ricardo Gottlieb
Gerncia de eventos!
Events management
Gerente/Manager:
Romo Veria no da Silva Pereira
Ana Auge
Carlos Loureiro
Csar Augusto Fedato
Eliana Apareclda Fazzio
Julio Cesar da Silva
Marcos de Oliveira Costa
Maria Clara Perino
Arquitetura!Architectur
Arquiteto-chefe/Architect in chier
Ronald Cavaliere
Tereza Mas Santa Creu
Ins Lucchesi de Carvalho
Gerncia
administrativo-financeira!
Adm. -finan. management
Gerente/Manager:
Aloysio Teixeira da Costa
Edmilson Elias do Carmo
Itamar Alves da Silva
Ktia Marli Silveira
Mrio Rodrigues da Silva
Maurcio Marques Neto
Shirley Dias Rizzardi
Entreposto alfandegrio!
Customs warebouse:
Raquel da Silveira Toledo
Alexandre Nakabayashi Moriya
Luzia Delgado
Orivaldo Dias Junior
Suzete Aparecida Dias de Oliveira
Assessoria de captao!
Resources assistant:
Ruthi Dabbah
Samuel Swartz
Manuteno e montagem/
Maintenance and assembling
Chefe/Department head:
Guimar Morelo
Hildimar Gonalves Francisco
Lucindo Gazola
Paulo de Tarso Gracia
Severino B. da Silva
Accio de Moraes
Amadeu Bezerra de Melo
Antonio Gomes da Costa
Antnio Milton Arajo
Carlos Henrique Gazola
Carmen Gibrin dos Santos
Clodomir Cordeiro Costa
Damio Belo Pereira
Dilson Moreira Freitas
Dorgival Cordeiro Costa
Dulce Ricardo de Souza
Ednaldo Moreira de Freitas
Eduardo Roberto de Jesus
Eliane Moreira Bortolotti
Elias Lima da Silva
Elisabeth Almeida M.
Emerson ureo Ho~st
Francisca Alves da Silva
Monitoria!Monitor team
Chefe/Department chier
Carlos Eduardo Ucha Fagundes Jr.
Secretaria!Secretarial support:
Liliane Legnini Augusto
Maria Rita Cssia Marinho Fukumaru
Emlia Moreira
Gunther Nakabayashi Campelo
Luiz Carlos Estevaninn
Arquivo histrico!
Hystorcal archive
Diretor-adjunto/Assistant director:
Edgardo Pires Ferreira
Luiz Marques
Slvia Martha Castelo
Branco Bezerra
Andra Gomes Leite
Andra Lima Alves
Dalton Delfine Maziero
Liliana Mendes de Oliveira
Sandra Rodrigues Pandel
Simpsio!Symposium:
Agnaldo Farias
Lcia Haddad
Luiz Roberto Mendes Gonalves
Mrcia Veirano
Maria da Graa Mendona Couto
Maria da Penha Vilela de Carvalho
Maria de Ftima de Freitas Godinho
Maria de Ftima Mendona Couto
Maria Elizabeth Buarque de Almeida
Maria Luiza de Freitas Godinho
Mariza Romero
Martha Conceio Gambini
Mineo Takatama
NCristina Martorana
Olga Cafalcchio
OIiara de Cssia Fortunato
Roger Trimer
Rui Moreira de Oliveira
Shizuka Kuchiki
Snia Violeta Buarque de Faria
Vera Caputo Possebon
Wagner Homem
Vara Nagelschmidt
Consultor grfico/
Graphc consultant:
Ricardo Ohtake
Projeto grfico/
Graphic design:
Lgia Pedra
Monica Pasinato
Renan M. Figueiredo
Ed. eletr. & fotolitos!
Desk publ. & photolithos:
Grafcolor
Impresso!Prntng house:
Aquarela
PATRONOS/PATRONS
o Estado de S. Paulo
Gazeta Mercantil
Folha de S. Paulo
Editora Abril
SUMARIO
TAB[E OF CONTENTS
,
18 A22 BIENAL
INTERNACIONAL
DE
,..
SAO PAULO:
HONRAR ERENOVARA
TRADiO
THE 22 BIENAL
INIERNACIONAL DE
SAO PAULO:
HONORING AND
RENEWING TRADITlON
22 RUPTURA
COM OSUPORTE
BREAKING AWAY
FROM SUPPORT
Nelson Aguilar
38 BRASIL BRAZIL
40
42
44
48
50
54
56
58
60
63
66
68
71
74
76
78
81
ADRIANA VAREJO
ADRIANE GUIMARES
ANTONIO DIAS
CEcLIA DE MEDEIROS
DUDI MAIA ROSA
FERNANDA GOMES
FRANCISCO FARIA .
HERMAN TACASEY
IBER CAMARGO
IVEN,S MAGHADO
JOSE PATRICIO
LEDA CATUNDA
MRCIA GROSTEIN
MARIANNITA LUZZATI
NIURA BELAVINHA
NUNO RAMOS
PAULO MONTEIRO
84
86
88
90
92
94
PAULO PASTA
ROSNGELA RENN
SAINT CLAIR CEMIN
TUNGA
VALESKA SOARES
YIFTAH PELED
,
98 AFRICA DO SUL
SOUTH AFRICA
100 BAREND DE WET
101 BELlNDA BLlGNAUT
102 JOACHIM SCHONFELDT
1\
198 EL SALVADOR
EL SALVADOR
199 NICOLE SCHWARTZ
1\
183 KCHO
184 TONEL
1\
241 GRA-BRETANHA
GREAT BR/TA/N
244 CATHYDE MONCHAUX
245 CORNElIA PARKER
246 HELEN CHADWICK
,
1\
2781SLANDIA /CEiANO
280 TUMI MAGNSSON
281ISRAEl/SRAEi
283 BARRY FRYDlENDER
284 IDO BAREL
285 NAHUM TEVET
,
2861TALlA /TAiY
288 GlOVANNI ANSELMO
,
2911UGOSLAVIA YUGOSiAV/A
293 ZDRAVKO JOKSIMOVIC
FORMER YUGOSiAV/AN
REPUBUC DF MACEOON/A
311 MARTINICAMARTlN/CA
312 ERNEST BRELEUR
313 SERGE GOUDINTHEBIA
,
1\
OOM/N/CAN REPUBUC
358 . JOS PERDOMO
359 MARCOS lORA READ
361 TONY CAPELLN
,
362REPUBLlCA DE SAN
MARINO
356 REPUBLlCA
DOMINICANA
f\
Nossa 22 Bienal abre suas portas, no dois, mas trs anos aps a21 mostra. No
se trata de descuido mas de uma homenagem especial Bienal de Veneza, sua mais
famosa predecessora, que em 1995 completar o centenrio e tem um lugar
especialmente reservado no mundo das artes. Tal prorrogao do binio anunciavase sem dvida auspiciosa, pois permitia levar a bom termo o projeto de um evento
extraordinrio, altura dos mais espetaculares de nossa histria.
Assim que comeamos a organizar esta Bienal, a questo da ruptura com o suporte
na arte contempornea mostrou ser a mais pertinente hoje. Toda a riqueza das
manifestaes que invadem a cena artstica encontrou repentinamente o
denominador comum: a expanso da tela ou da massa escultural, paixo da
atualidade. Instalaes, performances, experincia.s com novos materiais, tudo est
resumido na vontade de sair dos territrios predeterminados pela tradio. Mesmo
quando os reinventores da pintura trabalham telas, j no celebram a disciplina
cubista ou a irreverncia expressionista, mas do conta do ilimitado, da ausncia
de fronteiras que caracterizam o panorama de nossa civilizao nos dias de hoje.
Foi assim que a curadoria promulgou a escolha de artistas contemporneos capazes
de iluminar essa.trilha: os brasileiros Hlio Oiticica, Lygia Clark e Mira Schendel, os
americanos Joan Mitchell, Julian Schnabel e Robert Rauschenberg, ao lado dos
instaladores de vdeo Gary Hill, Judith Barry e Paul Garrin, e do italiano Fabrizio
Plessi, o venezuelano Jess Soto, o cubano Jos Bedia, o franc~s Pierre Tal-Coat, o
belga Marcel Broodthaers, o dinamarqus Per Kirkeby, o grupo de artistas chineses
onde se destaca Deng Lin.
Mas no foi s. Era importante que se criasse tambm um espao museolgico a fim
de abrigar a cmara dos ancestrais da arte contempornea. S assim o pblico
brasileiro poderia sentir concretamente a importncia do elo entre os precursores e
os renovadores e teria a ocasio rara de constatar que arte no moda, mas
intuio do instante nico que s os verdadeiros criadores sabem captar.
Conseguimos. Criamos condies para trazer a exposio de Kazmir Malvitch,
graas' cooperao do Museu Russo de So Petersburgo e do Stedelijk Museum
de Amsterdam. A obra do artista que recapitulou magistralmente as mutaes
estilsticas do sculo - impressionismo, simbolismo, fauvismo, futurismo, cubismo,
abstrao "absoluta - e voltou figurao seguramente constitui a mostra de arte
mais importante ocorrida no Brasil, desde a de Picasso, na 2 Bienal, em 1953.
Guernica e outras cinqenta telas do mestre, que abrangem desde as conquistas do
and fifty other paintings, including works from the analtical cubism triumph up to the realism
that ironized the cold war, astonished visitors. Now, next to Malevich, we will also exhibit
Mondrian New York studio, a real aesthetic legacy, with the intent of disclosing the way
painting steps into lite through objects which were made by the Dutch master and which
populated his last residence. Malevich and Mondrian will enable the visitors to better
understand Hlio Oiticica, Lygia Clark, and Jess Soto. The Latin-American roots of the
Biennial are reasserted by Special Rooms dedicated to Diego Rivera and Rufino Tamayo, both
from Mexico; Joaqun Torres-Garca, from Uruguay, and Italian-Argentinean Lucio Fontana.
However, a Biennial is not only a collection of renowned artists in the history of art. Its role is
to make art available to a large number of people, from various walks of lite and regions of
the country. Thisis the reason why we have produced institutional mechanisms to encourage
and even urge a great number of students to visit the show. We have arranged for a
multimedia that will prepare, on various electronic supports, an interactive record of this
monumental collection gathered here. Above ali, we are introducing the foundations for the
future Biennial, to be conceived as a real traveling museum. Like the Bienal Brasil Sculo XX
we intend to traveI throughout Brazil (and, very soon throughout the world) with meaningful
segments of the exhibition, to offer a public not familiarized with present-date art an
aesthetic experience whose implications will be conclusive to fully understanding the
meaning of humanity concept.
Yet, it is important to mention that even this great effort would not guarantee that tasks
would be completed if it were not for the intense and efficient participation, great dedication
and renoucement of personal activities, of senior co:.workers, editor Pedro Paulo de Sena
Ma dure ira, our Vice-President, and Jens Olesen and Altino Joo de Barros, professionals of
advertisement.
As we approach the end of the road, we proudly welcome both visitors and present as well
as future readers of this catalogue to the 22 Bienal Internacional de So Paulo.
Edemar Cid Ferreira
Chairman
Fundao Bienal de So Paulo
RUPTURA COM
OSUPORTE
BREAKING AWAY
FROM SUPPORT
NCl~ON AGUI~~
~
9
CU~oc)~Ge~l DA LL ~leNAlINre~NAClONAl De ~AO ~AUlO
NElSON AGUILAR
~
CURArOR CHIEF OF rHE 22 ~/ENAl INrERNAClONAl DE SAO fAUlO
'I
The scandal arising from Manet's Le djeuner sur I'herbe in 7863, considered
bya great many art critics and historians to be a milestone of Modemism,
was caused more beca use Manet, in exposing the grain of the canvas,
deviated from the standard practice of the Beaux-Arts school of artists who
applied layers of undercoats onto raw canvas, than beca use of the figure of a
nude surrounded by dressed gentlemen. The victory of being able to choose
one's specific medium echoes in Ma/larm's statement concluding the
interview: "Deep down, the world was made to eventual/y beco me a
beautiful book. " Or, as Joyce says: "The whole world in a nutshe/l". Cubism,
in its endeavor to make volume fit into a plane, or to tum mountains into
pages, substantiates modem style par exce//ence.
Contemporaryart, in tum, has broken the barrier of the painted plane to
invade territories unimaginable to art forty years ago. The same feeling
sweeps through the artistic universeproducing happenings, insta/lations,
corporal art, landscape art, etc., a phenomenon which is not a privilege of the
artistic circuit of developed countries alone.
The perception of tradition support limits was daringly put into words as
earlyas February 6, 1962, in a text written by Hlio Oiticica. Two other
Brazilian artists question this support: Lygia Clark and Mira Schendel. The
combine paintings by Robert Raoschenberg, the environments created by
Lucio Fontana, Marcel Broodthaers' form and expression of absence, the
rocks of Richard Long, the vide o installations of Gary Hi//, the penetrables of
the Venezuelan Jess Rafael Soto, lhe buildings by Per Kirkeby, and so many
others, also i1/ustrate this selfsame search, over the years, to define support.
This is lhe main reason for their being at this Bienal, each commanding his
own space -the 25 Special Rooms.
The questioning of canvases is part of a process which includes querying the
complex museological structure, and in so doing promotes a contemplative
relation between visitor and work of art, a feature which onlya handful of
countries can boast of. Breaking with traditional support, a trait defining
contemporaneity, has spread out to take in the emerging art of Latin America,
Eastem Europe, Africa and Asia. A new type of contact is sought and
demanded of the spectator.
Escaping through the hole in the wal/, from the central mass and from
traditional support, from the protected enclosures of the museum, expresses
a need so vital that it addresses the motive for this "transgression. " When
the omament reaches its apogee in Neolithic times, in the barbaric art of the
great invasions, in 8yzantine art, in Oceanic art, this bears out the novelty of
the support, so much so that art historian F.A. van Scheltema coined the
fundamentallaw of an omament in the fol/owing words: "An artistic form
only has ornamental meaning if it expresses something about the object in
which it appears, if it endorses the form of the support, and as such
elucidates it or underscores the accent". This assertion led the historian to
infer that what appearson barbaricfibulae is not a fabulous animal, but
rather, a fibular animal. By placing in check the mechanism used to articula te
art, the contemporary artist could expose the new way of relating with the
world, which urges porosity, shedding of defenses and, consequently,
broadening of horizons.
When art underges a mutation of this sort, the veryanthropological premise
on which it lies expands. A question was put to Brazilian art as to who first
felt a need to change the way of making art. The question does not seek to
find an identity. Much to the contrary. It responds to the search for alterity (or
othemess). Among Brazilian artists, three took n the challenge: Hlio
Oiticica (7937-1980), Lygia C/ark (7920-1988) and Mira Schendel (1979-7988).
Lygia and Hlio refused to take part in the artistic circuito Both had made a
brilliant career for themselves in national art. The wooden framework was
abandoned gradual/y. In Hlio's case, the spatial reliefs (7959) were shaped
canvases taking shape to become clothes and penetrables, tuming the
spectator in to a participant and demanding of the public an increasingly more
25
26
27
28
VALESKA SOARES handles fragrance as though it had solid formo The rug of
roses lining her environment has the same flavor as the artfices plied by the
Counter Reform (clothes dressing sculpted saints, mystic ecstasies of lave,
incense and mermaids). The propositon of levitation realized by marble bars
sustained by strands of hair prolongs this state, f we imagine the pregnant
and dispersive force of aroma. In the roses and drawings shown in So Paulo,
the former act as the referential, the latter as the sedimentation. In the show,
the two floors of the gallery were strategically used to display the graphics
as the sublime, and the flowers as the driving force. The installation itself
became both the artistic space lived, and the intersubjective project, the
town square, city lfe, an orchestra conducted by the way our senses capture
the stimulus.
The work of YIFTAH PELED evolves from the solid background of infinity
where zero degrees eventually becomes an accomplice of future guests, an
effect achieved by the radiation issuing forth from the meaningless void.
Peled is far from that white canvas which so disturbed Matisse, and close to
that soundless chamber where John Cage could hear the low-pitched sound
of his circulatory system and the high-pitched sound of his nervous system. In
this rarefied atmosphere, he planted baby bottles on the floor and
speedometers on the ceiling. The neutral colar of the floor and brilliance of
the walls indicates that the race has already begun. Our eagemess becomes
the force required to make the crossing, and the gauge charges a dole upon
arrival. Eagemess fills the void, the metal cylinder bears the colar of finitude.
In the artist's installation, plantation and harvest coexist.
THE PLURIETHNICITY DF THE AMERlCAN CONTlNENT
Although far from the major centers of artistic tradition, Latin American
production, such as Brazil's, preserves an impeccable continuity regarding the
expansion of support. The installation - a new arrival to the artistic doma in shows great vitalityin these works. Nonetheless, it is also important to
observe the independence of this emerging art form, gained not from a
multicultutalist standpoint, but from miscegenation, undoubtedly the most
characteristic trait of the continent's cultural production.
Thanks to the efforts of curator Jorge Helft, one of the greatest collectors of
the Americas, Argentina is sending us works of LIBERO BADII, a veteran
sculptor whose art can be closely likened to that of the Italian Enrico Baj,
distinctively known for criticizing pompous figures, personfied by heavyset
generais full of medals. Libero Badii also creates great figures depicted very
geometrically and colorfully in volumous proportion, and bearing features
often discemable as being totemic. However, his works bear the stamp of
humor and playfulness achieved by the play of colors. For example, a red
person will have small dabs of blue in a sort of coloristic short-circuit.
EDGARDO ANTONIO VIGO, another representative from Argentina, is a
conceptual artist, who, as such, believes that art is not limited to the retina,
but must also be felt by one's sense of touch, one's sense of reasoning.
Among other works which he will be showing in this Bienal, Viga - closely
assocated with our Brazilian poets August and Haroldo de Campos - offers
spectators a box with something loose inside, something with a certa in
weight, that vaguely calls to mind another experience.
PABLO SUAREZ works with both objects and planes at the same time. One of
his pieces, full of irony, is the figure of a horse contemplating the canvas.
29
30
Miscegenation can also be perceived in the works from Haiti, which brings
us, as guest artist, sculptor PATRlCK VILAIRE. In the exhibition, Magicians of
the Earth, at the Georges Pompidou Center in Paris, Vilaire had already given
us an enormous show of talent with his imperial chairs, symbolic thrones
alluding to how difficulty it is to rema in in power. At the Bienal he is showing
seven sculptures related to voodoo entities, Haiti's national religion, the
origins of which the very history of the country took upon itself to preserve
undefiled. Unlike the American Negroes, for instance, the Haitians were not
forced to translate their beliefs into Protestantismo Vilaire's sculptures
emerge from this religious and ethnic authenticity grandiose; before them we
have the impression of witnessing imminence, the outbreak of something
surprising and new.
From the Dominican Republic, curator Marianne de Tolentino chose JOS
PERDOMO, whose art stresses direct and sensitive experience, has a style
reminiscent of a Goya who experienced the tropics deeply. Perdomo paints
his canvases but uses the old support in an original manner. In his works, the
picture acquires a spatial dimension and convexity achieved purely by the use
of colar. It is as though we were before something overdone, a sensation
evoked by the colors used in his characters: they resemble overly ripe fruit.
Perdomo's paintings mirror contemporaneity beca use they redefine the
experience of the unlimited contained in the installations. To him, a painting
is basically the presence of pigment, colar is an unescapable must, visible
either in Hlio Oiticica's fireballs ar in his own canvases.
MARCOS LORA READ and TONY CAPELLAN, young Dominican artists are
bringing their installations. In them, each object reveals autonomy and
establishes a distance between the work and the illusion of the scenery,
which although occupying the same space as the installation, serves only to
stage the theater and fantasy.
GERMANY OUTLlNING THE HISTORY DF CONTEMPORARY ART
The German representation is positioned at the antipode of continental
American art. Evelyn Weiss, chief conservator of Cologne's Ludwig Museum
and curator, sends us three artists: Gerhard Richter, Rosemarie Trockel and
Asta Grdting, designating three generations of contemporary German art.
RlCHTER, who began painting at the end of the 1950s, creates a work where
both figuration and abstraction coexist with the same concretion. He makes
paintings which have an exuberant application of paint, and at the same time
produces photographic pictures with themes recurring in traditional arts, such
as still lites ar vanity, symbolized by skulls and candles. Other times, he uses
photographs, like the series he made on the oppositional Baader-Meinhoff
group. In some of these pictures he writes remarks on top of the slightly hazy
photographs which portray the death of members of this group, mostly young
students. He is also skilled at making portraits of humanity's great wise men,
such as Einstein, HO/derlin, et alia. In yet other pictures, he merely makes a
table of colors. As can be surmised, he is an extremely controversial artist,
because he has the enterprise and freedom which allow him to sweep over
the entire spectrum of 20th century painting, showing that figuration and
abstraction are one in the same. His theme, actually, is painting itself. This
greatness of being both a great draftsman and a great colorist makes him
perhaps the greatest painter of our times.
31
This is the first time we are receiving Richter in Brazi/. We have a/ready come
in contact with such renowned artists as Anselm Kiefer, Penck and Baselitz,
but never have we had the honor of entertaining a luminary such as Richter.
This opportunity offered us by his curator underscores the importance which
the Germans ascribe to the Bienal de So Paulo.
ASTA GROTlNG shares the trait of being a disquieting artist. She works with
ventriloquy, with dolls.
ITALY'S ARTE POVERA
32
From Italy, we have GIOVANNI ANSELMO, one of the most widely known
representatives of the so-called arte povera of the 1960s, who makes use of
materiais scorned by great art. Anselmo does not sculpt marble, bronze or
ceramic, but rather, works his pieces in granite. Moreover, by choosing
specimens of highly pigmented color, he adds an element of distant lands,
mixing a brute feature of nature with the spiritualized presence of apure
color. This contrast between matter and spirit marks his works, also
characterized by a look of being unaccustomed to the world, like the works
where he projects the wordparticolare (detail) on strange elements, giving
solid structures the status of a partial object.
In another work exhibited at the Georges Pompidou Center, he counterpoises
two cobblestones of different size, made of granite and intermediated by a
leaf of lettuce. When the leaf dries up, the balance is lost, as if to show that
the harmony between very rigid materiais is maintained by a fragile element.
Another of Anselmo's famous works is a stone containing a compass, a lost
isthmus inciting wonder from the spectator.
THE FRENCH CHOICE
Catherine David, curator of France and director of the next Kassel
Documenta, selected three plastic artists who address the issue of
contradictions.
In the series Origins, JEAN-MARC BUSTAMANTE stresses the motricity of
the contour as opposed to the stability of the lacquered steel. Instead of
establishing a location, as is the case with his pieces Iying on the ground, the
pieces become clues floating on the wall. The spectator's gaze is challenged
by the choice between the nervous cutout or the serenity of the inside. His
works suggest a different art history, querying the squaring of the support.
TONI GRAND addresses the nature-culture dilemma. His resin tubes suggest
a minimalist style at first glance from his use of the cylinder form and
transparency of the material. Inside the work, a succession of fish changes
the circuit of esthetic judgement. Could it be that a one-time channeled river
leads to the death of its inhabitants? Anyway, the distance between the
plastic and the fish defies any definition.
PEDRO CABRITA REIS proposes usually white constructions, and in this sense
is loyal to the so-called "Mediterranean" architecture of southem Portugal,
greatly influenced by the Moorish presence. He transposes this light inside
his works and creates objects free of any functional sense. Moreover, he
establishes communication between de vises, perplexed by their neighbors. It
is difficult to say, however, if he is a sculptor or someone who makes
installations. In one of his works, there are a number of steps installed in a
comer of the wall, reminiscent of gestures essential to human beings: going
up and stopping, then walking a little further and continuing the climb. In
other works, tubes leading to a tank are used. There are ten tanks in ali, ali
white, suspended from the wall and toward which black conduits are
pointing. This ensemble, where the sum disavows the singularity of the parts,
creates a feeling of recapitulation, of something which was not lost, which is
channeled, as though it were a digestive tube or a circulatory tract, a likening
to body systems.
33
34
TOEKO TATSUNO shows enormous canvases, a sort of explosion, true blowups of what is happening around uso Working in only two dimensions, his
paintings succ$ed in creating an idea of an expanding world, contained in an
instal/ation.
35
Signs in TORRES-GARCA
The presencehere of Uruguayan artist Joaqun Torres-Garca (1874-7949) is,
in the first place, reparation in answer to the catastrophe in the Museu de
Arte Moderna in Rio de Janeiro, when fire brought devastation to a great
exhibition of his works. It also stands as a tribute to the first great LatinAmerican abstract artist.
SIDE EVENTS: CINEMA, PHOTOGRAPHY, CREATlONS
36
The curator for France for the 22nd Bienal de So Paulo and curator for the
next Documenta, Catherine David, chose a film actor, Philippe Garrel, to
represent France. Philippe Garrels films now being shown at the Museu da
Imagem e do Som are reminiscent of Giacometti portraits. Shades of grey on
first inspection render both the subject and his environment indistinct.
Continued viewing progressively shows a pictorial world as intense as
that of Rembrandt. Garrel highlights microscopic features of family
relations and of encounters.
Catherine David also selected the work of photographer Sophie Boursat to be
shown. On adesignative leveI, her photographs point to the artists in situ
work in sculpture. The crypt houses tongues of concrete, a powerful
metonymy clamoring within the Gothic subterranean reaches of the church of
Rosnay (French Ardennes). On a poetic leveI, Sophie calls forth waves of
stone that halt the expected course of ones gaze through a proposal for a
new labyrinth.
Photoidea, an exhibit proposed by Italian curator Mirella Bentivoglio and
housed in the Centro Cultural So Paulo, with thirty-three artists who use
photography, not as a means to document reality, but as a heuristic means to
participa te in a generally collateral way with each artists ma in activity. The
result is an artistic portrayal of an uncommon Italy, in part through the nonteleologic nature of the initiative. Painters, designers, graphic artists, visual
poets, and sculptors gather to narrate a story of photography in which the
participants are not professionals confined to one particular field of activity,
but artists interested in multidisciplinaryexpression.
Marcus Ramershoven proposes a unique intervention in the city of So Paulo,
that has something in common with the Bulgarian artist Christo: the first
stage would be to wrap the Monument to Independence, in Ipiranga Park, in
paper and glue for two weeks, and then to exhibit the molds in the Centro
Cultural So Paulo. This is an effort towards concealing and unveiling,
covering and uncovering sculpture that, beca use it is of overly obvious
significance, a historic fact, it goes unperceived to the eyes of the public.
Practicing interactive multimedia within the vast field of computerized
information is not foreign to the German artists proposition. In Berlin,
I keyed into a monitor that presented a program on architect Bruno Taut
with the most ali-inclusive esthetic teaching experience that I have
ever had in this area.
Matiere Premiere is the name given to a graup of artists that praduce their
creations within an urban context, with a view to disclosing the memory of a
genera//y obliterated social factor. This time the artists take over the great
house where Dona Yay resided. She was a lady of the So Paulo elite
considered insane and kept under tutelage of official psychiatry, whose
function it was to uphold the norms of the ruling elite fram the offenses of
those who wished to behave different/y. Matiere Premiere intends to bring
back the repressed thraugh architectonic vestiges that bore witness to the
history of repression.
37
ADRIANA VAREJAO
I
~-
- r
L
Varal, 1993
leo s/tela/ oil on canvas
165 x 195 em
Cole o Thoma s Cohn Arte Contempornea
Foto: Joo Bosco
40
origens dspares na
teatralizao da histria. Na
escassez da tradio artstica
brasileira, a histria das
imagens se superpe histria
da forma. Aqui, Varejo estaria
operando o que Argan
denominou uma cultura de
imagens, fundamental na
histria da civilizao. Na
iconologia, conclui Argan, a .
histria da arte a histria da
cultura elaborada, no pela via
dos conceitos, mas por meio das
imag'ens. Adriana Varejo se
detm em questes como a
patologia do barroco, a
presena de um longo processo
de influncia da China na
cultura brasileira, e os traumas
do processo de expanso
colonial e dos encontros
conseqentes aos
descobrimentos, como
tendncia a uma viso
unificadora do mundo. O
barroco recupera abertamente
seu carter poltico de
instrumento de retrica, com
funo persuasiva de
catequese, preparo ideolgico
dos caminhos da conquista. (... )
A obra de Varejo trata da
interao de planos de
representao: a histria da arte
serve para rever criticamente a
pretensa totalidade da histria
que molda e moldada pela
arte. Um tecido de histrias
setoriais imbrica
temporalidades sem curso
nico. Histria da arte, histria
do conhecimento, histria das
trocas culturais e histria do
corpo, tudo se contagia
inesperadamente. (... ) No
recurso ao cdigo de signos e
smbolos de cada poca ou
cultura, Varejo inscreve subrepticiamente suas prprias
figuras para subverter a
continuidade. Numa iconologia
perversa, imagens so
retomadas para infrao do
modelo. (... ) O que era
esquecimento e opacidade na
histria torna-se visvel.
A cartografia agora a da
violncia.
O processo de presentificao
do passado uma nova
transparncia. Esse o seu
nvel sutil de politizao da
arte, distante da "vassalagem
ideolgica" .
Na obra Ex-votos e peles
(fevereiro de 1993), uma srie de
pedaos de pelculas de tinta
pendurada numa certa ordem,
como uma taxinomia iluminista
e tambm como referncia
crtica ao sistema de
classificao tnica no Brasil e
suas gradaes racistas de
status. O problema da cor na
pintura aparece sob a questo
dos signos do corpo,
estabelecendo uma relao
crtica entre materialidade e
carnalidade: cobertura pictrica
e superfcie/epiderme,
formao da cor/miscigenao,
tinta/corpo. J as dilaceraes
concretas da pintura, como um
martrio da obra, estabeleceu
sua correspondncia com os
pedaos esquartejados e as
cenas de canibalismo. So
fraturas, rupturas sangrantes,
Paulo HerkenhoH
Morsbroich, Leverkussen,
Alemanha; Galerie
Landesgirkasse, Stuttgart;
Sprengel Museum, Hannover,
Alemanha.
1989 U-ABC, Stedelijk Museum,
Amsterdam; Fundao Calouste
Gulbenkian, Lisboa; Rio Hoje,
Museu de Arte Moderna, Rio de
Janeiro.
1991 Viva Brasil Viva, Liljevalchs
Konsthall, Estocolmo.
1993 Panorama da Arte
Brasileira Atual, So Paulo; De
Rio a Rio, Galeria OMR, Cidade
do Mxico.
1994 Mappings, Morna, Nova
Vork; Bienal de Havana, Cuba.
Obras apresentadas/
Works in the exhibition
Extrao do mal por cisura, 1994
leo s/ suportes variados/oil on
varied supports .
220 x 190 cm
Coleo da artista
Extrao do mal por overdose, 1994
Chinesa, 1992
leo s/tela e agulhas de acupuntura/
oil on canvas and acupuncture needles
120 x 100 cm
Coleo Galeria OMR, Mxico
Foto: Joo Bosco
Paulo Herkenhoff
41
42
fotografia/ photography
Foto: Paco Freire
(esculturas/sculptures), Joinville,
Santa Catarina.
1986 Estao Central do Metr
do Largo da Carioca
(instalaolinstallation), Rio de
Janeiro.
1987 9 Salo Nacional de Artes
Plsticas, Rio de Janeiro; A
nova Constituio Brasileira
(instala olinstallation), Estao
Central do Metr do Largo da
Carioca, Rio de Janeiro;
Conexus/Connections, Museu de
Arte Hispnica Contempornea,
Mocha, Nova Vork; Galeria
Macunama (esculturainstalaolsculpture-installation),
Funarte, Rio de Janeiro.
1988 Casa de Cultura Laura
Alvim, Rio de Janeiro.
1990 Arte Brasil Berlim
(escultura-instalao/sculptureinstallation), Galeria Messer
Ladwig, Berlim; Grenzgange
Klanginstalation, Academia de
Artes Plsticas de Berlim.
1991 Guergalerie, Academia de
Artes Plsticas de Berlim;
Interwall, Frauen Projekt
Forderung, Berlim; Produzenten
Galerie Broschwitz, Berlim.
1992 Rijksacademie van
Beeldende Kunste, Open Studio,
Amsterdam; Schauerlicht
Galerie, Berlim.
1993 cole de Beaux-Arts, Paris.
Obras apresentadasl
Works in the exhibition
Common space, 1994
fotografia cibachromel
cibachrome photography
250 x 120 cm
Coleo da artista
Common space, 1994
vidro, ferrolglass, iron
220 x 480 cm
Coleo da artista
Common space, 1994
fotografia cibachromel
cibachrome photography
250 x 120 cm
Coleo da artista
Common space, 1994
fotografia cibachromel
cibachrome photography
250 x 120 cm
Coleo da artista
Common space, 1994
fotografia cibachromel
cibachrome photography
250 x 120 cm
Coleo da artista
Exposiesl Exhibitions
1985 Tema Ecologia
(instalaolinstallation), Lagoa
Rogrigo de Freitas, Rio de
Janeiro; Conexo Urbana
(instalaolinstallation), So
Paulo; Museu do Estado
43
ANTONIO DAS
A luz do rigor
Contrariando toda uma
tendncia recente de regresso
ao expressionismo, a pintura de
Antonio Dias mantm um
dilogo crtico com esta
produo quando evidencia a
necessidade de uma arquitetura
conceitual que organiza seu
espao. Ess disciplina exigida pela idia - no se
manifesta de modo
estereotipado. A experincia de
contacto com as culturas
orientais, especialmente depois
de suas viagens ao Nepal, veio
contribuir para que as
oposies cromticas em jogo
no seu trabalho, sem perder
fora, energia ,e exuberncia,
se mantivessem numa
delicadeza sutil.
Aos atributos cromticos se
associa a prpria matria, cujas
qualidades so integradas ao
trabalho e constitutivas dele.
O chumbo, a malaquita, o ouro
no so simples veculos.
O artista lhes concede um papel
substantivo. Essa presena no
pertence ao brutalismo
recentemente cultivado como
motivo. Tampouco o material
ser chamado a compor um
universo cenogrfico, evocando
na tela uma teatralidade. A
sutileza se encontra exatamente
nessa simulao, bem
construda, de naturalidade,
como se reas cinzentas e
douradas se organizassem para
a produo do desvio. Desviar,
distrair, retirar o caador da
trilha certa, essa a funo
mgica desses entes pictricos
na floresta conturbada da arte
contempornea. uma tarefa,
digamos, educativa, a de
devolver o prazer ao olhar pela
inteligncia de uma retina cuja
percepo sempre recorre
reflexo. Suspenso o tempo, no
elogio puro da pintura, no se
apela a um recalque da histria,
nem sua devoluo literria;
como se pudesse se
44
45
46
BolsaslGrants
1965 Bolsa do governo
francs/Scholarship from the
French Govemment.
1972 Bolsa da Simon
(:Juggenheim Foundation, Nova
Yorkl Scholarship from Simon
Guggenheim Foundation, New York.
'1988 Bolsa do governo
i111emol Scholarship from the
German Govemment.
Exposies individuaisl
Solo exhibitions
1964 Galeria Relevo, Rio de
Janeiro.
1965 Galerie Houston-Brown.
Paris; Galeria Seta, So Paulo.
1984 Stdtischen Galerie,
lenbachhaus, Munique.
1985 Taipei Fine Arts Museum,
Taip, Formosa.
1988 Staatliche Kunsthalle,
Berlim.
Exposies coletivasl
Group exhibitions .
19654 Bienal de Parisl4 th
Biennial of Paris;' Pare, Galeria G41
Opinio 65, Museu de Arte
Moderna do Rio de Janeiro.
1967 Nova Objetividade
BrasileiralNew Brazilian
Objectivity, Museu de Arte
Moderna do Rio de Janeiro.
1971 6 th Intemational Exhibition,
Guggenheim Museum, Nova
Vork.
1974 Ambiente de 2000 m21
2000 rrr milieu no Museu de Arte
Moderna do Rio de Janeiro.
1980 39 Bienal de Venezal39 th
Biennial of Venice.
198116 Bienal Internacional de
So Paulol 16 th Intemational
Biennial of So Paulo.
1984 Exposio de inaugurao
da nova ala do Museu de Arte
Moderna de Nova Vorkl Exhibition
for.the inauguration of the new
wing of the Museum of Modem Art
of New York.
1985 A Generation in Italian Art,
Finlndia.
1986 Prospekt, Kunstverein,
Frankfurt.
1990 Gegenwart/Ewigkeit,
Martin-Gropius Bau, Berlim.
1992 Bilderwelt Brasilien,
Kunsthaus, Zurique; latinAmerican Artists in the
Twentieth Centurv,Museum
ludwig, Colnia/Museum of
Modern Art, Nova Vork.
PrmioslPrizes
1965 Exposio Jovem Desenho
Brasileiro, Museu de Arte
Contempornea da
Universidade de So Paulo;
prmio de pinturalpainting prize,
Bienal de Paris.
1972 International Exhibition of
Original Drawings, Rijeka,
Crocia.
Obras apresentadasl
Works in the exhibition
As asas do povo, 1988
grafite, acrlico s/telalgraphite,
acrylic on canvas
120 x 240 cm
Coleo do artista, Alemanha
Generator,' 1988
grafite, folha de ouro, folha de
cobre s/te lalgraphite, gold leaf,
copper leaf on canvas
195 x 130 cm
Coleo do artista, Alemanha
Diapason, 1988
grafite, folha de ouro, folha de
cobre s/telalgraphite, gold leaf,
copper leaf on canvas
130 x 195 cm
Coleo do artista, Alemanha
Corpo (I), 1990
grafite, folha de ouro
s/telalgraphite, gold leaf on canvas
195 x 130 cm
Coleo do artista, Alemanha
Corpo, 1990
grafite, xido de ferro, folha de
ouro, folha de cobre
s/telalgraphite, iron oxide, gold
leaf, copper leaf on can vas
195 x 130 cm
Coleo Lica Cecato, Milo
Corpo (111), 1989
grafite, folha de ouro, folha de
cobre s/telalgraphite, gold leaf,
copper leaf on canvas
195 x 130 cm
Coleo do artista, Alemanha
47
Pig, 1993
0 7 em
Foto: 8ernhardt Sehaub
de busca. criao e
transformao de sentido que
depende de um dilogo fsico
com a matria. Suas obras
trabalham com conceitos. mas o
processo de criao parece
acontecer simultaneamente
com o manuseio dos objetos. e
no resultar de uma
materializao a posteriori de
idias pr-concebidas. Um
exemplo claro desse processo
de criao desencadeado pelo
encontro entre a artista e o
objeto Nature morte. um galho
de pinheiro trouv no sul da
Frana. De uma extremidade do
galho sai um galho menor. um
bonsai seco e amarelado.
enquanto da outra pende uma
etiqueta. que contm um cdigo
(} -O
-O C'D
..
-:::c :s
-('1>tI
tV
O
R3
Exposies individuais!
Solo exhibitions
1991 Espao Cultural Srgio
Porto, Rio de Janeiro.
1992 Galleria Bordone, Milo.
Exposies coletivas!
Group exhibitions
1991 Feira de Arte de
Frankfurt/Art Fair Frankfurt;
Feira de Arte da Basilia!
Art Fair Basel; 2 Exposio
Internacional de Esculturas
Efmeras!2 d Intemational
Ephemeral Sculptures Exhibition,
Fortaleza, Brasil.
1992 Ars Multiple, Dsseldorf;
Die Moderne Hausfrau,
Knstlerdorf, Mnster.
1993 Artist in Residence Casino Container, Colnia;
Quadreria, Galleria Bordone,
Milo; Feira de Arte de
Colnia!Art Fair Cologne (Galerie
Michael Wewerka, Berlim);
Dirio, Museu de Arte Moderna
do Rio de Janeiro; Galerie
Hohenthal und Bergen, Colnia.
00
'"C
-t
(1)
CC
--'
1
~ :::s
Q...
tJ
c: ,......
c: &
~
. ('7)
~ ::sa
Obra apresentada!
Wark in the exhibition
As peas do jogo, 1994
cpias a laser montadas em
jornal/laser copies mounted on
newspapers ( 72 peas!pieces )
60 x 42 cm cada!each
49
o desejo de transcendncia o
fator que garante unidade
trajetria recente de Dudi Maia
Rosa. Desde que abandonou a
figurao, a partir dos anos 80,
desde que suas pinturas
rumaram para dentro de si,
vergando sob o peso de suas
prprias inquietaes internas,
elas comearam a anunciar que
alguma coisa estava
encasulada em seu interior;
alguma coisa que elas, que
daquele ponto em diante
passaram a ser feitas de fibra de
vidro, deixavam transparecer na
metdica geometria de
composio do campo
pictrico, ou mesmo na sbita e
freqentemente exasperada
desestabilizao do plano
monocromtico que lhes fazia
as vezes de superfcie. Sob esse
aspecto Dudi Maia Rosa
distanciou-se da maioria dos
outros artistas que optaram pelo
mesmo caminho, mas que
desembocaram numa potica
mais rida, adstrita
exclusivamente ao plano
mental. Embora tendo partido da
mesma negao do velho
princpio esttico que
consignava pintura o papel de
representao do mundo, nele a
conscincia do plano, a noo
da pintura como objeto em si
no impediu a erradicao da
expressividade tal como
prescrevia a matriz minimalista.
De fato, no arco de situaes
que essas obras apresentam e
que progride desde um
comportamento mais discreto
at o rudo spero, at a mescla
indifusa de gestos e manchas
onde eventualmente flutuam
alguns signos verbais, pode-se
notar o desejo de extravasar o
confinamento de seus limites,
uma espcie de nostalgia do
50
Transfigurao, 1994
.
resina, polister, cera, pigmento, fibra de
vidro/ resin, po/yester, wax, pigment. fiberg/ass
215 x 100 cm
Coleo do artista
Foto: Rmulo Fialdini
51
Exposies individuaisl
Solo exhibitions
1978 Museu de Arte de So
Paulo, So Paulo.
1979 Aquarelas, Pindorama, So
Paulo.
1980 Pinturas, Cooperativa dos
Artistas Plsticos de So Paulo.
1982 Pinturas, Galeria So
Paulo, So Paulo.
1984 Fibers, Thomas Cohn Arte
Contempornea, Rio de Janeiro.
1985 Fibers, Subdistrito, So
Paulo.
1986 Portas, Thomas Cohn Arte
Contempornea, Rio de
Janeiro/UFRG, Niteri, Rio de
Janeiro.
1987 19 Bienal Internacional de
So Paulo.
1989 Pinturas, Subdistrito, So
Paulo.
1991 Pinturas, Subdistrito, So
Paulo; Capela do Morumbi;
Centro Cultural So Paulo.
1993 Instituto Estadual de Artes
Visuais, Porto Alegre; Torreo,
Porto Alegre; Galeria Andr
Millan, So Paulo~
1994 Galeria Volpi, Fundao
Cassiano Ricardo, So Jos dos
Campos, So Paulo.
Exposies coletivasl
Group exhibitions
1967 Galeria Atrium, So\Paulo.
1971 Jovem Arte
Contempornea, Museu de Arte
Contempornea, So Paulo.
1973 Panorama da Arte Atual
Brasileira, Museu de Arte
Moderna, So Paulo.
1976 Centro Campestre, SESC,
So Paulo.
1978 Papis & Cia., Pao das
Artes, So Paulo.
1979 O Desenho como
Instrumento, Pinacoteca do
Estado de So Paulo, So Paulo.
1981 Aquarelas (com Gilda Vogt
Maia Rosa), Livraria Universo;
Contemporneos Brasileiros,
Galeria So Paulo, So Paulo.
1982 Brasiliana e Brasileiros,
Museu de Arte de So Paulo;
Entre a Mancha e a Figura,
fERNANDA GOMES
~61,
,ic '
y.-:f'
~,
J
S/ttu Ioi Untitled, 1988-94
materiais diversosl
various objets
54
A DIMENSO DA "AURA"
Cada vez mais as solicitaes
do mundo procuram restringir
mera operacionalidade a
convivncia outrora tambm
imaginria e simblica com os
objetos que nos cercam. Muitos
eram os que acompanhavam
vrias geraes. Atualmente
duram uma gerao ou menos.
Devem voracidade do
consumo a transitoriedade de
sua existncia. O valor de afeto
agregado que os distinguia, a
ptina humana que se formava
atravs do tempo dificilmente
encontrada. No so mais feitos
para ser transmitidos. Com isso
desaparece a vida que tinham
para ns, aquela participao
no nosso mundo interior.
Esvai-se definitivamente uma
das dimenses da permanncia.
As coisas tendem ao
emudecimento.
Creio que as aes de Fernanda
Gomes atuam no sentido de
restituir, at mesmo e
principalmente aos materiais
mais frgeis e precrios, um
vnculo possvel com a esfera
cada vez mais fragmentada e
voltil, quando no banalizada,
do afeto cotidiano. Ela deseja
experimentar uma nova
convivncia significativa com
as coisas no atual estado da
impermanncia, quer voltar a
dirigir uma ateno ~emorada e
intensa a seu redor. E uma
operao delicada, que exige
um controle preciso e
dimensionado do investimento
transmitido ao objeto. Suas
aes procuram encontrar
aquele quantum perdido
necessrio constituio
Exposies individuais/
Solo exhibitions
1988 Galeria Macunama,
Funarte, Rio de Janeiro.
1990 Centro Cultural So Paulo,
So Paulo; Galeria 110 Arte
Contempornea, Rio de Janeiro.
1993 Galeria do Instituto BrasilEstados Unidos, Rio de Janeiro;
Espao Cultural Srgio Porto,
Rio de Janeiro; Projeto
Experimental, Escola de Artes
Visuais do Parque Lage, Rio de
Janeiro.
1994 Galeria Luisa Strina, So
Paulo.
~:
' .
Exposies coletivasl
Group exhibitions
1988 Projeto Macunama,
Funarte, Rio de Janeiro; Papel
55
fRANCISCO fARIA
No por acaso que o presente
trabalho de Francisco Faria
retoma os chamados "quadros
de Focion" do pintor francs do
sculo XVII Nicolas Poussin. O
primeiro dos quadros de
Poussin mostra o corpo do
gneral grego Focion injustamente acusado, morto e,
depois, desterrado - seildo
retirado de Atenas por dois
homens. O segundo mostra sua
mulher, de vQlta a Atenas,
ajoelhada, misturando suas
cinzas com a terra. Estes
episdios foram narrados por
Plutarco em Vidas paralelas.
Trata-se ento de um dilogo de
Poussin com o filsofo Plutarco.
Mas por que Francisco Faria
retoma, hoje, o dilogo
Poussin/Plutarco baseado na
morte e ressurreio simblica
do general Focion?
Porque Faria dos poucos
artistas plsticos brasileiros
contemporneos que sabem
desenhar. A esse respeito
escreveu, em 1987, Eduardo
Subirata: "A primeira vez que
contemplei uma das paisagens
de Faria impressionou-me seu
carter virtuoso, a perfeio
56
Prmios/Prizes
1982 Prmio Aquisio/
Purchase award, 39 Salo
Paranaense, Curitiba.
1983 Prmio Aquisio/Purchase
award, 6 Salo Nacional de
Artes Plsticas, Rio de Janeiro.
19841 prmio viagem aos EUA
e Prmio Aquisio/ 1st Prize for
travelling to the USA and Purchase
award, 11 Salo CCBEU, Santos.
19891 prmio para artes
visuais/ 1sI Prize for visual arts,
Concorrncia Fiat, So Paulo;
prmio incentivo para o projeto
Deriva e Encurvamento/Prizeincentive to praject Deriva e
Encurvamento.
1992 prmio incentivo para o
Obras apresentadas/
Works in the exhibjtion
Phocion,1994
grafite s/papel!graphite on paper
150 x 150 cm
Coleo do artista
Hilia S, 1994
grafite s/papel/graphite on paper
150x 150 cm
Coleo do artista
Hilia - SO, 1994
grafite s/papel!graphite on paper
150 x 150 cm
Coleo do artista
Hilia - SE, 1994
grafite s/papel/graphite on paper
150x 150 cm
Coleo do artista
Hilia - NE, 1994
grafite s/pa pel!graphite on paper
150 x 150 cm
Coleo do artista
Hilia - N, 1994
grafite s/papel/graphite on paper
150x 150 cm
Coleo do artista
Hilia - NO, 1994
grafite s/papel!graphite on paper
150 x 150 cm
Coleo do artista
Mo direita, 1994
grafite s/papel!graphite on paper
150 x 150 cm
Coleo do artista
Mo esquerda, 1994
grafite s/papel!graphite on paper
150 x 150 cm
Coleo do artista
Mar, 1994
grafite s/papel/graphite on paper
150 x 150 cm
Coleo do artista
Cidade - N, 1994
grafite s/papel!graphite on paper
150 x 220 cm
Coleo do artista
Cidade - S, 1994
grafite s/papel!graphite on paper
150 x 220 cm
Coleo do artista
57
HcRMAN TACAScY
Ar, 1994
impresso xilogrfica com chapa de
fe rro e tinta base de gua
s/tecido no tramado/
woodcut and press on iron sheet,
water treaten ink over support of non
woven fabric
400 x 400 em
Coleo do artista
Foto: Fabiana Marchesi
Terra, 1994
impresso xi logrfica com chapa de
ferro, tinta base de gua
s/tecido no tramado/
woodcut and press on
iron sheet,
water treaten ink on support of non
woven fabric
400 x 350 em
Co leo do arti sta
Foto: Fabiana Marchesi
Da escultura ao afresco,
Herman Tacasey, em todos os
domnios, sempre erifrentou a
diversidade sem se deixar
absorver pela fora das
correntes que dominam os
meios com que trabalha.
Sempre soube controlar a
tenso entre a especificidade
dos meios e as possibilidades
de fazer migrar um para o outro,
sem acabar por transformar
design e~: escultura, pintura em
objeto, objeto em escultura,
transformando tudo em nada,
colocando nada em tudo. Essa
interpenetrao dos meios com
que todos deparamos
enfrentada por Tacasey com um
profund() enraizamento nas
tcnicas do meio que escolhe,
para a partir delas trabalhar
com as imposies e pulses
dos elementos dos outros.
A obra de Tacasey nos prope
um fio expressivo onde a tenso
entre profundidade e superfcie
possa configurar seu
enredamento no mundo
objetivo. Ora a profundidade da
matria parece querer emergir
para a superfcie pelas frestas e
sombras e se desdobrar
absorvendo-a, tragando sua
etrea luminosidade, ora a
superfcie parece estar prestes
a vedar todas as frestas, fazendo
desaparecer o que est oculto,
encerrando-as para afirmar sua
plasticidade positiva. Por vezes
a impresso que nos causa
que os seres, objetos, sombras,
se agigantam sobre a vastido
do mundo objetivo e passam a
imprimir nele sua subjetividade
catica, interrompendo sua
temporalidade transformadora e
luminosa com a gestualidade
compulsiva dos grafismos e
manchas. Outras vezes parece
que a superfcie, com a fora e
luminosidade de suas imagens,
tende a diminuir os seres e
encerr-los com sua histria e
sua interioridade no vazio. Esta
tenso instaurada e mantida
pela fora da obra enquanto
reveladora do seu processo, que
imprime a marca de seu devir
sem permitir que a tendncia
homogeneizao dos objetos e
materiais com que lida a
transfigure em mimetizadora do
sentido de sua aparncia.
Herman Tacasey penetrou no
territrio onde o sentido articula
a ligao entre estrutura, sua
expressividade pr-conceptiva
e a expresso formal. Isso faz
com que no produza matria
sem conceito, nem conceito
sem correspondncia sensvel,
gua, 1994
impresso xi logrfica com matriz de metal, tinta
base de gua s/tecido no tramado/ woodcut and
press on copper sheet for printing, water treaten
ink over support of non woven fabric
400 x 800 cm
Coleo do artista
Foto: Fabiana Marchesi
59
1\
IBERE CAMARGO
CRIATURAS DE PINTURA
Sem exagero, acredito, a obra
de Iber Camargo encarna hoje
a pintura moderna no Brasil. A
imagem, corriqueira, adquire no
caso valor expressivo de
verdade: as suas telas parecem
efetivamente encarnar a
pintura. Numa acepo muito
especfica, inclusive, ao
reenfatizar dramaticamente a
origem corprea da concepo
de Forma ocidental. Um embate
contemporneo, incerto e
saturado, com a gnese e a
histria da forma na tradio
pictrica do Ocidente, seria
talvez o mais prximo que se
poderia chegar de uma
caracterizao concisa dessa
pintura profunda, mas de
impacto imediato, com acentos
trgicos porm avessa
grandiloqncia, to
ardentemente individualista
Solido, 1994
leo s/tela/ oil on canvas 200 x 400 em
Coleo Maria Camargo
Foto: Aehutti
desmesuradamente na
afirmao de seu valor
autnomo como coisa
qualificada, pensamento
abstrato. absurdo expressivo
que seja. Semelhante
paroxismo de trabalho acaba
por produzir presenas inteis
que, graas sua inteligncia e
intensidade emocional,
acusam por contraste a
futilidade da maior parte das
presenas vigentes,
simplesmente descartveis
porque ausentes quanto a si
mesmas.
Uma vez mais,
compulsivamente, uma lrica
moderna exerce ao extremo o
seu autoconhecimento para
reativa r uma pulso esttica
primitiva, anterior a regras,
modelos e ideologias. Talvez
resida a o motivo bsico da
vinculao da potica de Iber
Camargo ao expressionismo.
difundir a essncia da
densidade fluida que distingue
esses guaches singelos. Entre
todos, singelo seria talvez um
dos poucos adjetivos que a obra
fervorosa de Iber Camargo
parece de imediato excluir. E,
no entanto, impe-se
naturalmente a propsito do
clima espiritual de cenas to
casuais quanto pungentes que,
apenas se apresentam, j dizem
tudo.
Ronaldo Brito
CREATURES DF PAINTlNG
Without exageration, I believe,
Iber Camargos work personifies
modem painting in Brazil. This
trivial image acquires, in this case,
a significant value of truth: his
canvases really se em to embody
pain ting. In a very specific
acception, inclusively, when they
reemphasize dramatically the
corporeal origin of the Westem
conception of Form. A contemporary
clash, uncertain and saturated, with
the genesis and the history of form
in the pictorial tradition of the West
would probably be as close as one
could get to a concise
characterization of this deep
painting, but of immediate impact,
with tragic accents but adverse to .
grandiloquence, ardently
individualist as publicly generous.
The very biblical notion of creation
. and of work is questioned in the
roots Df this effort to sustain the
visibility of the real in the same
moment it threatens to hesita te and
undo itself in anodyne appearances,
innocuous imitations ar in the mere
exhibitionism of the catastrofic. A
recent painting by Iber Camargo
summarizes an authentic
archeology of form - the
simultaneous succession and
suppression of gestures pervade ali
the instituted phases of the Figure
in the West to disco ver new
creatures of painting which
announce precisely final calcinated
forms but, in the end and above ali,
Forms. Therefore, nothing less than
our generic concepts of the
Dignified and the Righteous
undergo a drastic inversion,
beca use at the cost of a terrible
undertaking to liquida te and
aggregate it is now possible to
"depura te " the essence of the
painterlyelement. Such figures,
righteous and dignified in their
wisdom ar tragic folly, are the
obvious result of ali imaginable
defacement.
On the threshold of modemity, Goya
anticipated horrors waiting for free
Prmios/Prizes
1945 medalha de prata em
pintura/silver medal in painting,
Salo Nacional de Belas-Artes,
Rio de Janeiro.
1947 prmio de viagem ao
exterior/travei prize to go abroad,
Salo Nacional de Belas-Artes,
Rio de Janeiro.
1960 prmio de gravura/
engraving prize, Bienal do
Mxico.
1961 prmio de melhor pintor
nacional/best national painter
prize,6 Bienal de So Paulo.
1985 Golfinho de Ouro/Golden
Dolphin, Governo do Estado do
Rio de Janeiro; medalha de
mrito cultural/cultural merit
medal, Prefeitura Municipal de
Porto Alegre.
Obras apresentadas/
Works in the exhibition
As criadas, 1986
(a partir da obra de Jeitn Genet,
encenada pelo grupo Oi Nis
Aqui Traveis)
guache s/papel/gouaehe on paper
100 x 70 cm
Coleo Maria Camargo, Rio
Grande do Sul
Manequim, 1987
litografia, guache e lpis
s/papel/lithography, gouaehe and
peneil on paper
63 x 54 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1988
guache, nanquim e lpis
s/papel/gouaehe, China ink and
peneil on paper
70x 75cm .
Coleo Maria Camargo, Rio
Grande do Sul
62
S/ttulo/untitled,1991
guache e lpis s/papel/gouaehe
and peneil on paper
35x50cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttu lo/untitled,1991
guache e lpis s/papel/gouaehe
and peneil on paper 70 x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1991
guache e lpis s/papel/gouaehe
and peneil on paper
35x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled, 1991
guache s/papel/gouaehe on paper
70x50cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1992
guache e lpis s/papel/gouaehe
and peneil on paper 70 x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1992
guache e lpis s/papel/gouaehe
and peneil on paper
70x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttu Io/untitled, 1992
guache e lpis s/papel/gouaehe
and peneil on paper
70x 50 cm
Coleo Mari~ Camargo, Rio
Grande do Sul
S/ttu Io/untitled, 1992
guache e lpis s/papel/gouaehe
and peneil on paper
70x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
Estudo para 'a srie Tudo te
falso e intil, 1992
guache s/papel/gouaehe on paper
24x32 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1993
nanquim s/papel/China ink on
paper 35 x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1993
nanquim e guache s/papel/China
ink and gouaehe on paper
35 x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
Ohomem de flor na boca (um ato de
amor vida), 1993
guache e lpis s/papel/gouaehe
and peneil on paper
100 x 70 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1993
nanquim e guache s/papel/China
ink and gouaehe on paper
35x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled, 1993
guache e lpis s/papel/gouaehe
and peneil on paper
50x 70 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled, 1993
guache e lpis s/papel/gouaehe
and peneil on paper
50x 70 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled, 1993
guache s/papel/gouaehe on paper
25x35 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled, 1993
nanquim e guache s/papel/
China ink and gouaehe on paper
25x35 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled,1993
nanquim e guache s/papel/China
ink and gouaehe on paper
35x 50 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttu Io/untitled, 1993
nanquim e guache s/papel/China
ink and gouaehe on paper
25x35 cm
Coleo Maria Camargo, Rio
Grande do Sul
S/ttulo/untitled, 1993
IVENS MACHADO
63
exhibitions
1974 Central de Arte
Contempornea, Rio de Janeiro.
1975 Galeria Milano, Milo;
Museu de Arte Moderna, Rio de
Janeiro.
1977 Pinacoteca do Estado de
So Paulo, So Paulo.
1978 Galeria 11 Canale, Veneza;
Studio Sta' Andrea, Milo.
1979 Galeria Saramenha, Rio de
Janeiro.
1983 Galeria Tucci Russo, Turim.
1984 Grazia Terribile
International Research Center,
Bari, Itlia.
1985 Galeria Thomas Cohn, Rio
de Janeiro; Galeria Luisa Strina,
So Paulo.
1986 Piero Cavellini, Milo.
1987 Galeria Saramenha, Rio de
Janeiro; Mercer Union Gallery,
Toronto, Canad.
1988 Perspectivas Recentes da
Escultura Contempornea
Brasileira, Galeria Funarte Srgio Milliet, Rio de Janeiro;
Galeria Luisa Strina, So Paulo.
1990 Galeria Thomas Cohn, Rio
de Janeiro; Intervento
Permanente, Palazzo di Lorenzo,
Gibelina, Itlia.
1991 Galeria Luisa Strina, So
Paulo.
Exposies coletivas/
Group exhibitions
1966 Salo Nacional de Arte
Moderna, Rio de Janeiro; 1
Bienal da Bahia, Salvador,
Bahia.
19677 Novssimos, IBEU, Rio de
Janeiro.
1970 O Rosto e a Obra, IBEU, Rio
de Janeiro.
1971 3 Salo de Vero, Museu
de Arte Moderna, Rio de
Janeiro.
1973 5 Salo de Vero, Museu
de Arte Moderna, Rio de
Janeiro; Salo Nacional de Arte
64
Vdeos/Videos
1974 Escravizador-Escravo, 8'37;
Versus, 4'05; Dissoluo, 3'05.
1975 Performance projetada sem
interrupo na exposio
Obstculos-Medidas, Museu de
Arte Moderna, Rio de Janeiro;
documentao de performance
na abertura da mesma
exposio 2'02.
1976 Ida e volta numa barca RioNiteri, 36'.
1990 Exposio Galeria Thomas
Cohn, direo de Sandra Kogut,
produoindependente,~.
PrmioslPrizes
1973 Primeiro prmio no 5
Salo de Vero do Museu de
Arte Moderna, Rio de Janeiro.
1990 Prmio Braslia de Artes
Plsticas, Museu de Arte de
Braslia.
Obra apresentada/
65
JOSE PATRICIO
Composio horizontal (detalhe/ detain, 1991
colagem com papel feito mo/
cal/age with handmade paper
50 x 150 cm
Coleo do artista
Foto: Sebastio Lucena
66
Obras apresentadas!
Works in the exhibition
S! ttuI o! untitled, 1992
colagem com papel reciclado
feito mo e carvo!col/age with
handmade paper, charcoal
150 x 150 cm
Coleo Centro Cultural
Adalgisa Falco
Composio, 1991
papel feito mo!
handmade paper
100 x 100 cm
Coleo do artista
S! ttulo!untitled, 1990
papel feito mo!
handmade paper
98x98cm
Coleo do artista
Composio V, 1988
papel feito mo!
handmade paper
100 x 100 cm
Coleo particular
Composio XXV, 1989
papel feito mo!
handmade paper
50x 100 cm
Coleo do artista
Composio X, 1989
papel feito mo!
handmade paper
100x50cm
Coleo do artista
Composio horizontal, 1991
colagem com papel feito
mo/col/age with handmade paper
50 x 150 cm
'
Coleo do artista
S! ttulo!untitled, 1990
papel feito mo!
handmade paper
62x62cm
Coleo do artista
S!ttulo!untitled,1990
papel feito mo!
handmade paper
63x63 cm
Coleo do artista
S!ttulo!untitled,1990
papel feito mo!
handmade paper
63,5 x 63,5 cm
Coleo do artista
S/ttulo/untitled, 1990
papel feito mo/
handmade paper
63,5 x 63,5 cm
Coleo do artista
Foto: Sebastio Lucena
67
lEDA CATUNDA
Besouro, 1994
acrlico s/tela, couro/ acry/ic on canvas, leather
227 x 168 x 35 cm
Coleo Galeria Camlrgo Vi laa
Foto: Eduardo Ortega
:68
um cu cezanniano.
Leda no uma artista que tem
sentimento de inferioridade, no
trabalha com temas europeus ou
americanos. Muitas vezes suas
pinturas expem a nossa
condio, com materiais pobres
e sujos, com cores berrantes e
com verdes que praticamente
inundam todas as suas telas.
A pintura gosta muito de obras
que a neguem. Nesse ponto,
Leda construiu pinturas com
meias velhas, que saem da tela
para se arrastar pelo cho,
pinturas com farrapos
pendurados na tela, perucas
repulsivas, babados rendados
igualmente repulsivos, capachos
onde se limpam os ps em sinal
de boa educao.
Ultimamente Leda tem construdo
pinturas almofadadas, pinturas
que se inspiram em barrigas
masculinas, moscas e besouros,
fgados e intestinos.
Erroneamente, seu trabalho tem
sido associado ao pop
americano, mas esse conceito
nunca existiu por aqui. Leda fala
de Nelson Leirner, do
neoconcretismo, de Jos
Antnio da Silva, de Guignard.
Seu discurso varia desde o mais
perverso, como em sua enorme
pintura de uma carteira de
dinheiro pintada sobre o couro
de uma vaca inteira, ao mais
buclico, como sua homenagem
ao seu falecido gato Jonas.
Sua sntese da arte brasileira
surpreendentemente constante,
desde a primeira obra at hoje.
Leda mantm uma incrvel
regularidade.
Suas obras sempre fizeram
aluso ao real, em
contraposio ao virtual. Obras
que existem concretamente,
como pregava o neoconcretismo.
A cor no-virtual, a luz novirtual e o volume idem. Agora
Leda aparece com esses
besouros e moscas, que so uma
incgnita completa. Talvez tanto
quanto os cachorros de
cermica, a peruca Chanel
prateada e a mscara de
carnaval que Nelson Leirner nos
mostrou em sua exposio de 87,
na Galeria Luisa Strina.
Certa vez me disseram que o
bom artista aquele que
surpreende os prprios
admiradores, e isso o que
fazem Leda e Nelson.
Sergio Romagnolo
Sergio Romagnolo
69
Alemanha/Museum of Modern
Art, Nova Vork; De Rio a Rio,
Galeria OMR, Cidade do
Mxico; Ultra Modern: The Art
of Contemporary Brazil, The
National Museum of Women in
the Arts, Washington.
1994 Pequeno Formato
Latinoamericano, Galeria Luigi
Marrozini, San Juan, Porto Rico;
Bienal Brasil Sculo XX,
Fundao Bienal, So Paulo.
Prmios/Prizes
1990 Aquisio, Prmio Braslia
de Artes Plsticas.
Colees/Collections
Museu de Arte Contempornea
da Universidade de So Paulo;
Museu de Arte de So Paulo;
Stedelijk Museum, Amsterdam;
Museu de Arte de Braslia;
Museu de Arte Contempornea
de Americana, So Paulo;
Museu de Arte Moderna de
So Paulo.
de Janeiro/Museu de Arte
Moderna, So Paulo/Espao
Cultural BFB, Porto Alegre;
Perspectivas Recentes, Centro
Cultural So Paulo; U-ABC,
Stedelijk Museum, Amsterdam;
Panorama da Arte Atual
Brasileira, Museu de Arte
Moderna, So Paulo.
1990 U-ABC, Fundao Calouste
Gulbenkian, Lisboa.
1991 Viva Brasil Viva,
Liljevalchs Kunsthall,
Estocolmo, Sucia; Museu de
Arte Contempornea de
Monterrey, Mxico; Brasil La
Nueva Geracin,Museu de
Belas-Artes de Caracas.
1992 Entretrpicos, Museu de
Arte Contempornea Sofia
Imberg, Caracas, Venezuela.
1993 Latin America Artists of the
Twentieth Century, Museum
Ludwig, Kunsthalle JoseflIaubrich, Colnia,
Obras apresentadas/
Works in the exhibition
Barriga, 1993
acrlico s/tela/acrylic on canvas
205 x 165 x 30 cm
Coleo Galeria
Camargo Vilaa, So Paulo
Besouro, 1994
acrlico s/tela, couro/acry/ic on
canvas, /eather
227 x 168 x 35 cm
Coleo Galeria
Camargo Vilaa, So Paulo
Duas bocas, 1994
acrlico s/tela, veludo/acrylic on
canvas, velvet
225 x 207 cm
Coleo Galeria
Camargo Vilaa, So Paulo
Lua, 1994
acrlico s/tela, voil/acrylic on
canvas, voil
0102 cm
Coleo Galeria
Camargo Vilaa, So Paulo
Mosca I, 1994
acrlico s/tecido, couro/acry/ic
on canvas, leather
195x140x20cm
Coleo Galeria
Camargo Vilaa, So Paulo
Mosca 11, 1994
acrlico s/tela, couro/acrylic on
canvas, leather
225 x 231 cm
Coleo Galeria
Camargo Vi laa, So Paulo
Mosca 111, 1994
acrlico s/tela e veludo/acrylic on
canvas, velvet
190 x 136 cm
Coleo Galeria
Camargo Vilaa, So Paulo
MARCIA GROSTEIN
Integration/Oesintegration,
como o prprio nome informa,
uma reunio de seres mutantes
que, partindo de suas
caractersticas objetais e
adaptao. Os trabalhos so o
resultado da sua observao
sensvel e da sua interao com
os objetos e as formas que a
rodeiam. E se apresentam de
maneira a constituir, finalmente,
uma interpretao esttica e
potica dessa experincia, uma
espcie de rplica ritualstica
como resposta vigorosa ao
simples desejo do ego, da
angstia e do prazer.
Sheila leirner
71
72
:".. '"
'":.<
"'" '.--
.....
~. ".,
..
..:'.
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PrmioslPrizes
1972 Prmio Festival de Cannes
(esculturalsculpture).
ProjetoslProjects
1972 Escultura para Rhodia,
Produo DPZ Advertising Co.
1973 Cenografia: Sleuth, Teatro
Maria Della Costa, So Paulo.
1982 Cenografia: Parranative
Dance, de Jorge Luis Borges,
William Dunas Production
Trptico, 1990
leo s/tela/oil on canvas
63 x 27 em
esculturas/ sculptures:
cobrei copper 14 x 5 x 3 em
fibra/fiber - 10 x4 x 3 em
Foto: Peter Bellamy
Obra apresentadal
Work in the exhibition
Spacial passage, 1994
instalaol installation:
10 esculturaslsculptures
Coleo da artista
73
MARIANNITA lUZZATI
ovulco P. B. 1993
NIURA BElAVINHA
A VULNERABILIDADE DA
FORMA
A despeito de uma gestualidade
fluida e instvel, parece-me que
no h nada de puramente
expressivo ou informal nesta~
pinturas de Niura Belavinha. E
que, embora certamente tenha
como referncia central a
tradio expressionista da arte
moderna, seu grande desafio
ser submeter a possibilidade
da expresso ao xeque-mate da
situao contempornea. Quer
dizer, evita-se a, com
prudncia, tomar a pintura como
um campo expressivo posto a
priori para o sujeito; um campo
que seria naturalmente da
jurisdio desse sujeito.
Vale dizer ainda que, se a
tendncia dominante no
contexto da arte contempornea
integrar o trabalho de arte
cada vez mais ao terreno
sociolgico da cultura - longe,
portanto, dos grandes temas da
Forma e da Expresso que
animaram toda a arte moderna;
se tal situao implica, dessa
maneira, novas condies
culturais, sob as quais estes
temas podem reaparecer, sendo
a mais eloqente delas o
esvaecimento da metafsica de
um sujeito cujo imperativo
expressar-se absolutamente
enquanto tal -, ento a pintura
de Niura Belavinha trata
justamente de inquirir essas
novas condies. Isso posto,
importante ressaltar que de
modo algum a artista ter
abdicado de uma potncia
expressiva - ao contrrio, esta
deve surgir, agora, como o
movimento sempre reposto de
fundao de suas prprias
condies de possibilidade.
Poder-se-ia dizer, enfim, que as
pinturas recuam um passo do
universo publicitrio da cultura
contempornea (no qual as
formas j se apresentariam, de
antemo, como signos de
mediao), de modo que no
abdicam de sua natureza
expressiva e,
conseqentemente, da busca
pelas novas condies sob as
quais essa natureza poderia se
manifestar com consistncia e
Exposies coletivas/
Group exhibitions
198820 Salo Nacional de Arte,
Belo Horizonte.
1990 8 Salo Paulista, So
Paulo; 22 Salo Nacional de
Arte, Belo Horizonte.
1992 Centro Cultural So Paulo,
So Paulo; Pavilho Bienal, So
Paulo.
1993 Encontros e Tendncias,
Museu de Arte Contempornea
da Universidade de So Paulo;
13 Salo Nacional de Arte,
Ministrio da Cultura, Ibac,
Funarte, Rio de Janeiro.
19944 Bienal Internacional de
Pintura de Cuenca, Equador.
Prmios/Prizes
1988 Prmio aquisio de
pinturalPurchase award in
S/ttulo/untitled
(trptico/triptych), 1994
acrlico e leo sobre linho/
acrylic and oil on linen
305 x 700 x 5 cm
Coleo da artista
Foto: Rmulo Fialdini
77
NUNO RAMOS
A arte de Nuno nos diz que as
. coisas no falam. Da fenda
entre as coisas e os
significados, suas obras brotam
como uma erupo vulcnica.
Expem o lado amorfo,
magmtico ~o mundo - sua face
escondida. E significativo o uso
que esses trabalhos fazem do
orgnico. Que a obra se
assemelhe a um organismo ,
tradicionalmente, a garantia de
uma mediao entre ns e os
objetos inanimados. Injetando
vida nas pedras e nos
pigmentos, a arte testemunha
que um contato com o mundo
ainda possvel. As obras de
Nuno tambm tm vida, mas
uma vida completamente alheia.
Instalam-se entre ns e o
mundo, e se desenvolvem
segundo uma lgica prpria,
que no podemos mais
controlar. So seres, mas no se
parecem conosco. No entanto,
sem essa estranheza radical
seramos projetados no vazio
pela fora centrfuga de uma
produo de informaes cada
vez mais acelerada e
inconsistente. O silncio da
matria morta,
desespiritualizada, nos mantm
em rbita ..Cabe a ns
preserv-lo.
No apenas as coisas, os
animais, as plantas: a maioria
dos homens tambm est
mergulhada nesse silncio. No
deve surpreender que Nuno, um
artista ligado a questes
formais muito sofisticadas,
tenha sido capaz de produzir o
melhor exemplo de arte
engajada destes ltimos anos.
Refiro-me a 111, a instalao
sobre o massacre do Carandiru.
A multiplicao dos smbolos
(no primeiro ambiente,as 111
pedras, as grandes cruzes, o
sarcfago, o texto ilegvel na
parede, as caixinhas com os
versculos queimados, uma
terceira cruz feita de caracteres
tipogrficos, os fragmentos de
jornal; no segundo, as fotos
areas e as nuvens de vidro e
fumaa) contrasta com a
impossibilidade de dizer algo.
Embora a instalao se
disponha como um grande
de Paris/Museu de Arte
Moderna de So Paulo; Anos 80,
Galeria ARCO, So Paulo.
198910 Artistas, Atelier
Exposies coletivas/
Independente, So Paulo;
Group exhibitions
Homenagem a Carlos Ziccardi,
1983 Salo de Arte
Galeria
Subdistrito, So Paulo;
Contempornea de Piracicaba,
20 Bienal Internacional de So
So Paulo.
Paulo.
1984 Painis (com Paulo
1991
Brasi l - La Nueva Geracin,
Monteiro e Rodrigo Andrade),
Museo
de Caracas, Venezuela;
Pao das Artes, So Paulo;
BR-80, Galeria Ita; Bienal de
Pintura (com Srgio Fingermann
Pintura de Cuenca, Equador;
e atelier Casa-7), Centro
A
Questo Orgnica, Museu
Cultural So Paulo; Arte na Rua
,
Municipal
de Curitiba; Galpo
2 (pintura em outdoor/outdoor
do Embra, Belo Horizonte.
painting), em So Paulo; 2 Salo
1992 Quatro Artistas da Coleo
Paulista de Arte
Marcantnio Vi laa (Frida,
Contempornea; 7 Salo
Ivens,
Venosa, Nuno), Casa das
Nacional de Artes Plsticas.
Rosas, So Paulo; Saguo do
1985 Casa-7, Museu de Arte
Teatro Municipal de So Paulo
Moderna do Rio de
(instalao por ocasio das
Janeiro/Museu de Arte
comemoraes da Semana de
Contempornea de So Paulo;
Arte Moderna; Brazilian
12 Artis,tas Paulistas, Galeria
Contemporary Art, Parque Lage,
Subd istrito, So Paulo; 18
Rio
de Janeiro/Museu de Arte
Bienal Internacional de So
Contempornea,
So Paulo;
Paulo.
Latin American Artists of the XX
J986 6 Trienal de Nova Dlhi,
Century,Sevilha/Paris/Colnia/
India; 2 Bienal Internacional de
Nova
Vork; 10 Artistas Paulistas,
Havana, Cuba; Bienal LatinoMuseu
de Arte Moderna do Rio
Americana de Arte sobre Papel,
de Janeiro.
Buenos Aires, Argentina.
1993 Potica, Gabinete de Arte
1988 Brasil J, Museum
Raquel Arnaud, So Paulo.
Morsbraich, Leverkusen,
Alemanha; Galerie
Prmios/Prizes
Landergirokasse, Stuttgart,
1984
Prmio aquisio(purchase
Alemanha/Sprengel Museum
AwardJ,
2 Salo Paulista de Arte
Hannover, Hanver, Alemanha;
Contempornea;
prmio viagem
Modernidade, Muse de la Ville
PAUlO MONTEIRO
A obra de Paulo Monteiro
incorpora e transforma algumas
caractersticas centrais da
escultura brasileira. De fato, a
produo de espaos, volumes e
superfcies a partir de unidades
fortes marca a obra de
importantes artistas brasileiros,
como Wilys de Castro, e mesmo
uma parcela considervel de
trabalhos posteriores~ de Jos
Rezende, Tunga e Angelo
Venosa. Paulo Monteiro tambm
revela pudor em acrescentar
materiais a uma estrutura
dominante ou em justapor
elementos. Todo o seu esforo
se concentra em vertebrar uma
massa preguiosa de argila depois fundindo-a em chumbo.
Com uns poucos gestos, o
artista procura reverter a
tendncia do barro a escorrer e
encontrar repouso no plano que
o apia.
Essa operao contudo obtm
um sucesso apenas parcial.
Mesmo suspensas pelo ato que'
de certo modo as ordena, as
peas mantm muito do aspecto
escorregadio daquilo que busca
descanso. Em boa medida, a
convivncia desses dois
movimentos que confere
particularidade aos trabalhos
de Paulo Monteiro. Por um lado,
uma ascenso rpida, que
empresta a vrios deles um
porte grandioso, a lembrar o
Balzac de Rodin. Por outro, a
indolncia da matria dcil,
registrada pela lei do menor
esforo.
Convm contudo qualificar
melhor esse jogo de oposies.
De sada, sobressai a
dificuldade de criar
diversidades que dem massa
uma estrutura mais complexa.
Ainda que os gestos produzam
concavidades e reentrncias no
chumbo, no surge da uma
especialidade que proporcione
diferena s partes - com o que
poderiam se armar relaes de
solidariedade com o meio
circundante, retirando os
trabalhos desse envolvimento
pegajoso consigo mesmo.
Os sulcos abertos no chumbo
no chegam a estabelecer um
vnculo entre interior e exterior.
Prestes a retornar sua
inteireza original, eles reforam
antes o aspecto amorfo da
massa, capaz de cicatrizar tudo.
Se na escultura de Srgio
Camargo e Amilcar de Castro com grandes diferenas entre si
- as obras surgiam da
capacidade de romper com a
integridade de um cilindro de
mrmore ou de uma chapa
regular de ferro, criando uma ,
multiplicidade de relaes que
abria a unidade para um amplo
horizonte de possibilidades,
Paulo Monteiro quase a
negao desse procedimento.
Feitas as contas, talvez a maior
afinidade brasileira dessa obra
seja a escultura de Aleijadinho,
com seu barroco travado e
paradoxal. Mesmo lidando com
um material extremamente' doce
- a pedra-sabo -, Aleijadinho
dificilmente permitia que seus
trabalhos obtivessem uma
desenvoltura espacial. Voltados
para si, com uma espcie de
feixe de foras que se resolve
no interior dos volumes, os
Profetas de Congonhas do
Campo alcanam comunicao
apenas em sua disposio
habilssima, interagindo entre
si, com o cu, com toda a
natureza. Sem jamais abrir mo
de sua discrio ensimesmada.
No trabalho de Paulo Monteiro,
esse aspecto do Aleijadinho se
radicaliza. O retorno ao volume
inicial que confere um
dinamismo troncho s peas.
Espcie de Medardo Rosso s
avessas, sua escultura provoca
mais sensaes de uma
.
indiferenciao crescente do
que de aparecimento gradual da
forma. Um pouco maneira das
obras moles de Oldenburg - sem
o lado mais sociologizante da
81
Arnaud, So Paulo
(esculturas/sculptures).
1989 Galeria Macunama,
Funarte, Rio de Janeiro
(desenhos/drawings).
1990 Paulo Figueiredo Galeria
de Arte, So Paulo (desenhos e
esculturas/drawings and
sculptures).
1993 Paulo Figueiredo Galeria
de Arte, So Paulo (desenhos e
esculturas/drawings and
sculptures).
Exposies coletivas/
Group exhibitions
1984 Painis, Pao das Artes,
So Paulo.
1985 Casa 7, Museu de Arte
Contempornea de So
Paulo/Museu de Arte Moderna
do Rio de Janeiro; 18 Bienal
Internacional de So Paulo.
1987-88 Modernidade, Muse
d'Art Moderne de La Ville de
Paris/Museu de Arte Moderna
de So Paulo.
198910 Artistas, Rua Fortunato.
1990 Panorama da Arte Atual
Brasileira - Papel, Museu de
Arte Moderna de So Paulo.
1991 Brasil, La Nueva
Generacin, Fundao Museu
de Belas Artes, Caracas.
199213 Artistas, Museu de Arte
Moderna do Rio de Janeiro.
1994 Do Brasil, Richard Levy
Gallery, Albuquerque, EUA.
Obras apresentadas/
Works in the exhibition
S/ttulo/untitled,1994
chumbo fundido/lead-casting
36 x 33 x 20 cm
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttu Io/untitled, 1994
chumbo fundido/lead-casting
36 x 33 x 20 cm
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttu Io/untitled, 1994
chumbo fundido/lead-casting
36x 33 x20 cm
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttulo/untitled,1994
chumbo fundido/lead-casting
36 x33x20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36 x33x20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36 x33x20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36 x33x20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36x33x 20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36 x 33x 20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36 x33x20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36 x33x20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
S/ttuloluntitled,1994
chumbo fundidollead-casting
36 x33x20 em
Coleo Paulo Figueiredo e
Marlia Razuk, So Paulo
PAUlO PASTA
A ESPESSURA DO PRESENTE
No trabalho de Paulo Pasta,
pintar significa velar. Aquilo que
vemos parece ter uma
intensidade maior que a
superfcie dos quadros abranda
e retrata. As leves passagens
tonais detm o olhar em seu
movimento de lenta
diferenciao e envolvem tudo
com sua sutileza e vagar. O
curso do mundo adquire um
novo compasso. Torna-se mais
moroso, errante. As formas
recusam o foco. As definies
taxativas so adiadas.
Provisoriamente, temos tempo.
Essas telas, de fato, afastam as
identificaes ligeiras, os
reconhecimentos apressados.
Como acontece com um objeto
posto na gua, precisamos olhar
essas formas de uma outra
maneira. Em lugar de nos
deixarmos guiar apenas por
seus contornos, devemos
considerar seu contato com o
meio e as alteraes que essas
relaes produzem. Menos
rgidas, elas adquirem um
aspecto esponjoso e uma
indefinio que as torna mais
generosas com o ambiente que
as circunda.
Nada que se mostre
imediatamente interessa
pintura de Paulo Pasta. A
aparncia do mundo deve trazer
consigo toda uma trama de
relaes - temporais, espaciais,
operativas. A lentido desses
quadros corresponde a uma
realidade feita, que ainda
resiste em se transformar em
pura linguagem, com sua
presena gil e ostensiva. De
certo modo, esses trabalhos
invertem a operao pop,
embora sem desconsider-Ia.
Afinal, as primeiras obras de
Jasper Johns so uma de suas
principais referncias, e algo do
aspecto atmosfrico dessas
telas deriva de sua pintura. Em
lugar de apresentar o mundo
como pelcula, Paulo Pasta fixa
uma membrana sobre as coisas,
espessando-as e pondo-as ao
abrigo de uma exposio
exagerada.
85
98
teSJ8!1!Un o!1!nbJ'r.f 00
-"...
'
ONN3~ Vl39NVSO~
I
Prmios/Prizes
1986 Prmio Aquisio/Purchase
Award, 39 Salo de Artes
Plsticas de Pernambuco.
1988 2 prmio/? dprize, 13 Salo
de Artes Plsticas de Ribeiro
Preto; Prmio Aquisio/
Purchase Award, 20 Salo
Nacional de Arte, Belo
Horizonte.
1989 Prmio Fotptica, 7 Salo
Paulista de Arte
Contempornea.
1991 Prmio Aquisio/Purchase
Award, 16 Salo de Artes de
Ribeiro Preto.
1992 Prmio Marc Ferrez de
Fotografia (lBAC/Funarte) para o
projeto O Outro Lado do Retrato
3 x 4, juntamente com Jean
Guimares/for the development of
the project OOutro Lado do Retrato
3 x 4, together with Jean Guimares.
1993 Prmio Aquisio/Purchase
Award, 2 Salo Paraense de
Arte Contempornea; Prmio
Aquisio/Purchase Award, 13
Salo Nacional de Artes
Plsticas, IBAC/Funarte.
Exposies individuais/
Solo exhibitions
1989 Anticinema - Veleidades
Fotogrficas, Sala Corpo de
Exposies, Belo Horizonte.
1991-92 A Identidade em Jogo,
Centro Cultural So
Paulo/Pavilho da Bienal de
So Paulo/Galeria Macunama,
Instituto Brasileiro de Arte e
Cultura, Rio de Janeiro.
1994 Galeria Casa Tringulo,
So Paulo.
Exposies coletivas/
Group exhibitions
1985 Desenhos & Outras
Intoxicaes, Galeria do IAB,
Belo Horizonte; Fotografias,
Itagaleria, Belo Horizonte.
1986 Bonecas e Bonecos, Sala
Arlinda Corre a Lima, Palcio
das Artes, Belo Horizonte.
1987 Dez Fotgrafas, Grande
Galeria do Palcio das Artes,
Belo Horizonte.
1988 Luz, Cor & Experimentao,
Galeria do InFoto-Funarte, Rio
de Janeiro.
1989 Operaes FundamentaisA Soma das Diferenas, Grande
Galeria do Palcio das Artes,
Belo Horizonte; As Afinidades
Eletivas (exposio e
espetculo multimdia/exhibition
and mixed media performance),
Centro de Arte Corpo,
Belo Horizonte.
19904 Olhos, Galeria Casa
Tringulo, So Paulo;
Icongrafos, 14 Fotgrafos Hoje,
Museu de Arte Moderna de So
Paulo, So Paulo.
1991 Diferentes idades da
mulher (instalao/installation),
Montagens Ambientais, Centro
Cultural da UFMG, Belo
Horizonte; Duas lies de
realismo fantstico
(instalao/ installation),
Apropriaes 91, Pao das
Artes, So Paulo
1992 Turningthe Map - Images
from the Americas (part oile),
Camerawork Gallery,'Lon'dres;
Ecossensorial - Extrativismo
Urbano, Galeria de Arte da EAVRJ, Rio de Janeiro; Das
Brasilien der Brasilianer Zeitgenssische brasilianische
Photographie 1945-1990,
Obra apresentada/
Work in the exhibition
In oblivionen, 1994
instalao: fotografias em
pelcula ortocromtica,
molduras em madeira, gesso,
isopor extrudado/installation:
photographies in ortochromatic film,
wood frames, plaster, extruded
styrofoam
Coleo Galeria Camargo
Vilaa, So Paulo
87
Chair, 1990
mrmore, madeira/marble, wood 114x 121 x 122 em
Coleo Robert Miller Gallery, Nova York
Foto: Robert Mae Dona ld
88
inteiras de formas
desabrigadas, consideradas
pela moda culpadas do crime de
mau gosto e expulsas da nova e
rgida famlia de um s
progenitor da esttica psmoderna. "As coisas jogadas
fora so supostamente 'cafonas"
e fora de moda, absurdas,
completamente desprezveis.
Acho que, se so to rejeitadas,
deve haver algo muito
interessante nelas:"
Reabilitadas, ensinadas a
contar anedotas sobre o clima
para camuflar seus maus modos
incorrigveis, essas formas
deixam os cuidados
benevolentes de Cemin com a
renovada autoconfiana .de
esteios da comunidade. Cemin
eleva a beleza acuidade.
Ao conquistar a emancipao
do bibel, Cemin revela que o
humilde objeto encerra todo um
cdigo gentico prenhe de
memria cultural e associaes.
Da riqueza deste banco de
imagens ele conclui estar num
mundo de criatividade
meditada, ricamente dotado de
enigmas cotidianos, o
verdadeiro exotismo do familiar.
Cemin surgiu numa poca em
que o mundo da arte observava
o ocaso do minimalismo e o
surgimento da figurao
fantasma, a hora sombria entre
Judd e Schnabel. A cidadela
cerebral dos anos 70 havia se
ressecado por sua excessiva
higiene purista, enquanto os 80,
com sua turbulenta inundao
de neo-expressionismo, logo se
espalhou pela paisagem,
transformando-se rapidamente
n~m pntano ftido.
"E sempre um problema",
observa o artista, "quando voc
tem de utilizar um sistema de
convenes para exprimir
exatamente o que esse sistema
deve ocultar:" Negociando com
os riscos desta poca
fascinante, com suas modas,
ideologias, cruzadas, agitao e
propaganda, ele manteve uma
viso que autntica, porque
Exposies individuais!
Solo exhibitions
1979 Galeria Projecta, So
Paulo; Galeria Guinard, Porto
Alegre.
1980 The White Room, Hasselt,
Blgica.
1981 Galeria Guignard, Porto
Alegre; Galeria Projecta, So
Paulo.
1982 Galeria Projecta, Sao
Paulo; The Red Bar, Nova Vork.
1984 Beulah Land, Nova Vork.
1985-86 Daniel Newburg
Gallery, Nova Vork.
1987 Massimo Audiello Gallery,
Nova Vork.
1988 Daniel Weinberg Gallery,
Los Angeles; Galleria Sperone,
Roma.
1989 Massimo Audiello Gallery,
Nova Vork; Daniel Weinberg
Gallery, Los Angeles.
1990 Anders Tornberg Gallery,
Lund, Sucia; Massimo Audiello
Gallery, Nova Vork; Sperone
Westwater Gallery, Nova Vork;
Galerie Thaddaeus Ropac,
Paris.
1991 Witte de With,
Rotterdam!Baungartner
Galleries, Inc.; Saint Clair Cemin
Recent Sculpture, Daniel
Weinberg Gallery, Santa
Mnica, Califrnia.
1991-92 Directions - Saint Clair
Cemin, Hirshhorn
Museum!Sculpture Garden,
Smithsonian Institute,
Washington.
1992 Robert Miller Gallery, Nova
Vork; Soledad Lorenzo, Madri;
The Human Condition, Paul
Kasmin Gallery, Nova Vork.
1993 Saint Clair Cemin: About
Materiais, The Greenberg
Gallery, St. Louis, MO; Anders
Tornberg Gallery, Lund, Sucia;
Exposies coletivas!
Group exhibitions
1978 Galeria Segno Grafico,
Veneza.
1979 Pratt Graphic Center, Nova
Vork; Salo Nacional de Arte do
Rio de Janeiro.
1981 Bienal Grfica, Liubliana,
Eslovnia.
1984 Virtual Garrison Gallery,
Nova Vork.
1985 Logosimuli, Daniel
Newburg Gallery, Nova Vork.
1986 Ultrasurd, S.L. Simpson
Gallery, Toronto; Modern Sleep,
American Fine Arts Co., Nova
Vork.
1987 The Antique Future,
Massimo Audiello Gallery, Nova
Vork.
1988 Artschwager: His Peers
and Persuasions 1963-1988,
Daniel Weinberg Gallery, Los
Angeles! Leo Castelli Gallery,
Nova Vork.
1989 Horn of Plenty, Stedelijk
Museum, Amsterdam;
Melencholia, Galerie Grita
Insam, Viena.
1990 Specific Metaphysics,
Sandra Gering Gallery, Nova
Vork; Vertigo, Galerie
Thaddaeus Ropac, Paris.
1991 Between Intuition and
Reason: Saint Clair Cemin and
Jonathan Lasker, Grossman
Gallery, School of the Museum
of Fine Arts, Boston; Momentary
Modero, Amsterdam.
~
1992 Theoretically Vours,
Documenta, Kassel,
Alemanha!Regione Autonoma
della Valle d'Aosta, Aosta, Itlia.
1992-93 Doubletake: Collective
Memory & Current Art, Hayward
Gallery, The South Bank Centre,
Londres!Kunsthalle, Viena.
1993 The 21 st Century, Kunsthalle
89
TUNGA
OS SINOS
Edgar Allan Poe
I
Escuta: nos trens tilintam sinos
argentinos!
Ah! que mundo de alegria o som cantante prenuncia!
Como tinem, lindo, lindo,
no ar da noite fria e bela!
Vo tinindo e o cu inteiro se constela,
florescente, refulgindo
com deleites cristalinos!
Do ao Tempo uma cadncia to constante
como' um rnico descante,
com os tintinabulares, pequeninos sons, bem finos,
que nascendo vo dos sinos,
sim, dos sinos, sim, dos sinos,
saltitantes, bimbalhantes, dentre os sinos.
11
Escuta: em npcias vo cantando os sinos,
ureos sinos!
Quantos mundos de ventura seu tanger nos prefigura!
No ar da noite, embalsamado,
como entoam seu enlevo abenoado!
Tons dourados, lentas notas
concordantes ...
E to lmpido poema a flutua
para as rolas que o escutam, divagantes,
vendo a lua!
Volumoso, vem das celas retumbantes
todo um jorro de eufonia
que se amplia,
,,"0 futuro belo e bom!"
- clama o som,
que arrebata, como em xtases divinos,
no balano repicante que l soa,
que to bem, to bem ecoa
na vibrante voz dos sinos, sinos, sinos,
carrilhes e sinos, sinos,
no rimado, consonante som dos sinos.
111
90
BEUS
Edgar AI/an Poe
/
Hear the s/edges with the bel/s,
Si/ver bel/sI
What a world of merriment their melody foretel/sl
How they tinkle, tinkle, tinkle,
In the icy air of nightl
While the stars that oversprinkle
AI/ the heavens seem to twinkle
With a crystal/ine delight
Keeping time, time, time,
In a sort of Runic rhyme,
To the tintinnabulation that so musical/y vCel/s
From the bel/s, bel/s, bel/s, bel/s,
Bel/s, bel/s, bel/s
From the jingling and the tinkling of the bel/s.
1/
Hear the mel/ow wedding bel/s,
Golden bel/sI
What a world of happiness their harmony foretel/sl
Through the balmy air of night
How they ring out their de/ightl
From the molten-golden notes,
And aI/ in tune,
What a liquid ditty floats
To the turtle~dove that listens, while she gloats
. On the moon I
Oh, from out the sounding cel/s
What a gush of euphony voluminously wel/sl
How it swel/sl
How it dwel/sl
On the Future I how it tel/s
Ofthe rapture that impels
To the swinging and the ringing
Df the bel/s, bel/s, bel/s,
Df the bel/s, bel/s, bel/s, bel/s,
Bel/s, bel/s, bel/s
To the rhyming and the chiming of the bel/sI
111
Hear the loud alarm bel/s
Brazen bel/si
What a tale of terror, now, their turbulency tel/sl
In the startled ear of night
How they scream out their affrightl
Too much horrified to speak,
They can only shriek, shriek,
Out oftune,
In a clamorous appealing to the mercy of the fire,
the bel/s!.;'"
bDsom sw~lI$' , '
tfj~iJfJqn of the bel!s,[,\.,'
he
and he yells;, -~:f,;
'ng time, time, time~
, -,'lflasDrt of Runic rhyme,
"';c 'To the paean of the bel/s ,
,',
Df the bel/s:
, Keepng time, time, time,
, ' In a sort of Runic rhyme,
'/r' T the throbbing of thebells-~;
,Df the bel/s, bel/s, beNs
'
, TV,'the sobbing Df the bel/s;:
Keeping time, time, time,
As he knel/s, knel/s, knel/s,
Ina happy Runic rhyme, ',',
To therol/ing of the bel/s.
be 1/s,bel/s,be Ils
tolJirff]pf.the bel!s,.bel/s, bells, bel/s
s, bel/s, bel/s
thp'rfrl4',~~(J and the groaning of the bells.
Exposies coletivas/
Group exhibitions
1973 Instituto de Arte de la
Universidad Catlica dei
Valparaso, Chile.
1975 Panorama da Arte Atual,
Museu de Arte Contempornea
de So Paulo.
1977 National Gallery of Ottawa,
Canad.
1980 Camera Incantata, Palazzo
Reale, Milo.
198116 Bienal Internacional de
So Paulo.
1982 41 Biennale di Venezia,
Itlia.
19833000 m2, Espao Cultural
Sergio Porto, Rio de Janeiro.
1985 Museo Ambiental de
Caracas, Venezuela;
Transvanguarda e Cultura,
Museu de Arte Moderna do Rio
de Janeiro; Contemporary Art of
Brazil, Hara Museum of
91
VAlESKA SOARES
Minha obra no enfoca um meio
em especial, porque cada pea
possui uma necessidade e uma
inteligncia prprias, o que
significa que tem suas
necessidades individuais em
termos de matria, concepo e
procedimento. No entanto, estas
peas individuais podem ser
vistas como uma obra conjunta,
j que a maioria das questes
tratadas recorrente:
- O jogo com um inventrio
particular de objetos, matrias e
imagens que tentam examinar a
possibilidade de desenvolver
imagens a partir de outras
imagens, trabalhando com suas
densidades, aqui entendidas
como a capacidade de a
imagem se comunicar em
diversos nveis: fsico, virtual,
conceitual, psicolgico,
temporal, etc.
A neutralidade dessa
informao voltil ento
carregada de novos significados
que adensam a imagem
construda e provocam uma
oscilao entre a imagem
anterior e a atual, dissolvendoas uma na outra, forando um
novo modo de ver, um
ajustamento incessante da
visualidade.
- O desejo de lidar com o tempo
e a memria como uma
superfcie percebida enquanto
temporal idade ativa, que exige
constantes mudanas de ponto
de vista, detonando
freqentemente mltiplas
idias. Uma espcie de
superfcie que hoje em dia est
sendo pressionada a seus
limites extremos.
- A investigao do conflito
gerado pelas escalas de
apropriao privada e pblica
da imagem/objeto, em que no
se pode controlar, mas apenas
examinar as possveis
extenses do objeto delineado,
j que ele inclui em sua
constituio elementos internos
e externos.
Valeska Soares
My work does not focus on any
specific media beca use each piece
has a need and an intelligence of
itself, which means that it has its
Exposies individuaisl
Solo exhibitions
1991 Centro Cultural Srgio
Porto, Rio de Janeiro.
1992 Centro Cultural So Paulo,
So Paulo.
19941nformation Gallery, Nova
Vork; Galeria Camargo Vilaa,
So Paulo.
Exposies coletivasl
Group exhibitions
19881 Bienal de Escultura ao
Ar livreI 1st Biennial of Outdoor
Sculpture, Parque Lage, Rio de
Janeiro; 22 Exposio Nacional
de Arte, Museu de Arte
Moderna, Belo Horizonte, Brasil.
1989 Exposio Nacional de
Belas-Artes, Rio de Janeiro.
1990 Exposio de Arte
Contempornea, Centro Cultural
So Paulo, So Paulo; Possvel
Imagem, Solar Grandjean de
Montigny, Rio de Janeiro;
Projeto de Instalao Arqueos,
Fundio Progresso, Rio de
Janeiro.
1991 Imagem sobre Imagem,
Espao Cultural Srgio Porto,
Rio de Janeiro; 4 Bienal de
Havana, Cuba; Galeria Casa
Tringulo, So Paulo; Survey of
Recent Brazilian Art Production,
Museu de Arte Moderna, So
Paulo; 7XAR, Museu de Arte
Moderna, Rio de Janeiro;
Processo EAV, Fundao
Nacional para as Artes, Rio de
Janeiro; 80-90 Formas
Tridimensionais, Museu de Arte
de Curitiba, Brasil; Museu de
Arte de So Paulo, So Paulo;
Parque Lage, Rio de Janeiro.
1992 Galeria Camargo Vilaa,
So Paulo; Polaridades e
Perspectivas, So Paulo.
1993 ABC, Contemporary Art
from Argentina, Brazil and
Obras apresentadas/
Works in the exhibition
S/ ttulo/untitled, 1994
rosas e cera de abelha/rases,
beeswax
d~menses variveis/variable
slzes
Coleo Galeria Camargo
Vilaa, So Paulo.
YfTAH PElED
necessrio equivocar-se. Uma
instalao de Viftah Peled
operada como se esculpisse o
espao. Duas construes
arquitetnicas retangulares
confrontam-se simetricamente e
abrem-se uma para a outra.
Miram-se numa relao
especular. Parecem anunciar a
promessa hipottica de se
fecharem em um aspecto nico,
como se fossem partes i!tradas
num campo magntico. E a
busca de um duplo
complementar. Por essa atrao
visual e correspondncia das
formas, o que se tem ento o
desejo se produzindo atravs do
olhar. Sob a hiptese daquela
clausura arquitetnica, o
trnsito do corpo entre tais
espaos tenciona o vazio. O
estar atravs, e no frente ou
dentro da obra, no apenas um
cmbio de advrbio, mas uma
alterao da sintax~ dessa
fbrica de espao. E ento que a
rota horizontal da mirada
defronta-se com o fundo nu,
resvalando em olhar vertical.
Para Peled, aqui que o
exerccio da percepo tornase diagramtico de uma relao
entre conscincia e
inconscincia. Aqui funda-se o
ethos da obra de Peled.
Sem guardar necessariamente
correspondncia com seus
prprios limites, uma obra de
Peled articula os pontos
perifricos do campo de viso.
Os corpos existem e esto a
para o desenvolvimento de uma
topologia do vazio como uma
possibilidade de espao. Nesse
sentido operam um aparente
paradoxo, o dos limites fluidos,
posto que relativos a um espao
cambiante na dinmica da
percepo. Nessa procura cada
obra estabelece seu estatuto de
instalao, com a peculiaridade
de ser um espao constitudo
pela varredura do olhar
perifrico e desdobrado como
uma dimenso temporal. Esto
em jogo o espao e a idia de
espao. A ontologia do espao
de Peled gera a transformao
do ato fsico da viso em
experincia do olhar. Suas
instalaes, anunciadas na
crise da percepo, podem
finalmente se propor como atos
fenomnicos.
A construo do espao
desdobra-se. Nas laterais
externas dos corpos
arquitetnicos, frente e costas
de roupas de carteiro parecem
estar firmemente presas por
porcas. Indubitavelmente, as
porcas induzem percepo de
que as roupas esto
aparafusadas na parede. Roupa
e muro aderem-se como pele e
corpo.
As porcas esto postas como
signos da estratificao do
olhar. De longe, cada uma
parece indicar a existncia de
seu parafuso, firmando a roupa.
As porcas sero, agora,
operadores da iluso dos
sentidos, revelando a sua
artimanha. De perto v-se,
atravs de cada uma, que ali,
onde o parafuso estaria
atarraxado, que um vazio est
atravessando os corpos. O
pseudo-imaginrio parafuso
penetra a abertura circular da
porca, atravessa a roupa e se
enrosca na parede. Perdida toda
possibilidade ttil do parafuso,
o olhar hptico atarraxa o
objeto. Esse corpo no se
simula~ nem afirma como o
Nada. E como se a coisa tivesse
perdido a sua densidade,
abstrado a sua massa,
dissolvido a sua corporidade,
no obstante insistisse em sua
presentificao em seu
negativo, atravs do exerccio
de sua funo. Enfim, o parafuso
uma coisa que existe como o
vazio de si mesmo, posto que um
agenciador de um olhar atuante.
A justa combinao de camisa e
cala do uniforme do Cor~eio
resulta de um ajustamento
traumtico: trata-se da
elegncia que se construiu com
a violenta mutilao da blusa,
cortada longitudinalmente at
se reduzir a uma dimenso que
combine com a cala. O
encaixe perfeito das formas no
permite dobras, resultando num
95
Nelson Mandela s release from jail, in February 1990, signalled the beginning
of a period of unprecedented change in South Africa, culminating with the
countrys first democratic election in Apri11994. An "interim govemment"
was elected with the manda te to write the new Constitution, determine the
economical structure, institute education, housing and healthcare reforms,
design the flag, national anthem and other national symbols and so forth, ali
in preparation for the following election.
98
Joachim Sch6nfeldt uses art as a vehicle to explore the way meaning and
value are constructed through an interplay of convention, context and a
social sense of history. The same object can be label/ed a "curio", or
transformed into an "authentic" work of African art depending on the
ideological postion and knowledge of the viewer. The difference between
the "authentic" and the "curio" and the implications of that distinction has
formed the core of Sch6nfeldts work since 1988.
Kendell Geers
Kendell Geers
99
BAREND DE WET
Exposies coletivas!
Group exhibitons
1983 Market Gallery,
Joanesburgo.
1985 Market Gallery,
Joanesburgo.
1986 Gallery International,
Joanesburgo.
1987 Natalie Knight Gallery,
Joanesburgo.
1988 Karen McKerron Gallery,
Joanesburgo.
1991 Everard Read Gallery,
Joanesburgo.
1992 Newtown Galleries!FIG
Gallery!Everard Read
Contemporary, Joanesburgo.
1993 Vita Art Now,
Johannesburg Art Gallery,
Joanesburgo.
Prmios!Prizes
1985 Prmio Zoellner, New
Homage to Piera Manzoni, Ben Vautier, Gilbert and George, Joseph Beuys, Claus
Oldenberg and Bruce Nauman, 1992
detalhe da instalao/ installation detail of The difference between art and lite, 1994
tcnica mista/ mixed media
200 x 300 x 300 cm
Coleo do artista
Foto: Jac de Villiers
BElINDA BlIGNAUT
Nasceu em 1968 em
Humansdorp, frica do Sul.
Estudou antropologia urbana e
cultural no Hadfield lraining
Center de 1987 a 1989. Vive e
trabalha em Joanesburgo.
Bom in Humansdorp, South Africa,
1968. She studied urban and
cultural Anthopology at the
Hadfield Training Center from 1987
to 1989. Lives and works in
Johannesburg.
ExposieslExhibitions
1990 New Signatures, Pretria
(concursolcompetition).
1991 New Signatures, Pretria
(concursolcompetition).
1992 Come as Vou Are, FIG
Gallery, Joanesburgo; AIDS: lhe
Exhibition, ICA Gallery,
Joanesburgo; Africa Erotica,
Midrand Gallery.
1993 Everard Read
Contemporary, Joanesburgo
(primeira exposio
individual/first solo exhibition).
1994 State of the Art, Everard
Read Contemporary,
Joanesburgo.
PrmioslPrizes
1993 Vita Art Now
ColeeslCollections
Johannesburg Art Gallery e
numerosas colees
particulareslnumerous priva te
collections.
101
ee
JOACHIM SCHONfElDT
Obra apresentadal
102
Coleo do artista
AlBANIA A[BANIA
CU~ADO~ CU~AJO~ ~UZANNt Mt~ZOlY
~O~O~ CtNlt~ rO~ CONltM~O~A~Y A~I~ -II~ANA
It's always ditficult for me to speak about myself. I suppose this is because
/'m only three and a half years old.
Before those three and a half years I painted in the incubator of the "only true
communism in the world". I was trying to secretly decipher the rare signals
of lite casually penetrating into my isolation. Even so, I was not quite able to
discard the experimental unitorm in which I was bom until the walls of the
incubator were destroyed. However, the shadow of my unitorm enlisted
(though always in myabsence) in the incorruptible archives of the army of
the artists of socialist realism, faded away together with the dream of an
Earthly Paradise.
Free at last, but far, far away from the World of Free Artists, in a minute
country of a vanished tradition, with rare contacts and extremely limited
possibilities, Iam meeting with the terrible anxiety of freedom. Struggling
daily with the fear of getting lost in the new space of possibilities and the
unbelievable homesickness for the time when I hibemated in full security
within the incubator of the past, Iam beginning to search out in my feelings
the particles that have escaped atrophy. Through excising those particles details out of the big sterile surface of fossilized feelings - I have succeeded
in creating at last a point of departure, a cycle, from which I have excised a
new something from the whole. I have made this new something the focus of
attention and I am regenerating it.
Creating and recreating in other conditions the same particle, for me charged
at a certain moment with a special energy and unknown significance, is the
activity preceding ali regeneration and reactivation of my creative thought.
Edi Rama
Edi Rama
103
EDIRAMA
104
S/ttulo/untitled, 1994
tcnica mista: papel, carto, tinta/mixed media: paper, card, paint
Coleo do artista
105
AlEMANHA GERMANY
CU~ADO~ CU~AO~ eVelYN Wel~~
A escolha de artistas para uma bienal sempre foi um grande desafio,
pois est em jogo estabelecer, atravs da mostra, uma marca
temporal em relao ao presente e sobretudo ao futuro. Muito mais
que as exposies habituais, as grandes mostras e bienais de
Kassel, So Paulo, Sydney e Veneza so legtimas herdeiras das
exposies mundiais do sculo XIX, em que a arte, a cultura, o
panorama nacional, a tecnologia e as invenes recentes podiam se
reunir em uma simbiose. E ainda que a escolha geral dos artistas
parea subjetiva e s vezes aleatria, quando observados de perto
esses acontecimentos revelam-se realizaes elucidativas do mais
alto nvel e precisas em relao sua poca.
Muito mais difcil para os organizadores e curadores da mostra
determinar critrios seguros. Deve-se apresentar apenas trabalhos
recentes, inovadores? Deve-se buscar obras grandiosas que chamem
a ateno dentro de um panorama geral? Deve-se tentar representar
um determinado grupo ou movimento, ou mostrar discursos artsticos
completamente distintos, que espelhem a pluralidade do mundo das
artes? Todas essas solues podem ser corretas numa determinada
poca e erradas em outra. Assim foi em 1975, quando predominavam
a arte conceitual e a arte povera. Convm esclarecer que existia
ento na Alemanha uma atividade pictrica muito forte e de extrema
importncia, como ficou evidente na obra de Baselitz, Palermo e
Polke. Tambm foi correta a deciso de concentrar a seleo da
Alemanha no final dos anos 70 apenas em Josef Beuys, de modo a
proporcionar maior aproximao entre a multiplicidade dessa
complexa personalidade artstica e o grande pblico das bienais.
Tambm parece acertada a deciso de mostrar, atravs da obra de
Antes, Penck e Uhlig, uma gerao mais madura, que pela primeira
vez podia ser vista sob a marca da reunificao das duas Alemanhas.
Em 1994, Gerhard Richter, Rosemarie Trockel e Asta Grting, trs
artistas de geraes diferentes, representam de modo exemplar as
diversas posturas artsticas.
Nm primeiro momento, parece estranho que Gerhard Richter, hoje
com mais de sessenta anos de idade e reconhecidamente um dos
maiores pintores alemes da atualidade, seja apresentado apenas
nesta Bienal. Conhecido na Europa desde o incio dos anos 70, em
exposies como as Dokumenta de Kassel e as Bienais de Veneza, e
tambm nos Estados Unidos por suas retrospectivas, Richte'r um
artista que sempre lutou de modo reservado e silencioso por seu
espao, e com grande sucesso. Evitou tanto quanto pde a agitao
da mdia e a total dependncia de galeristas voltados para uma
estratgia de marketing. Hoje ele cada vez mais importante para a
nova gerao de artistas. A criao de Richter caracteriza-se por um
trabalho serial, desenvolvido aparentemente em fases separadas.
Durante dcadas, sua obra provocou irritao no meio artstico com
o realismo e a fotografia, a fotografia pintada, a pintura fotografada, ,
as estruturas minimalistas, a monocromia e as formulaes
imagticas abstratas. S agora seu trabalho aparece em sua total
coerncia, na qual as diferentes posturas pictricas no se mostram
como fases sucessivas de um processo, mas como possibilidades
simultneas de uma nica praxis que se repetem, mencionam a si
mesmas e desprendem-se em ondulaes. Os quadros abstratos de
Richter transportam quem os contempla a um estado de xtase.
106
For more then ten years Rosemarie Trockel has been one of the most
important artists of Germany. She cannot be included in any school or group,
because there are few manifested inf/uences in her work, besides an evident
conflict with some aspects of Pop-Art, and some indications of a serious
preoccupation with Beuys work and his fascination for irany and for Sigmar
Poke s work development.
When Rosemarie Trockel was young discussions about the feminist contents
of daily life and art were held, provoking contraversy and debate. She
develops a subtle feminine perspective that not only defines womens social
and sexual identity, but also cultural pressures and the false conventions in
society and art. An example of this is the group of stove sculptures
developed by the artist during these last years. She placed enamel white
stoves tables in a vertical position, varying the number and disposition of the
electric round plates. From them, cold and abstract wall objects which
resemble elements fram the Russian avant-garde - which are chief/y
minimalist art objects - emerge. The identity of these stove plates is visible
and perceptible in ali its abstraction and also the hospital-like coldness of its
surfaces in black and white, contrasting with the plates through association.
White and luminous planes together with black suspended circles transmit a
cold beauty and veils harmony. However, theyalso remind us of hygienic
domestic rituaIs which can be become an obsession.
Asta Groting is the youngest of these three artists. First, her unorthodox
behavior in relation to materiaIs draws our attention. Theyare highly
artificial and expensive or very simple and inexpensive materiaIs and
elements; they can be either soft and disfigured, rigid or transparent, heavy
or light: Murano glass or soap, sylicone or polyester, vitrified ceramic or
leather, wood, iron, straw or baloons. Material never conditions form, thraugh
which a strange inquietness surfaces in an undefined movement, as if objects
underwent ceaseless alterations. Grawth is obtained in a constant process of
change and exchange; "metabolism" means, both in the biological and
artistic process, a praduct of energy, within a circle that always repeats itself
and reappears in a different way. The opposition between the apparently
aesthetic wrapping and the perpetuaI inner transformation is focused in a
series of works related to human and animal metabolism. Digestive tract
organs made up of glass or sylicone, solidified in a strange way or
unpleasantly soft and close evoke the difference between inside and outside,
body and conscience. An artistic examination of the body leads us to the
following questions: in which organ of the body is soullocated? Is spirit an
autonomous invisible organ?
The artist chose an electranic de vice for this examination, and the result was
her video Die innere Stimme (The inner voice). A dialogue between a
ventriloquist, his doll and a voice links the three main characters in a not very
defined but close existential relationship. An inner voice begins the
conversation: "I can tell Vou something that is going to change your life, but
vou are afraid to hear!" A dialogue follows in which repulsion and attraction
alterna te and the oddity and search for dialogue with one another continues.
The ventriloquist does not listen to his inner voice but is aware of its
existence through the doll. But, on the other hand isn't her voice his?
Perception gets mixed up with speech, theyaltemate in a strange rhythm
which some times are expressed by odd shapes and other times become
poetical. Some of the sentences are obvious quotations. Asta Groting studied
painstakingly the literature which focuses the "inner voice". Hence, Vou will
find in her work excerpts fram Shakespeares Macbeth, and childrens stories.
The dialogue avoids the obvious outcome. To the dolls last question "Do vou
think everything has been understood?" the ventriloquist replies "One
understands the message that Vou do something. "
Furthermore, inside and outside, freedom and prison, faade, illusion and
truth are extremely important themes in Asta Grotings' last work,
"Potemkinsche Dorfer", which was conceived for the Bienal de So Paulo.
Evelyn Weiss
ASTA GRTING
108
Nacional de Arte
Contempornea, Seul; SchmidtRottluff Stipendiaten, Stdtische
Kunsthalle, Dsseldorf; Plastic
Fantastic Lover, Blum-Helman
Gallery, Nova Vork.
1991/92 Herzen, Arme, Beine,
Nervensystem, Brste,
Westflischer Kunstverein,
Mnster, Alemanha.
1992 Prils et Coleres, Muse
d'Art Contemporain Entreptot,
Bordeaux, Frana; Galerie
Isabella Kacprzak, Colnia.
1993 Passageworks, RooseumCentro de Arte Contempornea,
Malm, Sucia.
Prmio/Prize
1994 Prmio Dtto D.ix/Dtto Dix
Prize, Gera, Alemanha.
Obras apresentadas/
Works in the exhibition
Sem ttulo/untitled, 1993
29 jaquetas de couro/leather
jackets
Coleo Galerie Barbara
Grsslin, Frankfurt
Potemkinsche D(jrfer, 1994
instalao: madeira, ao,
ltex/installation: wood, steel,
latex
340 x 280 x 250 cm
109
GERHARD RICHTER
Obras apresentadasl
Works in the exhibition
Waldstck,1965
150 x 155 cm
Coleo Or. Georg Bckmann
Wilhelmshaven,1969
50 x 70 cm
Coleo Or. Georg Bckmann
Schadl mit Kerze, 1983
100 x 150 cm
Coleo Or. Georg Bckmann
Abstraktes Bild (Frosch), 1981
120 x 175 cm
Coleo Or. Georg Bckmann
Pavillon, 1982
100 x 70 cm
Coleo Or. Georg Bckmann
Eule,1982
225 x 294 cm
Coleo Or. Georg Bckmann
Decke,1988
200 x 140 cm
Coleo Or. Georg Bckmann
Abstraktes Bild, 1991
260 x 200 cm
Coleo Or. Georg Bckmann
111
Wilhelmshaven, 1969
50 x 70 em
Coleo Or. Georg Boekmann
Foto: J. Littkemann
112
ROScMAR CTROCKcl
Nascida em Schwerte, em 1952,
vive e trabalha atualmente em
Colnia.
Solo exhibitions
1983 Monika Sprth Galerie,
Colnia; Galerie Philomene
Magers, Bonn.
1984 Monika Sprth Galerie,
Colnia; Galerie Ascan Crone,
Hamburgo; Stampa, Basilia,
Sua.
1985 Rheinisches
Landesmuseum, Bonn.
1986 Galerie Erika Friedrich,
Berna; Monika Sprth Galerie,
Colnia.
1987 Galerie Tanit, Munique;
Galerie Ascan Crone, Hamburgo.
1988 Museum of Modern Art,
Nova Vork; Kunsthalle Basel,
Basilia; ICA, Londres; Barbara
scu/pture
c. 200 x 280 cm
Coleo Monika Sprth
Galerie, Colnia
S/ttulo/untitled,1992
2 esculturas de parede/wa/I
scu/ptures
125 x 125 x 10 cm
Coleo Institut fr
Auslandsbeziehungen, Stuttgart
S/ttulo/ untitled, 1991
chapa de ao/steel sheet
200 x 80 x 12 cm; 200 x 70 x 12
cm
Coleo Museum Ludwig,
Colnia (Biblioteca do
Ministrio do Interior, Bonn)
113
Parade, 1993
filme VHS 11.35 mino
Coleo Galerie Monika Sprth, Colnia
Parade, 1993
filme VHS
Coleo Galerie Monika Sprth, Colnia
114
ARGENTINA ARGENTINA
CU~ADO~ CU~ArO~ JO~Ge Helrl
Embora no seja historiador nem crtico de arte, aceitei a responsabilidade e o desafio de ser curador de meu pas nesta 22
Bienal Internacional. Como amante da arte contempornea da
Argentina e colecionador, meu propsito apresentar trs artistas
cuja obra no teve at agora, no meu entender, a ateno
internacional merecida. Ao fazer minha escolha, exclu, por razes
bvias, artistas que muito aprecio mas que j representaram a
Argentina em outras bienais nos ltimos dez anos (Berni, Hlito,
Kuitca, Benedit, Segu, Grippo, Testa, entre outros).
As contemporary art artists, I chose Edgardo Vigo and Pablo Surez. It may be
a surprise that instead of selecting young people I have selected artists who
belong to my own generation. Nevertheless, I believe that in the event of
Argentinean art it is justified. Due to our peripheral location, the interest in
Argentinean art and artists was not raised at once. Today the interest is
increasing. If we exclude the Argentinian artists living abroad (Segui, Porter,
Bonevardi, Paternosto, among others), those who are most renown are Xul
Solar and Kuitica. However, between them there has been three or more
generations of artists who were "forgotten". I think we wil/ see soon fair
recognizal of Antonio Beni, Madi/Concreto Invencin group and Jorge de la
Vega and Otra Figuracin group. Other artists, more than ever, have to be
promoted. We draw attention to the fact that Jorge Luis Borges'works only
attained international recognition when he was over sixty years old.
115
EDGARDO A. VIGO
Nasceu em 1927 em La Plata,
onde vive e trabalha. Seus
primeiros trabalhos foram
realizados em meados da
dcada de 50. Em 1953 viajou
para a Frana, onde conheceu o
venezuelano Jesus Soto. Ao
regressar, dedicou-se
construo de objetos de
madeira que podem ser
manipulados pelo pblico. A
partir de 1957 passou a criar
suas "mquinas inteis". Em
1961 fundou a revista Diagonal
CeIo (Diagonal Zero) e iniciou
seu permanente intercmbio
com o movimento internacional
de arte postal. Exps
individualmente em Buenos
Aires, La Plata e Mar dei Plata.
Bom in La Plata in 1927, where he
lives and works. His first works
were created in the mid-fifties. In
1953 he travelled to France where
he met the Venezuelan artist Jesus
Soto. Retuming to Argentina,
created wooden objects which
could be manipulated by the public.
From 1957 onwards he has been
creating his "useless machines". In
1961 he founded Diagonal Cera
magazine and began his permanent
intemational interchange movement
Art through the Post Office. His
solo exhibitions took place in
Buenos Aires, La Plata and Mar dei
Pia ta.
263 x 77 x 31 cm
EI tapn dei Ro de la Plata, 1973
Objeto! Object
69 x 38,5 cm
Armas para mate cos(c)ido, 1980
100 x 30 x 16 cm
Anteprojecto de projecto de tres
pebetes potico - matemticos no
tradicionales (in)comestibles, 1990
Objeto! Object
36,5 x 36,5 x 18 cm
Le patrn dei Marcel, 1991
Objeto! Object
Parte 110 x 110 x 30 cm
La caida dei imperio - Crnica
visual de una semana
trgica,1993
Objeto! Object
130 x 38 x 26 cm
La iniciacin de la princesa, 1994
Objeto! Object
101 x 98 x 102 cm
Exposies individuais!
Solo exhibitions
1991 Fundacin San Telmo,
Buenos Aires.
Exposies coletivas!
Group exhibitions
1994 Bienal de Havana.
Obras apresentadas!
Works in the exhibition
EI ciclista oprimido, 1994
Ob jeto! Object
80 x 110 cm
EI beb de proveta acuflado, 1994
Objeto! Object
130 x 38 x 26 cm
Curso acelerado para adquirir nvel
de latinoamericano, 1972-73
Objeto!Object
117
liBERO BADII
Ariadna, 1969
escultura em madeira/wood sculpture
118
EI sacrificio, 1971
escultura em madeirajwood sculpture
sculpture
EI sacrificio, 1971
escultura em madeira/wood
sculpture
EI poder, 1974
escultura em madeira/wood
sculpture
EI testamento artstico, 1974
escultura em madeira/wood
sculpture
La madre, 1976
escultura em madeira/wood
sculpture
La luz, 1977
escultura em madeira/wood
sculpture
EI autoretrato siniestro, 1978
escultura em madeira/wood
sculpture
La reincamacin, 1978
escultura em madeira/wood
sculpture
Conjunto de 10 grficos/lO
related graphics, 1977
61 x 45 cm (cada/each)
119
PABlO SUAREZ
Exposies individuaisl
Solo exhibitions
1967-68 Experiencias Visuales,
Instituto Torcuato Di Tella,
Buenos Aires.
Exposies coletivasl
Group exhibitions
197312. Bienal Internacional de
So Paulo.
198116. Bienal Internacional de
So Paulo.
198518. Bienal Internacional de
So Paulo.
Obras apresentadasl
Works in the exhibition
EI manto final, 1994
250 x 120 cm
Los que comen dei arte, 1993
Parte I: quadro 130 x 170 cm,
s/cavaletelPart I: flat painting
130 x 170 cm, on an easel
120
ARUBA ARUBA
CU~ADO~ CU~A O~ fVfUNO flNGAt
121
122
For a while you are derived of an aesthetic enjoyment. Later, however, you
are drawn by them. While still enjoying the exquisite lines and the fine use
of the materals, you are caught in the role of a voyeur. Dr maybe you are
undressed, stark naked. If first you were touched by the social and artistic
message, now you disco ver that AIDS or ART are far behind you and left you
stranded in pure visual or tactile delight.
The shapes and subjects of paintings and sculptures also have the same
elusive ambiguity.
In formal sense, a three dimensional shape may refer to minimal modem
sculpture, but it may also challenge the medium to become painting and vice
versa. You will get into contact with different aspects of the artist through
the changing shapes and roles. However you can suddenly find yourself ali
alone facing your mirror-image. At such times you fali silent and just stop
listening. Leaden, archetypical, earthly tombs are depicted in lively colors
which conveys an absence of weight and volume. They refer you to
martyrdom and purification. Who is martyred and who purifies? Large,
sensuous lips are guarded by yelping puppies, playful and menacing, that
frustrate erotic pleasure. Wishing wells leave little to be wished but ref/ect
stark realities which are unfolded to the spectator.
Lopez seems to transcend the present by his ever changing, adulterous
references, and defy gravity by f/ying, f/oating and falling. He is a juggler
who plays tricks with his images right across space and time.
Adi Martis
ElV SlOPEZ
Nasceu em Aruba. Graduou-se
cum laude pela Gerrit Rietveld
Academy de Amsterdam (1989).
Retornou a Aruba e tornou-se
diretor da Academia de Artes
Visuais de Aruba - Atelier 89,
centro experimental na rea de
educao artstica. Foi um dos
poucos artistas a receber uma
bolsa oferecida pela Holanda.
Bom in Aruba. He graduated cum
laude in audiovisual art at the Gerrit
Rietveld Academy in Amsterdam
(1989). Back to Aruba he became
the director of the Visual Art
Academy Aruba - Atelier 89, a local
experiment in the area of art
education. He is one of a fewartists
who received a scholarship from the
Netherlands.
Exposies/ Exhibitions
1985 Lente Meer Schilderijen
Paradiso, Amsterdam.
1986 Galeria Ouadrum, Lisboa;
De Aanloop Aorta, Amsterdam.
1987 Omhoong Stijgende
Gevoelens, Vooruit, Gent,
Blgica; Audiovisual Festival,
Gele Rijder, Arnhem, Holanda.
1988 Expo Bon Bini, Rietwood
Studio, Amsterdam; Proef
Opstelling, W 139, Amsterdam;
Antillian and Aruban Artists,
Villa Baranka, Amsterdam.
1989 Expo at the Rai,
Amsterdam; Summer Exhibition,
W 139, Amsterdam.
1990 Expo Unilever Concern,
Rotterdam, Holanda; 13 Vears
Audiovisual, Tegenover,
Amsterdam; Noisy Department,
Arti Amsterdam, Amsterdam;
Sweelinck Conservatory,
Amsterdam.
1991 One Hour Art Show, Museo
Fodor, Amsterdam; Gala di Arte 75 Vears of the M&C Bank Expo,
International Trade Center,
Curaau.
1992 Tijdelijk Asiei, Arti et
Amicitae, Amsterdam; Un
Abraso ku Kolo, Het Oude Slot,
Heemstede, Holanda; Mira Arte
-1st Visual Arts Expo Aruba,
Atrium Mall, Oranjestad, Aruba;
1 Bienal de Artes Visuais do
Caribe, Galeria de Arte
Possessed, 1992
folha de ouro, leo s/compensado/
gold leaf, oil on plywood
250 x 250 x 60 cm
Coleo do artista
Foto: Fernando Arroniz
123
AUSTRIA AUSTRIA
CU~ADO~ CU~AO~ ~~IGlnt HUC~
124
In the second half of the 80s the development of new artistic languages
could be noticed in Austria, leading to an abandoning of expressionist,
gestural painting, which dominated the up to then. The younger generation of
Austrian artists discovered new technologies and media and began pursuing
a conceptualline of thinking. This new orientation was without any doubt the
result of a strong internationalization within the Austrian art world. In
general the focus lies on neo-conceptualist investigations and a vehement
determination to renounce the aestheticism of the always present painterly
tradition in this country.
Summarizing recent tendencies among younger artists one observes a new
conception of individuality and rejection of conventions, an awareness of
ethics and a criticism of signs, following the Austrian tradition of language
established by Wittgenstein and the Wiener Krels. In certain works an
abandoning of manual production can be noticed. A questioning of the
figura tive can be found, as well as a new interest in abstraction in a
contextual sense.
The work of the two artists chosen to represent Austria at the 22 Bienal
Internacional de So Paulo, Franz Graf and Herwig Kempinger, illustrates
these tendencies of a broader artistic expression and creativity. In spite of
their different artistic formulations, they share an identification with space,
light, time and perception. They deal with surface and volume, the density of
the object and its dissolution by means of light. Both artists develop
installations in situ to react on the actual space of the Biennale as well as on
the intention and content of the exhibition.
Bom in Tulin, Lower Austria, in 7954, Franz Graf lives and works in Vienna. In
his neo-conceptual work he combines drawing, sculpture and language.
Sheets of transparent paper are worked on both sides with graphite. Through
an endless number of small individual strokes he traces the geometrically
constructed images (mostly radiant circles) and elements deriving from organic
sources. The sheets are mounted in-between glass panels and put together
through a system of industrially manufactured steel modules. Thus expanding
Brigitte Huck
125
fRANZ GRAf
Nasceu em Tulin, ustria. em
1954. Vive e trabalha em Viena.
Bom in Tulin, Austria, 7954. He lives
HcRWI
C PIN cR
Jahrhunderts. Viena.
1984 Orwell um:l die Gegenwartu
Museum des 20 Jahrhunderts,
Viena.
1985 Alies uml Noch Viel Mehr,
Kunsthalle und Kunstmuseum,
Bema; Brainworksu Municipal
Art GaUery, los Angeles; Von
Wien aus, Fotofomm, Bremen.
19861ere Biennale
Intemationale pour la
Photographie d'Art, Paris; Raum
Armehmen, Galerie Grita Insam,
Viena; Von Wien aus, Museum
fr Fotografie, Braunschweig;
Fotographische Prozess,
Hochschule der Kunste, Berlim.
1981 Seit 1910. Museum das 20
Jabrhunderts, Viena; Fotografie
in Osterreich, Museum
Folkwang, Essen; Various
Artists, UKS, Oslo.
1988 Plane Space, The
Photographers Gallery, Londres;
Europalia. Museum fuI'
Fotografie. Anturpia; Der
in mil', Galerie Hubert Winter,
Viena.
1989 Kunst der letzten 10 Jahre,
Museum Modemer Kunst, Viena;
Museum des 21 Jahrhunderts,
Viena; Ilntemationale Triennale
fr Fotografie. Esslingen;
Moskau-Wien-New Vork.
Messepalast (Wiener
Festwochen), Viena; Das Neue
Konzept. Fomm Stadtpark, Graz;
Installation-KonzeptionImagination, Kulturhaus, Graz.
1990 Against Interpretation Towards a NonRepresentationa I Photography,
CEPA Gallery, Buffalo; Rot-Ich
Weiss-Rot, Kustlerwerksttten
lothringerstrasse, Munique;
Schnelle Bilder, Kunstlerhaus.
Viena; High Season 11. Galerie
Hubert Winter. Viena.
1991 Vom Verschwinden der
Dinge, Museum Modemer
Kunst, Viena; Im Bild, Museu de
Arte, Praga; Kunst-Europa,
Kunstverein in Hamburg,
Hamburgo; Contemporary
Abstract Photography, Compass
Rose Gallery, Chicago; New
Spaces of Photography, Museu
Nacional, Wroclaw;
Photography - Individual
Positions, Modema Galerija,
liubliana,
1992 Der Entfesselte Blick,
Kunstmuseum, Bema/Seedamm
Kulturzentmm, Pfffikon;
Identitt - Differenz, Neue
Galerie/ Kunstlerhaus und
landesmuseum, Graz; Radical
Surface, LA-Art. los Angeles;
Zeitgenossische Fotografie Aus der Sammlung des
Museums Modemer Kunst in
Wien, Mhrische Galerie,
Brnn/Galeria Nacional da
Eslovquia, Bratislava;
Neuerwerbugen, Galerie
Winter, Viena; Thomas
Solomon's Garage. los Angeles;
lagerFeuer, Galerie Hubert
Winter, Viena.
1993 la Coesistenza de 11'Arte.
Biennale di Venezia, Veneza;
Prospect 93, Frankfurter
Kunstverein und Schim
Kunsthalle. Frankfurt; Toyama
Now 93 - Art Sce~es in Central
Europe, Museu de Arte
Modema, Toyama, Japo;
Radical Surface,
Heiligenkreuzerhof, Viena;
Krieg, Neue Galerie/Fomm
Stadtpark, Graz; Interventionen,
Museum Francisco-Carolinum.
linz; Vienne 93, Galerie Gerald
Piltzer, Paris; Ideas, Imgines,
Identidades - Aspectos dei Arte
Austraco Contemporaneo, Tecla
Sala, l'Hospitalet, Barcelona;
Konfrontationen, Museum
Modemer Kunst/Stiftung
ludwig, Viena; Kunst mit
Fotografie-Biespiele aus einer
Privaten Sammlung, Galerie im
Taxispalais, Innsbruck,
1994 Kommentar zu Europa
Museum Modemer
Kunst/Stiftung ludwig,
127
BAHAMAS BAHAMAS
CU~ADO~ CU~AO~ MA~IANNe De iOleNIINO
Stan Burnside, Brent Malone and Antonius Roberts are the representatives of
the Bahamas fine arts in the 22nd Bienal Internacional de So Paulo and
belong to a group that we consider an example in the Caribbean archipelago.
This assembly of artists - that may grow in time - is called B-G.A.USE, a
name that becomes even more appealing and expressive when we find out
that it stands for Bahamian Creative Artists United for Serious Expression. It
is more than a proposal, it is a commitment that blends professional
awareness, identity, search, originality and self-analysis; aspects that are
constantly renewed and discussed.
A very interesting aspect ofthis assembly is that it does not limit itself to
discussion and theory, but also approaches collective creation as an element
of research and experience. It is worth mentioning the artwork Jammin', that
was created and presented two years ago. In this piece team work was fully
accomplished: one artist started it, another carried on and a third finished. ..
the same canvas. In this fashion, it became a work synthesis and, in a sense,
a symbol of the country and region painting. It goes beyond each artists
personality and reveals an ancestrallegacy common to ali of them in which
the prevailing creation factor are the footmarks of the African ancestor
It is important to emphasize that the artistic image - more than the myths and
beliefs that are imprinted on theirunconscious and which reemerge
spontaneously - consciously expresses the inner lite and operates as a
catalyst of cultural roots. However we are in the visual, pictorial field the
artworks of the B-G.A.US.E. artists have a Kinetic potential which transform
music, singing and dance and unite the profane and religious worlds. There is
a large iconographic complexity - that has surprised us in a first contact - that
can be translated by the superposition of a large number of formal and
chromatic elements.
In our opinion, this deep and authentic inspiration has helped the Bahamas
art to free itself from descriptive and narra tive styles characteristic of the
English colonists. Nevertheless, the secular European presence has instilled
respect for the academy and established a solid organization. The
participants of the B-C.A.US.E., as well as other artists of the country grant
utmost importance to professional training and further education that provide
them with traditional standards of means of expression.
These present an up-to-date and fluid character of the traces, rhythm and
plastic atmosphere. We want to stress that among the contemporary and
modem languages there are four generations of artists who "illustrate" this
current in the Bahamas. A fifth generation is already emerging.
ANTONIUS ROBERTS
130
Exposies coletivas/
Group exhibitions
1991 Emerging Artists, Nagia,
Japo.
1992 Rainbow of the Caribbean,
(coleo permanentel
permanent col/ection), Art
Museum of the Americas,
Washington; Bahamian Masters,
Central Bank Art Gallery,
Nassau, Bahamas; Kindred
Obras apresentadasl
Works in the exhibition
Children at play (trpticol triptych),
1993
acrlico s/telalacrylic on canvas
122 x 244 cm cadaleach
My brothers keeper, 1993-94
acrlico s/telalacrylic on canvas
173 x 224 cm
BRENT MAlONE
Exposies individuaisl
Solo exhibitions
1979 Junkanco, Matine Art
Gallery, Nassau, Bahamas.
1982 Festival Works, Black
Music Association of America
Conference, Nova Orleans, EUA.
1990 Marlborough Antiques and
Art, Nassau, Bahamas.
1992 Retrospective 1962-1992,
Central Bank Art Gallery,
Nassau, Bahamas.
1993 New Directions,
Marlborough Antiques, Nassau,
Bahamas.
Exposies coletivasl
Group exhibitions
1988 Caribbean and Brazilian
Fine Art Exhibition (Caribana
Festival), Toronto, Canad;
Caribbean Invitationall,
National Gallery of Jamaica.
1990 Kindred Spirits (Grupo BC.A.U.S.E.), Central Bank Art
Gallery, Nassau, Bahamas.
1992 Kindred Spirits, Art
Museum of the Americas,
Washington D.C., EUA; Bienal de
Pintura dei Caribe y Centro
Amrica, Galera de Arte
Moderno So Domingos,
Repblica Dominicana.
Obras apresentadasl
Works in the exhibition
Conflict in Paradise, 1993
acrlico s/telalacrylic on canvas
178 x 122 cm
The struggle, 1993
acrlico s/telalacrylic on canvas
137 x 170 cm
131
STAN BURNSIDc
BARBADOS BARBADOS
CU~ADO~ CU~AO~ Alll~ON IHOMr~ON
The three artists exhibiting this year in So Paulo are largely responsible for
providing local artists and audience with the few opportunities to participa te
in happenings and installations. Ali three of them deal with questions related
to identity and self-definition. Theyare concerned with race, class and
gender issues. lronically, theyare presenting their works to an international
public in a format that perpetuates and exacerbates these divisions. Most
artists from Barbados, including those most tallented and challenging, are
unable to produce and exhibit such 'contemporaryart', particular/y in an
international arena, due to the inadequate support for visual
arts in this country.
The divisions within a post-colonial society still shackled by its history preoccupies the work of Annalee Da vis. Her images are often intimate and
intuitive, inspired as theyare by her own personal struggle to define herself
within her environment. The installation Scarred dream continues her recent
theme of wounds. The relationship between the suspended elements,
133
134
ANNAlEE DAVIS
Domingos, Repblica
Dominicana; Art over Sugar,
Usina de Acar Vancluse,
Barbados; Un Nouveau Regard
sur les Caraibes 1942-1992,
Espace Carpeaux, Frana;
Centre des Arts, Guadalupe; 5
Carifiesta, lrinidad; Casa de
Francia, Repblica Dominicana;
Instituto Cultural
Puertorriqueno, Porto Rico.
1993 Carib Art, Curaau.
19945 Bienal de Havana, Cuba;
4 Bienal Internacional de
Exposies individuais!
Solo exhibitions
1988 Caribbean Invitational,
National Gallery of Jamaica,
Jamaica.
1989 MFA lhesis Show, Rutgers,
lhe State University of New
Jersey.
1990 Woman-Scream Niche,
Barbados Museum, Barbados.
Exposies coletivas!
Group exhibitions
19921 Bienal de Pintura da
Amrica Central e Caribe,
Museo de Arte Moderno, So
135
GAYlE HERMICK
136
Exposies coletivas!
Group exhibitions
1992 Art over Sugar. Usina de
Acar Vancluse. Barbados.
1993 Salon de Refus. City
Centre. Barbados; XAVAMACA.
National Gallery of Jamaica.
Kingston. Jamaica.
1994 Nine Views of the Land.
Barbados Museum. Barbados;
Spirit of the Woman: Eye to the
Sou I (instalao em
colaborao com Joscelyn
Gardner!collaborative installation
with Joscelyn Gardnen. Barbados
JOSCElYN GARDNER
professora no Barbados
Community College e dirige um
pequeno estdio de gravura
(lsland Impressions). Desde 1986
faz parte do conselho de
diretores da Art Collection
Foundation e desde 1990
membro do conselho do
Barbados Museum and
Historical Society. Seu trabalho
mais recente focaliza a
mitologia amerndia.
Bom in Barbados in 7967, she spent
her ear/y chilhood in several
developing countries, from West
Africa to South America and the
Caribbean Islands. In 7980 she
graduated fram Queen s Col/ege,
137
BElGICA BE[GIUM
"
Ann Veronica Janssens follows a singular trajectory in her work, which goes
beyond the contemporary appropriation or resumption to figurative logic. This
Belgian artist produces objects and proposes a minimalist work which
questions the presupositions of space.
Mallarm once wrote that "nothing will have a site unless the site itself".
Ann Veronica Janssens work operates in the same way,' her pieces seem to
create space: it is not the unitary space but the emergence of a multiplication
of sites open to perception; they work as if they interfered in the gap
between the visibile and the absence, between the internaI and the externaI.
If the work in situ by Ann Veronica Jenssen resorts preferably to two
materiaIs - glass and concrete - maybe it is because these two materiais
share the same tectonic function: the glass, which reminds us of the window,
a de vice which at the same time ref/ects and absorbs, delineating a limit by
creating a void in space; and the concrete, which reminds us of a wall, a
constructive element which is accumulated in Janssens work, acquiring the
paradoxical function of circunscribing the void.
138
MICHEL FRANOIS
MICHEL FRANOIS
Ali existing goods had to bedeposited near the palace. They had to be
organized in piles according to their category, thus creating groups and subgroups of void and massive objects. The subjects decided to rename these
objects, first physically, next metaphorically. Later, they were assembled in
groups of words and complex sentences; afterwards they become
abstractions. However, ali this work was lost.
It is impossible to store everything: the void objects fell on top of the massive
ones.
The subjects decided to join the pieces "in order to create a new object that
would result from the addition of their opposite qualities". When they
decided to ask the emperor about the purpose of ali this they found out that
he had disappeared. His palace had been destroyed, covered by the
accumulated objects... "Nothing could be seen except a pile of inanimate
things which stressed their contrast with the human activity that surrounded
them."
Besides referring to the accumulation habit which is characteristic of rich
societies, the fable also stresses the social goal of the artist. The purpose of
his artistic activity seems to be an attempt at a post-arte povera production
as it uses the most banal materiaIs available. Theyalso represent a neoanthropological attempt as it evokes the social setting. We can also find in
them a symbolic approach as the banal things, in a comparison established
among the objects themselves attain a metaphoric dimension.
The work chosen by the artist for the Bienal de So Paulo emphasizes this
emblematic approach of the universe of the object. He adopted a linear
restraint - instead of the deformation which results from the assemblage of
objects - using a sequence of photographs in which their themes create an
environment of apparent, formal, domestic and significant similarities.
However, this organization which reminds us of a catalogue is broken by
residues which are sudden references to this microcosm in which the objects
flow blind/y.
Finally, sounds which were deliberately recorded over this pile of things
emphasize the banality of daily objects. In short, "creating a new object
which results from the addition of their opposite qualities".
Jacques Meuris
139
PATRICK CORILLON
PATRlCK CORlLLON
Patrick Coril/on placed his work in a difficult position: between sculpture and
the romanesque narra tive, between fiction and reality, between the strictness
of forms and the eccentricity of the references, his work is based on the
cientific model of grafting and transplantation. Coril/on appropriates aspects
of reality to blend them with one or more narratives. The result is closer to
phenomena than to objects, that is to say, a series of alterations created on
the object by means of the text that accompanies it. Coril/on upgrades
parasitism to fine arts leveI. The number of boards and information panels
found in his work is impressing. They constitute the archetype of his artwork.
These panels which are the support of his complex narratives are aimed at
clarifying the situations. As al/ urban equipment, theyare characterized by
their simplicity, their standardization and immediatism. His works are
destined to be lost and disappear in the flow of utilitary signs. Through the
anonimous fatality of their discreet presence they only reveal their own core
when they emerge abruptly in the functional order. Coril/on's work is based
on aesthetic as wel/ as on signaling concepts. Each piece allows the passage
from the trivial to the unknown, from the general to the particular and from
the visible to the invisible.
Nicolas Bourriaud
The monument, the statue celebra te events. That is the reason why the word
statue is more adequate to Coril/on's works than sculpture, which is linked to
the narrative of modemity which he decided not to ignore but to avert.
Boltanski's monuments are dedicated to the lost childhood, Dimitrijevic's
busts, dedicated to anonimous people and celebra te the individual who is
going to be forgotten; Schul/e's maquettes, the bronzes by Dietman, Charlier's
installations refer to functions of art that were forgotten by modemity and
Commmorations by Coril/on stress art's fragility when facing the official
authorities which control the memory replacing the artists. Celebration
beca me a Govemment issue, an industry which veils particular interests.
Now memory has to be submitted to the imposed formulas of the cultural
marketing.
Thus, failure is the subject of many of the Commmorations by Coril/on: it is
an art which focuses failure, which tel/s us about catastrophes, losses,
remnants. "It is like living in a void, an absence, feeling there is no way out
and a productive stance", explains Coril/on. "To embody this absence, to
attain the unknown, produces a kind of transcendence that is, maybe, the
purpose of art. AI/ my work focuses an absence which is always
dissimulated. "
The failure of art in reflecting mlmory is atenuated by an obsession for
memoirs, which is one of the narratives most used by Coril/on. This obsession
introduces a second leveI of Coril/on 's mistrust for artistic modemity, its
ambition to focus the individual beyond the realms of sociology, which was,
for a long time, the chief pathway of evoking the human being in the avantgarde artworks. Coril/on's memoirs are directed to the unfolding of living, its
transformation into a virtuous existence or its reduction to a unique
obsession. Thus, Oskar Serti can be summarized, in a museum plate placed in
his house in Amsterdam, by his sketches carried out during his phone
conversations and his obsessive relationship with white wal/s.
Nicolas Bourriaud
1994
bronze/bronze
141
MICHEl fRANCOIS
I
75 x 35 x 35 cm
Foto: Manfred Oade
142
PATRICK CORlllON
conseguido vencer a
incompreenso em que haviam
ficado tanto tempo confinados.
Ao lado: reconstituio de uma
das mais notveis rachaduras
encontradas nas paredes do
apartamento visitado por Oskar
Serti em 1902.
When he left hame havng reached
eghteen years ald, Oskar Sert
(Budapest, 1881-Amsterdam, 1959)
settled nta a garret next to that af
the paet Vrgl Bnek. Althaugh he
cauldn't dstnctly hear the wards ar
the paet from there, Sert was able,
byapplyng hs back aganst the
panel whch separates them, to feel
resaundng through hs awn bady
the verses that Vrgl Bnek, leanng
an the ather sde af the parttan,
re~ted each nght n a glaamy
valce.
Havng became a wrter hmself n
1902, Oskar Sert remnded hmself
af ths epsade and arganzed hs
very frst publc readngs n
apartments where he nvted the
guests to lean aganst the wall,
befare clasng hmself alane n an
adjanng roam. He wauld then start
to mumble there hs texts n a deep
tane, canscausly leanng an the
ather sde af the parttan whch
gathered hs lsteners wha were
suppased to vbrate at hs speech.
Unfartunately, Sert's approach was
campletely msunderstaad and
numeraus partes even accused hm
af beng sngular/y cawardly n face
af the publc and especa//y n face
af hs awn texts.
In March 1955, after a lang and
brllant exle, Sert returned to a
hamecamng cavered wth hanar.
Durng a hghly vsble vst to the
walls af hs frst readngs, Sert
da//ed n front af the deep cracks
whch had taken aver. In front af an
audence campased prncpally af
La lzarde, 1992
alumnio/aluminum
143
BOllVIA BO[IVIA
CU~ADO~ CU~AO~ rm~o QU[~[JAZU
BOLVIA, NOVA PRESENA NA BIENAL DE SO PAULO
In the last twelve years, Bolivian reality has been changing and acquiring a
rate of progress that is conducted by democratic governments.
In this context, the last two decades were especially important for Bolivian
art. Since 7975 art themes have been changing and started depicting urban
man with his transferred ancestral myths and usually miserable realities.
Many manifestations of beliefs and religiosity were converted into art
themes as a form of acceptance and retrieval of their own cultural
expressions.
Roberto Varcrcel is the author of the mast valuable works of criticism
dennouncing the dictatorship with a plastic language similar to that used by
. the Dsseldorf German school. With the overthrown af the ditactorships he
could adapt a colorful, brilliant and intense language following the postmodernism line with ironic fiction themes, sardonic views of society and its
trivial worries. However, as an architect, he also worried about the problem
of human and architectural space and with the deep symbiotic relation
between man and habitaton complexes. He has recently gathered various
lines of artistic expression in series of works, similar to the collective works
presented by the Varcrcel Group - which is formed by himself Varcrcel, the
polyfaceted and solitary pro tagonist of Group Varcrcel, was the first artist of
the young generation to create plastic alternatives and themes for Bolivian art.
Ejti Stih, possessed by drama, energy, colors of nature and the Bolivian
tropical oriental man, analyzes the Santa Cruz society with humor and
expression. She presents a traditional proposal when using acrylic on canvas.
She uses a plastic language linked to neo-expressionism, and wlth it she
expresses the traditional and deep-rooted societies such as Santa Cruz de La
Sierra, which reacts to the current changes with an even greater attachment
to its traditions. Ejti Stih uses intense and powerful colors granting more
dramatism to her expression.
Sol Mateo is a restless artist, who has always searched for non-conventional
expressisons of art, basically beca use he does not believe in traditional art.
Although he has abandoned the architecture carrer, he has maintained his
preference for construction, installations in small and large scales, events
and performances. Ali his works demand a constructive process in their
preparation and some times come near sculptural proposals.
In aesthetic terms his art is coherent to what was showed before, totally
anti-aesthetic. He develops the grotesc aesthetic, as a reaction to
consumers' art and as an action to the traditional popular approach. His
themes resort to objects of mestizo and indigenous medicine and to the
religiosity present in ritual acts. He also chooses themes related to
traditional aesthetic and the official religion. The works that will be part of
this exhibition playwith symbols: the cross, a vlrile symbol, symbolizing
Christ; the Mater Dolorosa, a symbol of Our Lady which simbolizes women.
He also plays with nonsense trying to shock the spectator.
Pedro Ouerejazu
EJTI STIH
Silencio, 1994
latinoamericana de
Cuenca/ Cuenca Latin American Art
Biennial, Equador.
1991 Nueva Pintura, Museo de
Arte Moderno, la Tertulia, Cali,
Colmbia; Miami Dade
Community College, Miami.
19921MF Visitor's Center,
Washington, D.C.; Art Miami'92,
Miami; Arte Actual, Expo '92,
Sevilha, Espanha.
1994 Bolivia Arte Nuevo, Centro
Cultural Mapocho, Santiago.
Prmios/Prizes
19821 prmio de cenografia/7 st
prize for stage design, Maribor,
Iugoslvia.
19871 prmio de desenho/7st
prize on drawing, Consulado
Argentino de Cochabamba; 2
prmio de pintura/?d prize on
painting, Salo Pedro Domingo
Murillo, la Paz.
19882 prmio/2 nd prize,
Concurso Universidad Gabriel
Ren Moreno, Santa Cruz; 3
prmio em pintura/3 rd prize on
painting, Salo de Artes
Plsticas, Cochabamba.
19891 prmio de desenho/7st
prize on drawing, Saln Pedro
Domingo Murillo, la Paz.
1990 1 lugar/7st prize, Concurso
de cartazes
cinematogrficos/film posters
competition, Santa Cruz.
1991 2 prmio/2 nd prize, Saln de
Homenaje a la Mutual, la Paz.
19931 prmio em pintura e
cermica/ 7st prize on painting and
ceramics, Bienal de Arte de
Santa Cruz.
Colees/Collections
Casa de la Cultura Ral Otero
Reich, Santa Cruz; Cmara de
Industria y Comercio, la Paz;
Casa de la Cultura Franz
Tamayo, la Paz; Fundao
Museu de Arte
Contempornea/Museum of
Contemporary Art Foundation,
Radovljica, Eslovnia.
Obras apresentadas/Works in the
exhibition
Torta, 1994
acrlico s/tela/acrylic on canvas
163 x 360 cm
Cama, 1994
acrlico s/tela/acrylic on canvas
163 x 282 cm
Silencio, 1994
acrlico s/tela/acrylic on canvas
130 x 160 cm
EI presidente, 1994
acrlico s/tela/acrylic on canvas
130 x 160 cm
Figuras, 1994
acrlico s/tela/acrylic on canvas
130 x 160 cm
145
ROBERTO VARCARCEl
Exposies individuais/
Solo exhibitions
27 exposies nas seguintes
galerias/27 exhibitions at the
following galleries: Galera
Fundacin BHN, La Paz; Galera
EMUSA, La Paz; Galera Arte
Unico, La Paz; Sala Guzmn de
Rojas, La Paz; Casa de la
Cultura, Santa Cruz; Museo
Nacional de Arte, La Paz;
Sharona Gallery, Miami Beach.
Prmios/Prizes
Exposies coletivas/
Group exhibitions
1979 Bienal de Maldonado,
Uruguai; 15 Bienal de So
Paulo.
1983 Exposio Internacional de
Artes Grficas/lntemational Print
Exhibition, Formosa, Taiwan;
Bienal de San Juan, Porto Rico;
17 Bienal de So Paulo.
1984 Bienal de Havana.
1985 Bienal de Arte en Papel,
Buenos Aires.
1987 Bienal de Trujillo, Peru;
Bienal de Pintura de Cuenca,
Equador.
1991 Bolivia-Pintura Actual,
Centro Cultural de J. M.
Moncloa, Madri; Nueva Pintura,
Museo de Arte Moderno, Cali,
Colmbia; Latinoamrica
Presente, Santiago, Chile.
146
Colees/ Collections
Museo Nacional de Arte, La Paz;
Museo Paraguayo, Assuno;
Museo de Arte Americano,
Maldonado Uruguai; Museo de
Arte Moderno, Lima; Casa de la
Cultura, Santa Cruz; Casa de la
Cultura, La Paz.
Obras apresentadas/
Works in the exhibition
Grupo Varcrcel/ Varcrcel Group
Jesus Christos Gattes Sahn, 1994
grafite, acrlico s/tela/graphite,
acrylic an canvas
300 x 300 cm
Jesus Christas Gattes Sahn, 1994
grafite, acrlico s/tela/graphite,
acrylic an canvas
300 x 300 cm
Jesus Christas Gattes Sahn, 1994
grafite, acrlico s/tela/graphite,
acrylic an canvas
300 x 300 cm
SOlMATEO
PrmioslPrizes
1980 meno em pinturalmention
on painting, Saln Pedro
Domingo Murillo, La Paz.
19941 prmio em tcnicas no
tradicionais/1 st prize on notraditional techniques, Saln
Pedro Domingo Murillo, La Paz.
Obras apresentadasl
Works in the exhibition
Bloody Mary, 1994
tcnica mistalmixed media
500 x 400 x 200 cm
Bloody Mary, 1994
tcnica mistalmixed media
500 x 400 x 200 cm
Bloody Mary, 1994
tcnica mista/mixed media
500 x 400 x 200 cm
147
BUlGARIA BU[GARIA
CU~ADO~ CU~ArO~ IA~O~~VA ~OU~NOVA
~O~O~ (tNlt~ fO~ CONltM~O~A~Y A~I~' ~OfIA
INSTABILIDADE - PROGRESSO
INSTABILlTY - PROGRESS
148
lUCHEZAR BOYADJIEY
Nasceu em Sfia, Bulgria, em
. 1957. De 1975 a 1980 estudou na
Academia Nacional de BelasArtes de Sfia. Vive e trabalha
em Sfia.
Bom in Sofia, Bulgaria, in 7957.
From 7975 to 7980, he studied at
National Academy of Fine Arts,
Sofia. Lives and works in Sofia.
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Pulpit-cross, 19 94
instalao/ installation 700 X 650 X 592 em
Coleo do arti sta
Foto: Nedialko Krustev
ri
L.
:,
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n
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Exposies individuais/Solo
exhibitions
1986 Mirror and Basic Images,
West Beth Gallery, Nova York.
1992 Crucifixion for the
Fisherman, Galeria Lessedra,
Sfia; Festigung des Glaubenes,
IFA Galerie Friedrichstrasse,
Berlim.
1993 Hohenthal und Bergen
Galerie, Munique; Solostand at
Kunstrai (com a Hohenthal und
Bergen Galerie), Amsterdam.
Exposies coletivas/Group
exhibitions
198911.11, Blagoevgrad,
Bulgria.
1990 10x10x10, Clube do Artista
Jovem, Sfia; End of Quotation,'
Clube do Artista Jovem, Sfia.
1991 Happy-krai, Clube do
Artista Jovem, Sfia; Kaimakart, Clube do Artista Jovem,
Sfia.
1992 Survey 92, Clube do Artista
Jovem, Sfia; From a Moment of
lruth - Works on Paper from
Bulgaria, Karl Drerup Gallery,
Plymouth State College,
Plymouth, EUA.
1993 Works on Paper, Galeria
Ata-Rai, Sfia; Kunst auf Zeit.
Eine Recherche, Obere Galerie
am Lutzow-Platz, Kunstamt
liergarten, Berlim; Object Bulgarian Style, Clube do
Artista Jovem, Sfia; lhe EastWest Art Fair, Hohenthal und
Bergen Galerie, Hamburgo.
Obras apresentadas/Works in the
exhibition
Pulpit-cross, 1994
instalao/installation
700 x 650 x 592 cm
Coleo do artista
Neo-Golgotha, 1994
instalao/insta//ation
350 x 865 x 40 cm
Coleo do artista
lYUBEN KOSTOV
Nasceu em Pleven, Bulgria, em
1952.
Bom in Pleven, Bulgaria, in 1952.
Exposies individuais/Solo
exhibitions
1992 mquinas de
madeira/wooden machines,
Instituto Cultural Francs, Sfia;
Machine for family satisfaction,
Galeria Arosita, Sfia.
1993 A trap for the time, Galeria
Lessedra, Sfia; Comet
(composio espacial ao ar
livre/open air spacial composition),
Sfia; Star dodecaedran
(composio espacial ao ar
livre/open air spacial composition),
Sfia; Nine col/ages on a hil/ like a
Exposies coletivas/Graup
exhibitions
19923 Bienal Internacional de
Istambul, Turquia; Festival
Internacional Processo-Espao,
Balchik, Bulgria.
1993 International Simposium
Akwa, Fridersdorf, Alemanha.
151
NEDKO SOlAKOY
Nasceu em Cherven Briag,
Bulgria, em 1957.
Bom in Cherven Briag, Bulgaria, in
1957.
Exposies individuais/Solo
exhibitions
1992 New Noah's Ark, Palcio
Nacional da Cultura, Sfia/IFA
Galerie, Berlim; Nine Objects,
Museu Nacional de Histria,
Sfia; Just Imagine ... , BINZ 39,
Zurique.
1993 Good Luck,
Medizinhistorisches Museum,
Zurique.
1994 Notes, Palcio Nacional da
Cultura, Sfia; lhe Superstitious
Man, Museu de Arte
Contempornea, Skopje,
Macednia; lhe Collector of Art,
Ludwig Museum, Budapeste.
Exposies coletivas/ Group
exhibitions
1988 lhe City, Galeria Rakovski
125, Sfia.
1990 Expressions, lhird Eye
Center, Glasgow.
1991 Europe Unknown, Palac
Sztuki, Cracvia.
1992 3 Bienal Internacional de
Istambul.
19935 Artists Show, Shedhalle,
Zurique; Aperto 93, Biennale di
Venezia, Veneza; Exchange 11,
Shedhalle, Zurique.
1994 Dermatology Art,
Faculdade de Medicina Departamento de Dermatologia,
Sfia; Naturally... , Ernst
Museum, Budapeste.
152
153
CANADA CANADA
CU~ADO~ CU~ArO~ WAYNc ~Ac~WAlDI
154
Found images and parodic sayings were recyc/ed through the network to
create a sense of a shared utopian vision and shared critique of the Wests
obsession with mastery and progresso Yet the relationship betweeen art and
the images of the image industry was also contradictory, dialectical and
crtica I. Byembracing the emptiness of mass culture one broke its
mesmerizing spell and transformed the power of the spell by speaking
through its very instruments. "
The Colour Bar Research project is an opportunty to both recreate and reveal
the virtual realty of Image Banks important Colour Bar Research. It proposes
an interactive virtual reality of infinitely variable images that pre-dated the
advances of computer technology. A. A. Bronson, from Generalldea, saw the
method of the image in dialectical Dpposition to the method of conceptual art
from which the Morris/Trasov Archive began. At the time he maintained that
the conceptual artist started with the parts and named the structure while
"Image Bank starts with the structure and names the parts", much the way
countless PC users access and manipulate information to create their own
image worlds instead of passively consuming one.
155
CHilE CHIlE
CU~ADO~ CU~AO~ GA~~I[l ~A~~O~
157
The looms and figures of Ester Chacn belong to the world of knots. String,
raffia, hemp plus wool and sisal are united to recreate the ancient American
woven fabrico Echoes of the Nazca and Chancay cultures are bom again with
the artist's basting plastic language.
Fram her works emerge, united, not only magic but also mistery.
.
The open texture of the hem acquires more consistency towards the center of
the 100m allowing the understanding of that which is recognizable: faces,
attitudes and colorful Pre-Colombian clothing. Her manual and inventive
ability transform material in an expressive support of tendemess and pain of
her characters, fram the ritual ball and the Americanist atmosphere which
appear in her works where textile outlines predomina te.
Gabriel Barros
158
ESTER CHACON
Atuendo, 1975
fibras/fibers 160 x 90 x 40 em
Foto: Gandara
Obras apresentadas/
Works in the exhibition
Atuendo, 1975
fibras/fibers
160 x 90 x 40 cm
Chaman, 1976
fibras/fibers
350 x 120 x 60 cm
Esperando (2 peas/pieces), 1976
fibras/fibers
180 x 160 x 80 cm, 180 x 80 cm
Totem, 1977
fibras/fibers
130 x 40 x 50 cm
Siempreverde, 1979
fibras/fibers
160 x 105 cm
Metamorfosis, 1980
fibras/fibers
60 x 60 x 35 cm
Telon (4 peas/pieces), 1982
fibras/fibers
200 x 400 cm
Yacen ah, 1983
fibras/fibers
30 x 200 x 180 cm
Mujer, 1984
fibras/fibers
320 x 120 x 80 cm
Princesa de Chiu-Chiu, 1980
fibras/fibers
En azul, 1981
fibras/fibers
200x80 cm
Personaje, 1981
fibras/fibers
55x55x55cm
Geografa, 1985
fibras/fibers
300 x 200 cm
Periplo, 1986
fibras/fibers
300 x 250 cm
Hoy es siempre todavia, 1986
fibras/fibers
70x 70x50 cm
159
HUGO MARIN
Nasceu em 1930 no Chile, onde
iniciou seus estudos. Em 1952,
recebeu bolsa de estudos do
governo francs para
especializar-se em Paris e, em
1953, bolsa do governo italiano
para um curso de
especializao em Roma, nas
reas de pintura e escultura.
160
PrmioslPrizes
1953 Prix des Anciens, Paris.
1992 Prmio de pinturalpainture
prize America Aver V HoV, Chile.
Coleesl Collections
Museu Stocklet, Bruxelas;
Museu Histrico Nacional,
Genebra; Museu de Arte
Moderna, Paris; Museo de la
Solidaridad S. Allende, Museo
de Arte Contemporneo, Museo
de Historia Natural, Chile.
Obras apresentadasl
170 x 40 x 50 cm
Coleo do artista
Vi
/
f
/
/,
UlRICH WElSS
91 x 102 cm
Deformada, 1990
tcnica mistalmixed media
81 x 100 cm
Coleo do artista
Tanu, 1991
tcnica mistalmixed media
102x 92 cm
Coleo do artista
Antropomorfo, 1991
tcnica mistalmixed media
93 x 103 cm
Coleo do artista
Nino en cama, 1992
tcnica mistalmixed media
113 x 102 cm
Coleo do artista
Me rompieron, 1989
tcnica mistalmixed media
134 x 105 cm
Coleo do artista
Amrica, 1992
tcnica mistalmixed media
142 x 122 cm
Coleo do artista
161
COlOMBIA CO[OMBIA
CU~ADO~ CU~AO~ MA~IA ClVI~A A~DI~
FINAL DE MILNIO
ENO DF A MILLENIUM
Ouring recent years Colombia has become a center of fine arts in which
diversity and complexity are rapidly assimilated in their creators' works. For
the 22 8ienallnternacional de So Paulo, we selected three artists who have
been developing a coherent work lately Theyare: Maria Fernanda Cardoso,
Hugo Zapata andBernardo Salcedo.
162
Mara Fernanda is the youngest among them and since the beginning of her
career has been involved in a meticulous research with non-conventional
materiaIs such as com, flowers, sugar, cattle banes, dissected toads and
sma/! lizards, among others, to produce her insta/!ations.
For this 8iennial the artist prepared an installation consisting of sea
elements: she/!s, snails, starfishes, evoking the aquatic environment which
makes the observer get in touch with a revised scene.
With a clear/y ecological proposal, Mara Fernanda intends to give lite back
to nature; her insta/!ations present aesthetical, conceptual, emotional and
symbolic connotations.
Sculptor Hugo Zapata has been developing an integration of iron and slate, a
volcanic stone, water and mercury, creating geographic-type sculptures, in
which he evokes fragments of his region's landscape.
For this 8iennial Zapata prepared a project entit/ed Espejos dei agua (Water
mirrors) which represent sma/! astronomic observatories, resembling those of
pre-Colombian cultures, especia/!y those of Peru.
Zapata wi/! perform a ritual act for the cosmo and stars, mixing water and
laser technology
163
BERNARDO SAlCEDO
.,
Solo exhibitions
1965-67 Museo de Arte
Moderno, Bogot.
1968 Galera Mara Traba,
Bogot.
1969 Centro Artstico,
Barranquilla, Colmbia; Museo
de Arte Moderno, Bogot.
1970 Sala Gregorio Vsquez,
Bogot.
1971 Provectos, CAVC, Buenos
Aires.
19721nternational Cultural
Centrum, Anturpia.
1975 Galera Esede, Bogot;
Galera Barbier, Barcelona.
1976 Galera Pecanins,
Barcelona.
1977 Cajas, Objetos V
Operaciones Bsicas, Galera
Aele, Madri.
1978 Galera Ruiz Castilho,
Madri.
1980 Cosas Nuevas, Galera
Garcs Velsquez, Bogot.
1981 Senales Particulares,
Galera Garcs Velsquez,
Bogot.
1982 Estudio Actual, Caracas,
Venezuela; Galera Nueve, Lima,
Peru.
1984 Galera Garcs Velsquez,
Bogot; Abstracts Atitudes,
164
Group exhibitions
19663 Bienal Internacional de
Arte, Crdoba, Argentina.
1967 La Jeune Sculpture, Muse
Rodin, Paris.
1969 Arte Colombiana,
Biblioteca Luis Angel Arango,
Bogot.
1971 Bienal Internacional de
So Paulo; Diez Anos de Arte
Colombiano, Museo de Arte
Moderno La Tertulia, Cali,
Colmbia.
Foto: Divulgao
Escultura
conjunto de obras de
Flores deI mal/
set of the works ofFlores dei mal
165
HUGO ZAPATA
Nasceu em La Tebaida
(Quindio), Colmbia, em 1945. De
1963 a 1966 estudou artes
plsticas na 'Universidad de
Antiquia, Medelln. Formou-se
em arquitetura pela Uni,versidad
Nacional de Medelln. E
professor e fundador da cadeira
de artes plsticas na
Universidad de Colombia,
Medelln.
Bom in La Tebaida (Ouindio),
Colombia, in 1945. From 1963 to
1966 studied fine arts at
Universidad de Antiquia, Medelln.
Graduated in Architecture at
Universidad Nacional de Medelln.
He is a professor and founder of
Fine Arts Discipline at Universidad
de Colombia, Medelln.
Exposies individuais/
Solo exhibitions
1976 Galera de la Oficina,
Medelln; Galera Belarca,
Bogot, Colmbia; Galera
Letras, Cali.
1977 Galera de la Oficina,
Medelln.
1987 Zapata 1978-1987,
Suramericana de Seguros,
Medelln.
1988 Hugo Zapata, Obra
Reciente, Galera de la Oficina,
Medelln.
1990 Colombia en Francia (com
Lus Fernando Pelez), Avignon,
Frana; La Apropiacin dei
Paisaje, Museu da Universidade
Nacional de Bogot.
166
I
\
167
itinerante/travelling exhibition),
Art Gallery, Winnipeg Manitoba,
Canad/Biblioteca Lus Angel .
Arango, Bogot/National
Gallery of Canada, Ottawa/The
Bronx Museum of the Arts, Nova
Vork; Lingua Latina Regina Est,
Stux Gallery, Nova Vork; Work in
Progress by Visiting Faculty, San
Francisco Art Institute, San
Francisco.
Prmios/Prizes
1987 Jovens Talentos/Young
Talents (bolsa de estudos no
estrangeiro/foreign study
scholarship), Banco de la
Repblica de Colombia.
1990 1 prmio/first prize, 2
Bienal de Arte de Bogot,
Museo de Arte Moderno,
Bogot.
Obras apresentadas/
Works in the exhibition
Shell constructions, 1993-94
conchas marinhas, cola,
metal!sea shells, glue, metal
dimenses variveis (20
unidades diferentes)/variable
dimensions (20 different units)
Coleo da artista
Sea horse mobil, 1993-94
cavalos"marinhos, metal!
sea horses, metal
"
dimenses variveisF
variable dimen$ions
Coleo da artista
Sea urchins, 1993-94
ourios-do-mar, plstico,
metal/sea urchins, plastic, metal
dimenses variveis/
variable dimensions
Coleo da artista
Woven water, 1993-94
estrelas-do-mar azuis e verdes,
metal/blue and green starfish,
metal
dimenses variveis (30
unidades)/variable dimensions
(30 units)
140 x 140 x 30 cm cada/each
Coleo da artista
Marine floor, 1993-94
estrel-do-mar laranja,
metal/orange starfish, metal
dimenses variveis
(7 unidades)jvariable dimensions
(7 units)
30 x 200 x 120 cm cada/ each
Coleo da artista
Starfish balls, 1993-94
estrela-do-mar, metal/starfish,
metal
70 x 70 x 70 cm; 50 x 50 x 50 cm
Coleo da artista
COREIA KORfA
CU~ADO~ CU~Aro~ ~O~YUNG ~IM
COMI~~A~IO COMM15510Nf~ JUN ~OO JUN
Korean contemporary art in the 1990's displays the calm resumption of its
spirituality, which has been silenced since the 70's. The main trend of what
we cal! spiritualism could be understood as an antagonism against the
materialism of the past era.
To understand the tuming point of Korean history we need to delve into its
social, historical and ideological context beca use the recent spiritual trend
comes from very ditferent ways and sources. It is important to cal! attention
to the fact that this new flow of spiritualness shows an endeavour to link
spiritual problems to the issue of the usupportU in the work of art. That is the
reason why some Korean artists believe that the concept of support, a
common denominator in contemporary art since the 50's, could reach new
meanings through their spiritual approach. Young-Won, Duck-Hyun and HyunJung Shin, the artists who represent Korea in this 22 Bienallntemacional de
So Paulo, share this opinion.
U
Kim has been concentrating in the uspirit , in an attempt to elevate the
human soul and to disco ver himself through his work. For him, to work';s
equal to practise the self-discipline suggested by Zen Budhism. Among his
subjects we can find human beings, animaIs and ghosts with their
desires, emotions and spirituality. His works have a kind of
abstract-symbolic structure.
Cho makes a modem and accurate description of his country through old and
forgotten photographs as wel/ as objects such as open wooden boxes, maps,
violins, mirrors, threads and soil- a criticaI assessment of reality charged
with the tensions of this century, such as the tension between lite and death
and, especial/y, between that which is alive and what is stil/ to come.
Using materiaIs such as plastic, wood, neon, mud, cardboard, etc. together
with a hard manual labor, Shin shows huge instal/ations shaped by concepts
as spirituality, lite, environment and the naturalistic Korean philosophy. His
works express men's limitation to the uterus, their homes, their tombs.
Contemporary Korean art seeks a new movement toward the next century
although at present the spiritual quest is a very strong trend.
Bok-yung Kim
169
DUCKHYUN CHO
Nasceu em 1957. mestre em
artes pela Universidade
Nacional de Seul.
Bom in 1957. He graduated fram
Seoul National University (B.FA.
andM.FA.).
Exposies individuais!
Solo exhibitions
1988 Galeria Hyun-Dai, Seul.
1990 Galeria ROHO, Berlim.
1991 Galeria Awangarda,
Wroclaw.
1992 Galeria Mee-Gun, Seul.
1993 Dorothy Goldeen Gallery,
Los Angeles.
1993 Kukje Gallery, Seul.
Exposies coletivas!
Graup exhibitions
1990 Festivallnternational de
Peinture, Cagnes, Frana.
Box, 1994
tcnica mista/mixed media
210 x 210 x 210 cm
170
Box, 1994
tcnica mista/mixed media
210 x 210 x 210 cm
171
HYUNJUNG SHIN
Nasceu em Seul em 1953. Em
1980 graduou-se em artes pela
Universidade Nacional de Seul
e, em 1985, tornou-se mestre em
artes pelo Pratt Institute,
Estados Unidos.
Bom in Seoul in 1953. In 1980, he
graduated at the Seoul National
University (B.FA.) and in 1985 at the
Pratt Institute (MIA.), in USA.
Exposies/Exhibitions
Quatro exposies
individuais/four solo exhibitions.
1982 Seoul Sculptors Society
Exhibition, Seul.
19833rd Gallery (exposio
inaugural/opening exhibition),
Nova Vork.
1994 Artists' Call, Higgins Hall
Gallery, Nova Vork.
1985 Three in Sculpture, Korean
Cultural Service Gallery, Nova
Vork.
1986 Seoul Sculptors Society
Exhibition, Art Center, Seul.
1987 Today in Korean Sculpture,
Total Open Art Museum, Jang
Heung.
1988 The Language of Space, Art
Center, Seul.
1989 Seo Mi Gallery (exposio
inaugural/opening exhibition),
Seul.
1990 '90 Exhibition of a New
Spirit, Kum Ho Gallery, Seul.
1991 exposio comemorativa
do 10 aniversrio do Prmio
Suk Nam/l0th anniversary
exhibition of the Suk Nam Art Prize,
Hankook Museum, Seul.
1992 Voung Artists' Exhibition,
Art Center, Seul.
Prmios/Prizes
19866 Suk Nam Art Prize
1991 2 Kim Se-Joong Prize para
jovens escultores/for Junior
sculptors.
Obra apresentada/
Work in the exhibition
The ice sphinx and six even-toed
ungulates, 1993
madeira/wood
400 x 500 x 250 cm
172
YOUNG-WON KIM
Nasceu em 1947. Formou-se
pela Escola de Belas-~rtes da
Universidade Hongik. E
professor do Departamento de
Educao Artstica da
Universidade Choongbuk.
Bom in 7947. He graduated at the
College of Fine Arts and Graduated
School of Hongik University. He is a
professor of the Department of Art
Education at Choongbuk University.
Exposies/Exhibitions
Seis exposies individuais/six
solo exhibitions.
Korea-Japan Modern Sculpture
Exhibition, Hukuoka, Japo/
Seul, Coria.
Korea Contemporary Art
Exhibition, em comemorao
aos Jogos Olmpicos/held in
commemoration of the Olympic
Games, Museu Nacional de Arte
Moderna, Seul.
Korea Contemporary Art
Exhibition, Grand Palais, Paris.
1993 Small Sculpture Triennial,
Walker HiII Art Center, Seul;
Expo '93 Tactile Sculpture
Exhibition, Cultural Exhibition
Hall Taejon.
Prmios/Prizes
29 e 30 prmios especiais da
Exposio Nacional de
Arte/29th and 30th special prizes of
National Art Exhibition.
2 prmio/2nd prize, Dong-Ah Art
Exhibition.
Obra apresentada/
Work in the exhibition
Emptiness-energy 1./1./11, 1994
ferro fundido, fibra
composta/cast iron, composition
fiber
500 x 400 x 250 cm
173
174
lUIS CHACON
MIGUEl CASAfONT
PAUlINA ORTIZ
Sem ttulo/ untitled, 1994
instalao - projeto coletivo: tcnica mista/
LUIS CHACN
Nasceu na Costa Rica em 1953.
Doutorou-se em artes plsticas,
com nfase na arte prcolombiana, pela Universidade
de Paris. Em 1976 licenciou-se
em belas-artes pela
Universidade da Costa Rica.
Tem 25 anos ininterruptos de
criao artstica. Criou, na
Costa Rica, o Museo de Arte y
Diseno Contemporneo, o
Museo de Arte Regional e a
(ialera de Arte Contemporneo.
E assessor do Ministrio da
Cultura de seu pas.
Bom in Costa Rica, in 1953. He had
his doctor's degree on plastic art,
specially pre-colombian art, at the
University of Paris. In 1976 he was
graduated in Fine Arts at the
University of Costa Rica. He has 25
years of artistic criation. He
founded the Museum of Art and
Contemporary Design, the Museum
of Regional Art and the Gallery of
Contemporary Art, ali of them in
Costa Rica. Since 1990 he is
assessor of the Ministry of Culture
in his country.
Colees/Collections
Museo Nacional, Costa Rica;
Museo de Arte Costarricense;
Museo dei Jade, Costa Rica;
Banco Nacional de Costa Rica;
Museos dei Banco Central de
Costa Rica; Museo de Arte
Contemporneo de Barbados;
Aeropuerto Internacional
Santamara, Costa Rica; Casa
Presidencial de Bellas Artes de
Valparaso, Chile; Sociedade
Internacional de Artistas
Japoneses/lntemational Society
of Japanese Artists, Fudarte,
Colmbia; Instituto de Pesquisa
do Cncer/Cancer Research
Institute, Atlanta, EUA; Centro
Cultural Mexicano, Costa Rica;
Aliana Francesa, Costa Rica;
Embaixada da Frana/French
Embassy, Costa Rica; Museo
Hayde Santamara, Casa de las
Amricas, Havana; Maison de
I' Unesco, Paris; Museu Nacional
de Belas-Artes Tai Chou e Museu
de Arte Contempornea de Tai
Pei, Repblica da China; Museu
das Amricas, Washington, D.C.;
Memorial da Amrica Latina,
So Paulo; Archivo Nacional de
Costa Rica.
Prmios/Prizes
1986 Premio Unico, Bienal L&S,
Costa Rica.
1988 Premio Forjador de la
Democracia, Costa Rica.
1989 e 1992 Premio Nacional de
Pintura J. Echeverra, Costa
Rica.
1981-82 e 1991-92 Premio
Ancora, do jornal La Nacin.
199321! prmio, Arte a lo Grande,
Museo de Arte Costarricense.
MIGUEL CASAFONT
Nasceu em 1959 na Costa Rica.
Em 1982 bacharelou-se em artes
plsticas, com nfase em artes
grficas, pela Universidade da
Costa Rica. Graduou-se mestre
em cincias pelo Pratt Institute,
Nova Vork, em 1987. Em 1993
tornou-se especialista em
belas-artes pela Universidade
da Costa Rica. Importantes
Exposies coletivas/
Group exhibitions
1987 Creacin Expontnea,
Parque Nacional de Costa Rica;
De la Natura ai Arte, dei Arte a
la Natura, Galera Nacional de
Arte Contemporneo, Costa
Rica.
1988 Primer Bienal Francisco
Amighetti, Centro Cultural
Costarricense-Norteamericano.
19893 Bienal de la Habana,
Havana; Costa Rica en el Arte,
Museos dei Banco Central de
Costa Rica.
1990 Tour Europeu de Arte
Costarricense; Arte
Centroamericano Hoy, Convento
de los Dominicos, Guatemala;
Bocarac 90, Colegio
Internacional S.E.K., Costa Rica.
1991 Costa Rica: A Panorama of
Contemporary Art, FMI - Fundo
Monetrio Internacional,
Washington; Costa Rica en el
Arte, Miami Dade Community
College, Flrida.
1992 Museo de la Estampa,
Mxico.
Obra apresentada/
Work in the exhibition
Grupo (Paulina Ortiz, Miguel
Casafont, Luis Chacn)
Sem ttulo/untitled, 1994
instalao - projeto coletivo:
tcnica mista/installation - group
project: mixed media
altura/height: 493 cm, B 1146 cm
175
CROACIA CROATIA
CU~ADO~ CU~AO~ IIHOMI~ MllOVAC
)O~O) C[NI[~ fO~ CONI[M~O~A~Y A~l) -ZAG~m
SHADOW AS MATERIAL
176
In 1985, Petercol introduced new elements in his work, elements which stil/
determine his output today Light as a medium determines the course of aI/
events, and shadow as material serves as a constructive bond that ties
together ali elements of his work. The shape of a shadow is a projection
(nega tive, reflection) of an object, an obstacle placed in the path of light.
Usual/y, objects are simple ready-mades: straight or bent wire, aluminum
sheets or timber planks, brick, brass tubes ... As Petercol must move and be
dynamic during his artistic presentation, space itself becomes dynamic,
turning into an integral and indispensable part of his work. The line of light
determines work's course (construction), and shadow defines the shape and
position of each consecutive element, including a new shadow. His work
assumes a self-organizing structure evident in its expansion in volume and
space (Projections, 1986; Expansion of form, 1988; Expanded shadow,
1988-89; Halted shadow, 1986-88).
This process was taken a step further when Petercol materialized a shadow
to transform it into a three-dimensional object (Enlarged shadows, 1987-88;
Sjene, 1989-91).
Tihomir Milovac
111
GORAN PETERCOl
Sjene/137, 1994
projeo de slide s/parede. hastes de lato/s/ide
projection on the wal/. brass sticks
223 x 223 x 15 em
Foto: M. Vesovie
178
Sjene/138, 1994
arame, hastes de lato, luz/wire, brass sticks, ligth
67 x 16 x 20 em
Foto: M. Vesovie
Contempornea, Zagreb/Museu
de Arte Contempornea,
Belgrado/Collegium Artisticum,
Sarajevo.
1984 Towards the Russian
Avant-gardes, Prostor PM,
Zagreb.
1985 Present Trends in Croatian
Art, Museu de Arte
Contempornea, Skopje,
Macednia; Material as
Challenge, Art Gallery, Banja
Luka, Bsnia.
.
1986 Art Criticism in Mid '80,
Collegium Artisticum, Sarajevo;
Geometric Abstraction in New
Croatian Art, Centro Cultural,
Gospic, Crocia; Mikromegas,
Palcio de Diocleciano, Split,
Crocia; Geometry, Galeria
Karas, Zagreb; Without Title:
Geometries, Galeria do Centro
Cultural, Novi Sad, Iugoslvia;
Geometric Tendencies Today,
Modern Gallery, Liubliana,
Eslovnia.
1987 Vugoslav Documents 87,
Collegium Artisticum, Sarajevo;
Artist as a Constructor of Work's
Gr-Bretanha; Fra-Vu-Kult,
Monastrio dos Franciscanos,
Sirok Brijeg, Bsnia; Croatian
Art in '80, Centro Skenderija,
Sarajevo; Vugoslav Avantgardes, Muse d'Art, Toulon,
Frana.
1991 War and Peace - for
Croatia, Caf Qvorum, Volosko,
Crocia.
1992 Kotars Horvat Muveszet,
Ernst Museum, Budapeste,
Hungria; Kroatische Malerei der
Gegenwart, Frankfurter Romer,
Frankfurt; Identitat: Diferenz,
Stadtmuseum, Graz, ustria; The
Fali, Immoart Gallery, Anturpia,
Blgica; Die Idee einer
Sammlung, Dorotheum, Viena;
EgoEast, Pavilho de Arte,
Zagreb; Art/LA 92, Los Angeles.
1993 Crossing Over, Ferryboat
Kronborg, Copenhague; Place
and Destiny, Rupe Museum,
Dubrovnik, Crocia; Six
Croatians Artists - Art of
Defensive, Neoexistentialism,
Galeria Zvonimir, Zagreb; At
Home, Calle dei Botteri, Veneza;
179
CUBA CUBA
CU~ADO~ CU~AIO~ lllAN l~N[)
KCHO
KCHO
Lembro-me da primeira vez que vi uma obra de Kcho. Foi numa visita
que fiz Ilha da Juventude h alguns anos. Caminhando pela cidade,
um objeto pendurado no interior de uma loja me chamou a ateno;
perguntei o que era e me disseram que era obra de um artista da ilha.
Meses mais tarde voltei a v-Ia numa das exposies paralelas s
organizadas em funo da Cuarta Bienal de la Habana. Tratava-se de
La jaba, uma das primeiras obras divulgadas junto aos meios
artsticos do pas.
I can stil/ remember the first time I have seen an artwark by Kcha. Some
years aga, I visited Cuba. While walking around the city I saw an abject, hung
inside a shap, which drew my attentian; I inquired abaut it and they
answered that it was an artwark by ane af the Cuban artists. Some manths
later, I saw it again in an alterna tive exhibitian which was held
.
simultaneausly with the 4th Biennial af Havana. It was entitled La jaba and
was ane af the first artwarks promated by Cubas media.
180
Since then, Kcha has develaped his creative process with a surprising sense
af accamplishment. He approaches the warld based an the impact af his
intense experience, marked by the semi-urban environment where he was
brought up and the camplexity af his background. When ane moves fram the
cauntryside to the city, ane undergaes changes related to: the natian af time,
relatianships and the cancept af spatiality. In the cauntry ane laaks at the sky
aI/ the time; in the city ane always watches their steps. Althaugh, in the city
the relatianships are more hastile, they did nat change Kchas sensitivity
tawards the environment and his habit af turning systematical/y to nature
elements that imprint cultural symbalical meanings to his artwark.
Sa as to develap his awn reflective strategies he avails himself af randamly
chasen materiaIs, which havealways been present in his pieces. Because af
his cancern with the problems and circumstances af his environment, he
more and more ariented his questians tawards themes that express the usual
warries af mano
.
In his first artwarks he tried to establish a relatian between nature,
landscape and popular culture. He was brought up in a jainers warkshap
amang machinery and saws, watching his father wark and abserving his
mather's handicraft. He graduated in painting at the Escola Nacional de Arte,
hawever he denied painting as a farm af expressian and turned to sculpture.
We may say that his current artwarks are a product af this denying af
painting ,. he apenly states that he hates painting. He can nat stand calars.
He prefers the austerity af the original colar af the materiaIs, which partial/y
explains the manachromatic character af his sculptures and drawings.
Dismissing the techniques learnt at cal/ege and taking advantage af the
knawledge acquired through the abservatian af his parents' handwark. He
created art pieces based an the barrowing af popular culture. He chase
sculpture as a means to celebra te craftwark.
His artwarks take inspiratian fram themes related to the warries af artists af
his generatian.
Kcha used and, some times, even abused af pa trio tic symbals in his artwark,
especial/y in the beginning af his career as a means af shawing his persanal
views an reality. It was accarding to this approach that he has created EI
escudo and La escalera. Althaugh they might be cansidered trial pieces, they
display his creative capacity and the quality af his sculpture.
Under the same approach and still concerned with expressing his personal
views on the most usual themes among Cuba S young artists he created
artworks such as EI garabato and the trilogy La jaba, La jaula and Papalote.
Even though ali of them bear an extraordinary synthesis capacity, I believe
that EI garabato and La jaba are the most complete artworks of this phase. La
jaba - one of his best artworks - was created during his time in the army,
upon request of the Centro dei Desarrollo de los Artes Visuales and
participated in the Triennial of sculpture in Poland.
However, it was Espiral de Ttlin - one ofthe art pieces of his solo exhibition
at the Museo Nacional de Bellas Artes - that showed,an actual change in his
approach. He created Espiral de Ttlin together with Arboles-remo and
undoubtedly, both caused a change in his views towards the concept of
sculpture as an absolute. The tightly knit relation with craftwork, which used
to be his main concern. Nevertheless, it was La regata that marked a major
change in his works. It does not mean that he had completely discarded the
characteristics present on previous phases, since together with his
reflections about migration and its effects - bore by Arboles-remo - Kcho
started developing new language proposals and delved into the definition of
his own concepts. He is poetic, sensitive and some times touching, showing
his concerns in a very personal way and imprinting originality and sincerity on
his pieces.
The new ideas that have been developed since the creation of La regata are
associated with the space used in this artwork. As for that time his interests
turned to the creation of groups, accumulation of objects, the building of
large planes where he granted movement to his ideas, and the structuring of
large spaces where he could tell his stories - not only where he could tell
them but also where they could be experienced. He started creating spaces
where the spectator could participa te and move.
The work that he is going to present in the 22nd Bienal Internacional de So
Paulo follows the concept above. As the artist wanted to draw closer to the
spectators it was planned so that they could pass by and go through it. That
is why it is placed between two exhibition rooms, forcing people to go
through it as they go from one of these rooms to the other.
However, the core idea of this installation - resuming the rboles-remo idea focuses on the reflection about the cultural effects of spatial movement on
men.
Although he had conceptually created this installation, it will assume the
form inspired by the space in Ibirapuera and by the emotions raised in him by
people. As he is aware of the protection that an art piece receives inside a
museum, he is not concerned with the definition of art but with the
appropriation of things whose meanings have been generated within himself,
redefining them according to the idea he wants to share.
L/ilian L/anes
181
Conventional criteria would not easily classify Tonels works, for the most
interesting and complex aspect of it seems to be the paradoxical manner
with which he incorporates the realityextraneous to art into the reality of the
work of art. When using that statement, Iam certainly starting to contradict
myself for, in fact, in the case of Tonel, I have always deemed more
appropriate talking about activity ar aesthetic atitude instead of art. The
peculiar naturalism of the artists drawings and instal/ations is not so much
characterized by a sociologic aspiration for immerging into the natural
environment (what would result in ideological/y pure but superfluous objects)
but by a "natural" absorption of this medium into the process of aesthetic
production, al/owing him to act from this side of the mirror. Therefore,
besides incorporating symbols of our contemporary "tropical psychology", he
reproduces such visuality with a ful/y objective methodology.
182
Many critics have emphasized the humorous nature of this reproduction (as a
matter of fact, theyare impel/ed to joke when writing about Tonel). For me,
there is, in fact, a funny trace in his work, speficical/y in his space-temporal
conception.
His pictures are "re-pictures", that is, fragments - not originaIs - of an event
of which limits are irrelevant. We see the protagonists of this event without
paying attention to where theyare. They se em to be ephemeral and we get
suprised when looking at them for the second time. Were they there indeed?
That is why we feel so odd when facing Tonels instal/ations. In his
instal/ation, we are the very protagonists. And we move, talk, and escape
fast when the situation turns to be toa embarassing. Time and space within
a repeated drama - that is what Tonels images transmit, fol/owed by
laughter.
I would rather use "festive" when referring to these images, beca use humor
is just a result of them. The laughter they provoke is the consequence of a
combination of contradictions. And this combination, used as the work
method and conception, is festive, i.e., is incorporated into a hierarchical
cultural arder aimed to reverse values. Hence, Tonels work is so ambiguous almost ubiquitous - if we look at it from the old counterposition view point
between erudite and popular ar with the mistaken intention of defining genre
ar "manifestation". Tonel subverts hierarchies, mix high culture and kitsch,
burlesques dominant discourse, interposes, as a ragged fel/ow, into the
sanctuary of art history and ends up converting (perverting) history into joke.
His entire work is a repertoire of quotations contraposing and talking to each
other. This is the origin of his linguistic dimensiono Tonels instal/ations,
drawings and paintings always leads to a verbal reading as visual decoding
supplement. Eiher through titles, ar incorporated texts, the spectator wil/
always see himself facing a combination of verbal and visual systems and the
relation between them. In his recent instal!ation assembled at the 5 Bienal
de Havana, the need for using the word led Tonel to instaI! a radio receiver as
part of the work. This duality is among the artists essencial objects. He is
able to invigorate the semiotic field of his work not so much for techniques ar
for subjects and meanings that are selected by him, but mainly for the
explosive capacity that emerges from the relation between word and image.
Juan Antonio Molina
KCHO
En e/ horizonte, 1994
instalao/ insta//ation
450 x 2000 x 50 em
Foto: Fernando Chaves
183
TONEl
600 x 1200 em
Foto: Fern?ndo Chaves
184
(desenhos, aquarelas
etc./drawings, watercolors, etc.),
Santa Cruz, Cuba.
1989 Vo lo que Guiero es Ser
Feliz, Museo Nacional-Castillo
de la Real Fuerza, Havana.
1992 Kuba in Aachen, Ludwig
Forum fr Internationale Kunst,
Alemanha.
1993 Tonel, Stadtische
Kunsthalle Dsseldorf.
Alemanha.
1994 Galeria Krings-Ernst,
Colnia, Alemanha.
Exposies coletivas/
Group exhibitions
Colees/ Collections
Museo Nacional, Havana;
Museo de Arte Moderno La
Tertulia, Cali, Colmbia;
Museo de Arte Costarricense,
San Jos, Costa Rica; Galeria
Krings-Ernst, Colnia,
Alemanha.
Prmios/Prizes
1984 Mencin de Dibujo Rafael
Blanco, 1 Bienal de La Habana.
1991 prmio da crtica de arte,
seo cubana da AICA.
Obra apresentada/
Work in the exhibition
Pas deseado, 1994
instalao de parede/
wall installation
600 x 1200 cm
CURACAU CURACAO
I
185
Com toda a razo, Rose Mary Allen disse: "Minerva um produto d"
energia destes anos. Seu trabalho mostra esse complexo processo
de rejeio e construo, de descolonizao e indigenismo. Sua
energia expressa-se na cor que emprega". A cor, segundo ela, sua
fora. Sua convico da importncia da natureza manifesta-se nos
elementos que ela escolhe.
Vubi Kirindongo um artista cujo poder de seduo e comunicao
salta vista. Ouando descobrimos suas esculturas feitas com prachoques de automveis - que, lamentavelmente, quase sempre
chamamos de bumpers -, elas nos causaram uma autntica
"gargalhada" visual por seu humor e engenhosidade.
O escultor curaauenho demonstra uma rara faculdade de
recuperao e metamorfose, quando, com sua fecunda fantasia
imaginativa, vai soldando e rejuntando sucata e ready-made
metlicos. Curiosamente, a partir de peas industriais em srie, ele
constri criaturas, mscaras e dolos relacionados com a
antropologia e o passado secular de seu pas.
Reciclando, Kirindongo recria e cria com uma paixo comunicativa.
Desse modo, ele no se limita a essas fantsticas metforas de metal
cromado, pois integra a seu arsenal de escultura materiais como o
cimento, a madeira, o ferro. Vubi Kirindongo participa desta Bienal
Internacional de So Paulo com trs obras feitas com ferro forjado,
de acordo com suas produes mais recentes, que mostram
eufemisticamente como os antigos grilhes e correntes da
escravido se converteram em smbolos de resistncia e vitria.
Graas a uma "mgica" bem caribenha, o ferro, apesar de comum e
frio, adquire propriedades surrealistas e emotivas.
Dotado de vigorosa personalidade, Philippe Zanolino possui uma
dinmica interna que o impede de limitar-se a uma s linguagem.
Sendo basicamente pintor, ele incursiona pela escultura e
instalao. Seu temperamento ardente transmite-se ao seu mundo
plstico, e graas a uma pesquisa em constante movimento no
receia desenvolver as mais fantsticas propostas. Pareceu-nos muito
acertada esta definio de Zanolino: "A arte no um sonho nem um
pesadelo, um tirano que nos impele a trabalhar".
186
MINERVA lAUffER
187
PHllIPPE ZANOllNO
188
YUBI KIRINDONGO
Museum, Curaau.
1986 Het Curacaosh Museum,
Curaau.
1988 Stedelijk Museum
Schiedam, Holanda.
1990 Galeria S, A. Schweitzer
School, Curaau.
1991 Hotel las Palmas, Curaau;
International Trade Center,
Curaau.
1992 Galeria '86, Curaau;
Curaao Seaquarium, Curaau.
1993 Arte do Caribe, Curaau.
Obras apresentadas!
Works in the exhibition
Care/ess Dnes, 1993
ferro enferrujado!rusted iron
130 x 70 x 30 em
Don Ouichotte, 1993
ferro enferrujado!rusted iron
144x55x45cm
Determinator, 1993
ferro enferrujado!rusted iron
110 x 69 x 30 em
189
DINAMARCA DENMARK
CU~ADO~ CU~AO~ VI~[~[ r[I[~~[N
190
In the 1990s, Claus Carstensen has concentrated more and more on the
relationship between pictorial statements and textual ones. He praduces his
Vibeke Petersen
191
ClAUS CARSTENSEN
Nasceu em Sondenborg,
Dinamarca, em 1957. Estudou na
Academia Real deBelas Artes
da Dinamarca, em Copenhague
(1977-1983), e no Instituto de
literatura da Universidade de
Copenhague (1979-1983).
Bom in Sondenborg, Denmark, in
7957. He studied at the Royal
Danish Academy of Art,
Copenhagen (7977-7983) and at the
Institute for Lterature, Universty of
Copenhagen (7979-7983).
Exposies individuais/Solo
exhibitions
1986 lriptych for Laure, Randers
Kunstmuseum, Randers.
1987 Vestsjaellands
Kunstmuseum
(desenhos/drawings), Soro;
Aarhus Kunstmuseum (16
colagens/ 76 collages), Arhus.
1989 Bonde-CarstensenFrandsen, Aarhus Kunstmuseum,
Arhus.
1990 Galeria Mikael Andersen,
Copenhague; Galerie Sophia
Ungers, Colnia; Convict (com
Peter Bonde), Galeria Ric Urmel,
Gent.
1991 Art Cologne, Galerie
Sophia Ungers, Colnia.
1992 Membranes, Neuer
Aachener Kunstverein, Aachen;
Front Window, Buchhandlung
Walther Knig, Colnia; Untitled
Room for Zoe, Galerie Sophia
Ungers, Colnia; BondeCarstensen-Frandsen, Centro de
Artes Nrdicas, Helsinque;
Roslyn Oxley Galllery (com John
Nixon), Sydney.
1993 Untitled Room for Zoe,
Galeria Mikael Andersen,
Copenhague; Gimpel Fils,
192
Londres; Strawdogs,
Kunstforeningen, Copenhague.
Exposies coletivas/ Group
exhibitions
1989 Broken Music,
Daad-Galerie,
Berl im/Gemeentemuseum/Den
Haag und Magasin, Grenoble.
1990 lhe Kln Show, Colnia;
legning og Grafik 1960-199.0,
Aarhus Kunstmuseum, Arhus.
1991 Stilstand, switches,
Shedhalle, Zurique; Melankoli,
Aarhus Kunstmuseum, Arhus.
1992 lhe Anonymous Museum,
Chicago; Standards, Galerie
Sophia Ungers, Colnia; Daniel
Buchholz Greatest Hits, Daniel
Bucholz, Colnia; Biennale of
Sydney, Sydney; Mind the Gap,
Moderna Museet, Estocolmo.
1994 Away but Home, Moderna
Museet, Estocolmo; Punishment
& Decoration, Hohenthal und
Bergen, Colnia.
Obras apresentadas/ Works in the
exhibtion
Defucemen~ (8desenho~
- drawings),1993
acrlico s/papel!acrylic on paper
118 x 84 cm cada/ each
Coleo do artista
Cance//ation proof
(3 scanachromes), 1993-94
scanachrome s/PVC
/ scanachrom on PVC
250 x 189 cm cada/ each
Coleo do artista
Cancellation proof
(3 scanachromes), 1993-94
scanachrome s/PVC
/ scanachrome on PVC
250 x 172 cm cada/ each
Coleo do artista
EGITO EGYPT
CU~ADO~ CU~AO~ AHMm NAWA~
GRUPO EIXO
Thirteen years ago a revolutionary art group called "The Axis Group"
appeared in Egypt, formed by four established Egyptian artists: Ahmed
Nawar, Abdel Rahman EI Nashar, Farghali Abdel Hafiz and Mostafa EI Razzaz.
They aimed at provoking creative and experimental shocks in the Cairo art
scene during the seventies, when egoism and nega tive attitudes,
commercialism, lack of energetic intellectual interaction, loss of confidence
on adventurous attempts dominated the art scene in which conventionalism
had superimposed itself on energetic creative activities.
The Axis Group emerged as an expression of the flowing creative energy
inheritedfrom its members. Their first exhibition took place in 1981, facing
the greatest rejection ever in Egypt's contemporary movement. It proved a
powerful point, an electrifying shock. During eleven months, the Axis Group
was the "talk of the town ": every artist, every fine arts gathering discussed
just one subject: Axis.
The second Axis exhibition was held in Cairo, in 1982. It took place in a huge
palace hall, a large scale architectural form with paints, screens, sculptural
objects, wires and robes, lights and gleam. Unlike the first one, this second
event was received warmly. Critics, novelists, poets and artists made positive
comments about the Axis Group, about their positive attempt at rescuing the
falling creative energy of the Egyptian art scene. This second event was
introduced by the group as follows: "Today, April17, 1982, the group is
exhibiting its second axis. We have worked intensively and carefully to
achieve further positive results. "
193
It is important to reitera te here the thought which the group was trying to
convey The objective was to create an artwork with an integral and unfied
aesthetic form although composed of various and dfferent artistic
expressions. Actually it is an artistic expression interwoven bya variety of
trends. It is a proposal for cooperation in a world characterized by
disintegraton, lack of assimilation and loss of individuality (In other words, it
is a manfestation of theuniversallaw of integrity and diversity at the same
time).
194
In 1984 the group was invited to create an enormous public mural in Asila,
Morocco, which was followed by another invitation to create a mural for a
publc buildng in Cairo, in 1994.
The Axis Group will bring a new approach to their exhibtion at the 22 Bienal
Internacional de So Paulo, confirming their philosophy and adding concrete
interaction between sophsticated art work and street people at large,
blending the spontaneous reactions of eommon folk to contemporary art form,
revealing the conflcts between the two. What will be shown in So Paulo is
the outcome of ths confrontation: that an art form needs to have the
fingerprints of its street public.
AXIS GROUP
exhibition).
Obra apresentada/
195
ABDELRAHMANELNASHAR
Nasceu no Cairo em 1932. Em
1956 formou-se pela Faculdade
de Belas-Artes do Cairo e, em
1970, pela Aademia de Arte de
Budapeste. E professor doutor
em educao artstica (pintura)
pela Universidade Helwan,
Cairo (1978). Desde 1987
membro da Assocjao Egpcia
de Artes Visuais. E professor e
chefe do Departamento de
Pintura da Faculdade de
Educao Artstica.
Bom in Cairo in 1932. In 1956 he
graduated from the Faculty of Fine
Arts in Cairo and in 1970 from the
Budapest Art Academv He is Ph.D
in art education (painting) from
Helwan University, Cairo. Since
1987 he has been a member of the
Egyptian Association of Visual Arts.
He is professor and chairman of the
Painting Department of the Faculty
of Art Education.
Exposies individuais/Solo
exhibitions
1970 Galeria da Unio
Socialista, Budapeste.
1971 Galeria Akhnaton, Cairo.
1975 Atelier Cairo, Cairo.
1976 Fundo Monetrio
Internacional, Washington.
1980 Instituto Goethe, Cairo.
AHMED NAWAR
Nasceu em Gharbia em 1945.
Formou-se pela Faculdade de
Belas-Artes do Cairo em 1967.
Em 1974-75, estudou artes
grficas e pintura myral em San
Fernando, Espanha. E professor
de artes grficas da Faculdade
de Belas-Artes do Cairo. Desde
1965 realizou 46 exposies
individuais de pintura, artas
grficas, desenho e escultura no
Egito e outros pases.
Bom in Gharbia in 1945. He
graduated from the Faculty of Fine
Arts in Cairo in 1967. In 1974-1975
he studied graphic arts and mural
painting in San Fernando, Spain. He
teaches graphic arts at the Faculty
of Fine Arts in Cairo. Since 1965 he
held 46 solo exhibitions of painting,
graphics, drawing and sculpture
artwork in Egypt and abroad.
Exposies coletivas/Group
exhibitions
1974 Bienal Internacional de
196
Exposies individuais/Solo
exhibitions
1984 Galeria de Arte Akhnaton,
Cairo.
1986 Galeria de Arte Aida, Cairo;
Galeria de Arte EI Patio, Kuwait.
1987 Galeria de Arte Akhnaton,
Cairo; Galeria de Arte Ewan,
Kuwait.
1988 Galeria de Arte Sheraton,
AI Doha, Catar; Galeria de Arte
EI Shona, Alexandria.
MOSTAFA EL RAZZAZ
Mostafa EI Razzaz reitor da
Faculdade de Arte, Msica e
Comunicaes Dokki, em Giza,
Egito. Tambm professor de
desenho da Faculdade de
Educao Artstica do Cairo.
doutor em filosofia pela State
University of New Vork em
Buffalo, Estados Unidos, e tem
mestrado e bacharelado pela
Faculdade de Educao
Artstica do Cairo. Fez psgraduao em artes na
Universidade de Oslo, Noruega.
Desde sua primeira exposio
realizada no Salo de
Exposies Akhnaton, no Cairo,
em 1966, realizou outras 45
exposies individuais no Egito
e outros pases. Participou de 34
197
El SAlVADOR El SAlVADOR
CU~ADO~ CU~ArO~ ANA WIINIA Dr CHOU~~Y
198
These are ditficult times, full of doubts and violence which inevitably
influence art. Painting is also impregnated with the disorders of our times.
But in the core of this vertiginous atmosphere, artistic expressions arise
separated from the current of pain and build a healthful and necessary
complement.
Nicole Schwartz's work is within this universe, and thanks to her sensitivity
and talent we have a new pictoric proposal, inviting us to relax and to
intransient search. It is a language that causes a feeling of well-being,
Materializing our own dreams is always a risky task; Nicole's are
expressively shaped in her canvases, they "talk" about the happiness she
finds in painting, Her creations do not mean, however, running away from
reality,' on the contrary, while poetically evoking the charms of a luxurious
and beautitul nature, they embody with no ambiguity the translation of a
colorful universe of murmurs and gentle movements. But Nicole's paintings
are not limited to seduce eye sight: her canvases "shape", not letting object
representation to fali in insistence. A certain underlying abstraction colors
her work with imagina tive flavor which enriches lite experience with her
good tas te.
Nicole exercises with perfection a ditficult craft. The variety of the themes
she has chosen is surprising. Her constructions and harmonies extremely
adequa te to the uncommon character of their meanings speak of force and
self-restraint. Here, her assumed boldness and her discreet self-acceptance
reside. When we watch Nicole's canvases, we let them carry us to an
unknown, refined and very warm world.
Claude Schurr
NICOlE SCHWARTZ
Absinta, s.d.
leo s/tela/oil on canvas
162 x 130 em
Foto: Mark Domage
199
200
EQUADOR ECUADOR
CU~ADO~ CU~Aro~ CHI~~Y De ~ IO~~e
GUSTAVO CCERES
GUSTAVO CCERES
As the identity of the fine arts in some Latin American countries had been
overshadowed by the Spanish conquerors and modem communication
vehicles, mainly television, today they are searching for a new one. In this
eamest struggle to recover the past, Gustavo Cceres goes to the mythic
field of past realities of his people, and their essential habits. National
manifestations associated with popular folklore, serve as material to his
artworks, which are made with his own vision of drawing and composition.
The good auspices defended by generous gods that frutify the earth and
deliver products of good crops to men; or the mean gods that punish
disobedient beings; and the sorcery of wizards who retrieve losses, cure evils
and small flaws of men who have fallen into disgrace.
The mythic manifestations present in Cceres' artworks show us another
aesthetic universe which brings refreshment, transforming the past into
present and giving importance to ali ancestral material that lies awaiting to
be appraised.
Chikky de la Torre
Chikky de la Torre
lUIGI STORNAIOLO
LUIGI STORNAIOLO
The break away from form is represented by the dycothomy of the essential,
in the real and unique aspects of the plastic concept: the reality observed by
Stomaiolo in his homegroufJd shows a clear and concise dimension,
sometimes brutal and exagerated; however, this is the reality of the modem
world. The unique character of his artwork is more than vacillation on the
seriousness of a depicted subject, it is the suggestion which the artist grants
to the forms he paints, showing clearly the irony of reality
Ali the brilliant eratism of human expression, that only art can show in a
canvas as a testimony to daily lite on contemporary world: this is the
descriptive painting of this young artist who attempts to blend absurd and
common sense.
Chikky de la Torre
Chikky de la Torre
MARCELO AGUIRRE
MARCELO AGUIRRE
Marcelo Aguirre is one of the five ar six most important artists in Ecuadorean
fine arts of the 80s, mainly because his work is constantly supported by a
structured pracess of searches and coherences.
202
When he returned fram Germany, where he spent the first years in the last
decade, his drawings and paintings were dominated by expressionist
manitestations. Until then, his work revealed a vehement wish to define
itself through strong brush strakes and chramatic clashes which tried to
manitest experiences and ideas full of force and violence. He refused the
contemplative vision of reality, going deeply into the reasons of not using a
rationalistic comprehension of the world but rather stemming fram a deep
natural need. That is why he withdrew fram formal reality and its apparent
beauty. The result was a work which does not derive fram the observer's
passive aquiescence, as it is pravoking and some times irritating, demanding
confrantation of characters beyond the plastic encounter.
The figure did not disappear, but rather enclosed itself in a thick line, of firm,
dynamic and feverish cutting, which suggestively sketch and define as if it
were a touchable shadow, of undefined form. Colar gave its contribution,
creating dark zones and dramatic echoes. Certain hues - red, for example opera te as mechanisms to affirm the artist's stance.
At present, Aguirre works with canvas and mixes oils and acrylics; he is
increasinglyeconomic with externaI forms. However, he does not abandon
them completely. In his two previous periods, we can see unquestionable
changes: in his current freer and fresher vision, of recognizable spontaneity,
in which brush strakes define their own universe, of the most intimate
consistency, even it they use a lansdscaping technique; in colar, which leaves
behind his dramatic and violent character to become Iyric, sensual and vital,
cheerful in more than one canvas; in the combinations of yellows, lilacs,
blues, greens and slight pigmenta tions of red, orchestrating seductive
chramatic games without losing the energy that feeds them. The result is like
a song: in the dynamics of their rhythms, whichsometimes are vertical,
some times horizontal, reacting to the impetuosity that governs them.
Colar is the dominant aspect in this phase. It responds to a gestual and
involving impulse contralled by an inner measure, which derives fram wisdom
and experience. Aguirre expresses himself with pictoric freedom that allows
him to discard other references that do not stem from his inner vision, even
though we find reminiscences of vast deserts and animal remains. He adds
many materiaIs to strang brush strakes, which create vigoraus textures,
pleasing both eyes and hands.
In his paintings we find calmness, lucidity, absence of nervous unquietness.
Maturity and affirmation in his artwork cause other images to surface fram
the heart. But stimulation and achievements are also evidence of the quality
of his artwork.
Manuel Esteban Meja
GUSTAVO CACERES
lUIGI STORNAIOlO
1956
Bom in Quito, Equador, in 1956.
Exposies individuais/
Solo exhibitions
1980 Galera Club de Arte, Quito,
Equador; 6 Saln Casa de la
Cultura, Quito, Equador.
1981 Galera Sosa Larrea, Quito.
1987 Galera Larrazbal, Cuenca,
Equador.
1988 Galera Antiques, Quito.
1989 Galera Ricardo Florsheim,
Guayaquil, Equador.
1991 Doncaster Gallery,
Melbourne, Austrlia.
1992 Galera L:Art, Quito.
1993 Museo de Arte Moderno,
Cuenca; La Manzana Verde,
Guayaquil; La Galera, Quito.
Exposies coletivas/
Group exhibitions
1979 Saln Mariano Aguilera,
Quito; Galera Altamira, Quito.
1980 6 Saln Casa de la Cultura,
Quito.
1983 La Muestra, Galera dei
Colegio de Arquitectos, .Quito.
1984 Martes 13, Galera Marcus
y Arte, Quito.
1985 Galera San Pascual, Quito.
1986 Tmpera, Dibujo y Grabado,
12 Saln Nacional de Acuarela,
Quito; 5 Concurso Nacional de
Caricatura, Quito; Semana
Cultural dei Equador en Per,
Lima.
1987 1 Bienal de Cuenca,
Equador; 19 Bienal
Internacional de So Paulo.
19883 Bienal de Trujillo, Peru;
Galera L:Art, Quito; 2 FLAAC,
Braslia, Brasil.
1989 2 Bienal de Cuenca,
Equador; La Galera, Quito;
Saln Mariano Aguilera, Quito;
31 Saln de Octubre, Guayaquil;
1994
leo s/tela/oil on canvas
235 x 340 cm
Coleo do artista
,
Bochomo, comadre Chaleca, 1993
leo s/tela/oil on canvas
330 x 295 cm
Coleo do artista
MARCElO AGUIRRE
Obras apresentadas!
Works in the exhibition
Cruz, senal de aniquilamiento, 1994
instalao: tcnica
mista!instal/ation: mixed media
Coleo do artista
S!ttulo!untitled, 1994
leo s!tela!oil on canvas
205
ESlOVAQUIA S[OVAKIA
I
NO LIMITE DA REALIDADE
206
Matej Kren's last installations were based on an almost obsessive interest i/1
space, its relationship to matter and proportion, and the illusion that space
creates. Yet this question cannot be defined solely through pure artistic form,
but must be addressed primarily within the realms of philosophy and
sociology. In his current projects Kren manipulates space using illusion
generated in a very simple and basically classical manner - the setting up of
two opposing mirrar planes. The space, thus, becomes material and tangible;
now we can perceive those hidden attributes which normally escape our
notice beca use of the nature of our everyday lives.
The word "manipulation", our verbal equivalent for an act which transforms
reality, carries with it a pejara tive connotation which is absent from these
installations. This apparently happens beca use of a holy respect for space
and its "mental" qualities, a space which becomes comprehensible only by
believing in the things it contains (Heidegger). This manipulation of illusion
goes so far, that the work itself, the installation, becomes pure form for
expressing the materialization of emptiness which as a result of a perfect
illusion becomes a homogeneous mass. It is comparable to a middle ground
between reality and illusion, a simulation which is nevertheless free of any
Idiom (Idioma) uma iluso que utiliza a matria fsica das palavras,
portadoras de idias ilimitadas que so paradoxalmente uma forma
restrita e limitada de comunicao. Capta fielmente a essncia de
seu significado, sendo ao mesmo tempo uma expresso concentrada
e uma verso abreviada de diversos nveis de significado e de
. expresso. O primeiro ""apcrifo" uma torre vertical sem princpio
nem fim. Seu segundo paradoxo que feita de livros, os
equivalentes verbais e visuais das idias, elas mesmas feitas de
palavras - uma espcie de "torre de livros", um infinito de espaos e
idias, uma "biblioteca infinita". O espao no tem princpio nem
fim, formando um encadeamento de infinidades e um eixo de trs
mundos - o celestial, o terreno e o sagrado. Descobrir o significado
de Idiom como descamar vrios nveis de significado. Sua
construo feita num espao fechado, circunscrito por outro - o
prprio infinito.
A imperfeio de nossa linguagem, sua capacidade limitada de
expressar apenas a realidade quantitativa, tambm limita nossa
compreenso verbal e o pensamento associativo em todas as suas
formas de expresso. A relatividade da realidade e do conhecimento
objetivo algo que pode encontrar expresso adequada em todas as
formas de iluso, que pode servir pa,ra mitigar os efeitos da presso
para se afirmar o que verdadeiro. E apenas uma questo de ponto
de vista que determina se o que parece realidade de fato real
(Foucault).
nega tive strains. The uncertainty which the unprepared viewer of this virtual
infinity confronts must evoke if not shock an insecurity and fear which result
of adirect awareness of self in space and time.
Ada Krncov-Gutleber
207
MATEJ KREN
Nasceu em Trencin,
Tchecoslovquia, hoje
Eslovquia, em 1958. De 1981 a
1985 estudou na Academia de
Belas-Artes de Praga.
Bom in Trencin, Czechoslovakia,
now Slovakia, in 7958. From 7987 to
7985, he studied at the Academy of
Fine Arts in Prague.
Exposies individuais/
Solo exhibitions
1981 Perforations by sun (filme
experimental!experimental movie
-16mm), Tchecoslovquia.
1988 Metamorphoses, Casa da
Cultura, Bratislava,
Tchecoslovquia.
1989 desenhos para o filme
That's a movie/drawings for the film
That's a movie, Galeria
Municipal, Bratislava,
Tchecoslovquia.
1990 Pintura 1989-90/Painting
7989-90, Galeria Nova,
Bratislava, Tchecoslovquia.
1992 Galerie Lara Vinci, Paris;
Galerie Quai de la Gare, Paris.
1993 Drawings, Htell'Htel,
Paris.
1994 Fondation Cartier, Paris.
208
Exposies coletivas/
Group exhibitions
19851nternational Students
Exhibition, Kobe, Japo.
19861nternational Festival of
Sound Recording, Luigi Rossolo,
Itlia.
1988 New Slovak Photography,
Bratislava/Tallin/Moscou.
1989 Poro espao
alternativo/Basnent altemative
space, Bratislava.
1990 Artistes Tcheques et
Slovaques 1960-1990,
Paris/Quimpery/Rheims, Frana;
Jericho 11, First International
Meeting of Voung Artists,
Paris/Bratislava.
1991 41 Festival de Cinema de
Berlim/4Ft Intemational Film
Festival of Ber/in (com That's a
movie); 6+7, Galeria Municipal,
Bratislava; 19 Festival de
Cinema de Huesca/7 []h Intemational
Film Festival of Huesca, Espanha
(grand prix para That's a movie);
Dream about Museum, Galeria
Povazska Art, Zilina/Galeria
Moravska, Brno,
Tchecoslovquia.
1991lnterrooms, Bardejov,
Tchecoslovquia; Action Art,
Manes/Praga, Tchecoslovquia;
Qbject, Galeria OHO, Oberwart,
Austria.
ESlOVENIA S[OVENIA
CU~ADO~ CU~ArO~ Al[K)AND[~ ~A))IN
)O~O) C[NI[~ rO~ CONI[M~O~A~Y A~I) ~U~lJANA
209
210
lUJO VODOPIVEC
Savour, 1994
,
madeira, borracha, isopor, ferro/wood, caoutchouc, styrofoam, lron
120 x 290 x 150 cm
Foto: Boris Gaberscik
ESPANHA SPAIN
CU~DO~ CUMro~ e~I~H~ De DleGO
Never before the last decade such a heated discussion about the relationship
between art and the spectator, about matter in art and the spectator's look,
who can no longer stay within the limits of just seeing, but must go further,
without being satisfied by only knowing the surface of a piece of art had
never taken place before.
Esse debate tem dado lugar a um tipo de objeto artstico que exige a
ateno do olhar e no s o prazer da viso, essa arte que segue as
grandes linhas marcadas pela vanguarda histrica e que se
contrape a outras formas de apreciao mais imediata, que vemos
s vezes sem olhar. Sem dvida, o ecletismo dos ltimos anos
possibilitou a convivncia desses dois tipos de arte - a arte para ver
e a arte para olhar -, e diramos que, apesar dos muitos malentendidos que foram surgindo, essa uma das contribuies
positivas: o modo como essas numerosas poticas se contrapuseram,
se complementaram.
This discussion has paved the way for an artistic object which requires the
attention of the eye and not only the pleasure of seeing; this art movement
which develops in accordance with the historic avant-garde and that opposes
itself to other forms of approach which are more immediate, which we
some times look at without seeing. There is no doubt that the eclecticism that
emerged in the last years has given roam for the emergence of both these
approaches to art - the art to be looked at and the art to be seen - and
leaving aside the numerous misunderstandings that have taken place, one of
the most positive contributions of this situation is the way such variegated
forms of poetry have opposed ar complemented one another.
212
However, let us imagine that an agreement about the changes of the 90's has
been reached. The trend seems to favor a more restrained form, in which the
gaze imposes itself upon the look, inviting the audience to change its former
position of simply being the viewer of a "great dramatic artistic
performance" to become a criticaI participant of the artistic event. Thus, we
have to look at piece of art and then see it.
The artists that represent Spain at the 22 Bienal Internacional de So Paulo
wished to emphasize these three proposals - each of them in accordance
with its own poetics - which are closely related to a strong Spanish tradition
expressed in an attitude which is closer to the text, to the redefined object
and ofan anti-spectacular position of the artistic event. Those three
proposals require that the public sees them, and, thorough this act of seeing,
creating a connivance with the ironic detachment which was at the basis of
their definition.
Ali the artistic pieces share the fascination for that which requires an
attentive gaze and are confident that art has to be seen. These proposals
pose many traps that derive from the supposed incongruity of the suggested
associations. Nevertheless, this is only conveyed at the first approach. It is
precisely through these traps that we can send the spectator to this fictional
space in which the piece of art is redefined in the text as well as it redefines
the text and the piece itself
Although they have different contact areas, the three proposals also share
this territory of detachment. Theyare not satisfied with a look that just sees;
they wish for an attentive gaze to journey together with them in this
redefinition of the objects, which are transformed when they depart to the
poetic expression.
The three artists - Joan Brossa, the renowned poet from Catalunia and other
two young artists - Juan Luiz Moraza and Ana Prada - expect a viewer which
can be, above ali, in connivance with their textual processes.
Joan Brossa, who started to work together with the Dau aI Set group, has
been working for many years with words in their different possibilities,
always using objects as the materialization of the poem. He uses many
different techniques and theyare never his goal but a means for poetic
transferring. Letters, figures, things that we can only apparently see - as
evidenced by the very subtle relationship which is established among thempropose an immediate mental opposition in their perspicuity and create the
rich sphere in which the objects-poems abdica te from their condition of being
a piece of art and become the embodiment of the word. The pieces chosen
for the Bienal - objects-poems, installations, engravings - try to show the
creative process followed by the artist in the last 40 years, giving evidence of
the persistent innovation present in every work.
The young artists, the Basque Juan Luiz Moraza and Ana Prada, from
Valencia, belong to the same textual tradition. Their works, even in their
differences, also show the preference for a gaze which both searches and is
sought after.
The work of Juan Luiz Moraza showa complex universe of thought.
Some times it seems to be hermetic and to fully reflect tradition. They
frequently focus on myths and the contraditions of the offical discourse; it
searches for that which, at the same time, changes and is immutable. The
ambiguous use of daily objects rede fines dinamically each symbol present in
his sculptures and compositions of text restauration in which images related
to classical culture become contaminated by those which belong to popular
culture.
Ana Prada's work concentrates basically in surprising associations. The daily
life simple materiaIs and the objects hazardly found - paper bags, screws,
drnking straws, glue tubes, plastic spoons - assembled in an heterodox
manner, her work is highly suggestive and simplified. Theyare always the
result of a long and constructive intelectual processo They often are
misleading, betraying thegaze. They could be understood as an attempt to
transform things into museum pieces. But this is not their purpose. The
sought after, connivant gaze knows that Prada's work searches for the trapo In
her work the associations are temporary as her work usually has a short lfespan. That is the reason why seeing is so important, even before looking at it.
Estrella de Diego
Estrella de Diego
213
ANA PRADACASTRO
Nasceu em Zamora, Espanha,
em 1965. Cursou a Faculdade de
Belas-Artes da Universidade
Politcnica de Valncia, de 1983
a 1988. Graduou-se mestre em
artes pelo Goldsmiths' College,
Universidade de Londres,
Londres.
Bom in Zamor:a, Spain, in 1965. She
studied at the Fine Arts Col/ege of
the Polytechnic University of
Valencia from 1983 to 1988. In 1991
she was granted a mas ter in arts
degree from Goldsmiths' Col/ege,
University of London.
Exposies individuais!
Solo exhibitions
1986 Galera Post-Pos, Valncia.
1989 Sala de Exposies da
Universidade de Valncia.
1992 Galera Temple, Valncia;
Galera Emlio Navarro,
Alicante, Espanha.
1993 Galera Angels de la Mota,
Barcelona.
Exposies coletivas!
Group exhibitions
1986 Galera EI Palau, Valncia;
Saln de la Crtica, Interarte,
Valncia; Novos Conceitos,
Novas Formas, E.A.C., Valncia.
1987 Bienal do Mediterrneo,
Tessalnica, Grcia; Bienal de
Escultura, Toulouse, Frana;
Sala de Exposiciones Conde
Duque, Madri; 1 Bienal de
Escultura Villa de Quart de
Poblet, Valncia.
Obras apresentadas!
Works in the exhibition
Lugar secreto, 1991
papel, grampos!paper, clasp
40x 16x22 cm
Coleo da artista
Trenza, 1994
rolo, silicone!cilynder, silicon
Coleo da artista
6400 golpes, 1993
pregos, palhas!nails, straws
56x56x4cm
Coleo da artista
Bodegn, 1991
objeto de plstico!plastic object
9x9x9cm
Coleo Galera Toms March,
Valncia
Bodegn, 1991
plstico!plastic
11 x8x6 cm
Coleo Galera Toms March,
Valncia
Bodegn, 1991
objeto de plstico!plastic object
6x 16x8 cm
Coleo Nicols Snchez,
Valncia
Bocetas (7 fotografias!
photographies), 1993-94
fotografia!photograph
18 x 24 cm cada!each
Coleo da artista
JOAN BROSSA
Contes, 1986
objeto nico/single object
10 x 27 x 34 cm
Coleo Galera Carles Tach
215
216
217
Betye Saar and John Dutterbridge are two artists well known for their
political/y and social/y chargedwork of the ear/y 1960s and 1970s. While
they have worked separately and explored different media for over twentyfive years, their work is connected on severallevels. They share a
metaphysical philosophy and both use iconographical gestures to inform their
work. The passage through time and memory, modes of learning and belief
systems are major factors in the realization of their art. Although they were
bom and grew up a continent apart, Saar on the West Coast and Dutterbridge
on the East, in significant/y differentcircumstances, their work validates the
importance of community and family interaction and its influence on the
development of artistic sensibilities. Each independently arrived at window
instal/ations as a signature piece for this, the 22 Bienal Internacional de So
Paulo. For Saar windows are a "way of sharing" and for Dutterbridge, "an
invitation to come in, both view windows as a pathway for spiritual
communication.
Embora tenham nascido e crescido separados por um continente Saar na costa oeste e Outterbridge na leste -, em circunstncias
bastante diversas, sua obra d validade importncia da interao
comunitria e familiar e sua influncia no desenvolvimento das
sensibilidades artsticas.
Cada qual por seu lado, ambos chegaram a instalaes-janelas como
sua assinatura para esta 22 Bienal Internacional de So Paulo. Para
Saar, as janelas so "uma forma de compartilhar", e para
Outterbridge, "um convite para entrar". Ambos as vem como um
caminho para a comunicao espiritual.
Saar e Outterbridge sempre questionaram e desafiaram os pontos de
vista preestabelecidos, o status quo, seja na forma de ones
estereotipados ou de invlucros pr-fabricados. Questionaram os
objetos e cones comerciais produzidos em massa, gravitando para
os cones de relevncia poltica e social. Ao reciclar objetos
descartados ou comprados em mercados de pulgas e lojas de
segunda mo, assim como sucata e objetos encontrados na natureza,
como ossos, pedras e vegetao seca, reunindo .. os em afirmaes
artsticas, questionaram a posio rarefeita da arte.
218
BETYE SMR
220
Exposies coletivas/Graup
exhibitions
1991 Montgomery Art Gallery,
Pomona College, Claremont,
Califrnia; The Oakland
Museum, Oakland, Califrnia.
1992 Municipal Art Gallery, Los
Angeles, Califrnia; Intar
221
JOHN OUTTERBRIDGE
222
223
ESTONIA ESTONIA
CU~ADO~ CU~ArO~ ~1~Ge HelMe
~O~O~ CeNie~ fO~ CONieM~O~A~Y A~i~ "iAllINN
JAANTOOMIK
JAAN TOOMIK
Object in motion, representing the illusory matter. On the one hand being ali
that what it is reflecting, absolutely free, independent, having no memory,
which transforms it ungrasping fram the reality. Thraugh the free motion,
constantly eliminating time and space in its essence.
Este projeto contm uma viagem com incio em Tartu (centro cultural
histrico na Estnia e cidade natal do artista; cortada pelo rio
Emajgi, principal rio do pas), atravessa Praga (em termos
geogrficos considerada um dos pontos centrais da Europa) e
termina em So Paulo (o destino de muitas viagens). A rota TartuPraga-So Paulo uma linha reta no mapa. O objeto espelhado flutua
no rio em trs pontos marcados no planeta Terra, atravs das cidades
de Tartu, Praga e So Paulo, apresentando, portanto, um passado
geogrfico especfico. Ao mesmo tempo um ato simblico que
expressa a relatividade do tempo e do espao atravs da natureza do
espelho, que contrasta com as guas do rio - que, apesar de serem
constantemente renovadas, mantm-se integrais em sua essncia -,
que por sua vez apresenta o movimento como se ele fosse a nica
realidade verdadeira.
Esse processo est intimamente ligado ao tempo - o artista o iniciou
em abril deste ano em Tartu, deu continuidade a ele em Praga, em
junho, e o terminar em So Paulo.
224
lEONHARD LAPIN
LEONHARD LAPIN
Flying northwards, from Central Europe to the Baltics, one notices that the
patches of fields are gradually replaced by forests. Estonia is forested to such
an extent that the Estonians are called the forest people.
H somente uma metrpole, Tallinn, foco de uma nova vida longe dos
bosques. As empresas que exploram as florestas, cortando rvores
em grande escala e exportando a madeira, tm sede em Tallinn.
Quanto maior o nmero de madeireiras, maior o desmatamento do
interior da Estnia, que est se tornando uma plancie onde h cada
vez mais cidades e campos de golfe. O povo da floresta est prestes
a desaparecer por trs da mscara do homem urbano.
Desde a Antiguidade, a floresta sempre teve um papel fundamental
na vida da Estnia. Nas florestas da costa do mar Bltico, o povo
estoniano construiu suas casas, caou e desmatou para desenvolver
a agricultura.
Nas florestas vive Taara, um antigo deus dos estonianos, ainda hoje
reverenciado. Elas protegeram o povo dos cavaleiros teutnicos, que
chegaram Estnia durante a Idade Mdia para cristianiz-Ia.
Durante toda a era crist, as bruxas e as seitas religiosas proibidas
continuaram a realizar seus cultos nas florestas.
Foi nos bosques que em 1918 os estonianos lutaram pela sua
liberdade contra os russos e os alemes. Durante a prolongada
ocupao sovitica, depois da Segunda Grande Guerra, as florestas
serviram de esconderijo para os "irmos das florestas" guerrilheiros locais que lutaram at a morte. O movimento libertador
teve incio nas florestas do sul da Estnia, e foi de l que saram os
membros eleitos para o novo e independente Parlamento que
precisaram de algum tempo at se acostumarem com a parafernlia
eletrnica.
~ fora
There is just this one metropolis - Tallinn - focus of a new, nonforested way
of lite.
The companies, who are exploiting the forests by cutting them down on a
massive scale and exporting the timber, are based in Tallinn. The more
sawmills on the edges of the forests process wood, the more the Estonian
countryside is denuded of forests and becomes a plain where new
settlements and golf courses will thrive. The forest people will conceal their
faces behind mask of the townsman.
Amidst the forests on the Baltic Sea, Estonians bui/t their homes, hunted
food and practiced slash and bum farming.
In the forests lives Taara, an ancient Estonian god, worshipped by some even
till today. The forests offered a good refuge from the Teutonic Knights who
came to Estonia in the Middle Ages to baptize the people. Throughout the
Christian times witches and forbidden religious sects have continued to
practice in the forests.
In the forests, Estonians fought for their freedom in 1918 and again later,
when Estonia was invaded by Russian and German troops. During a lengthy
Soviet occupation after the Second World War forests were hideouts for
"forests brothers", local guerillas who surrended their lives here.
The freedom movement was initiated in the forests of South Estonia. From
the forests, members were elected to the new, independent Parliament, and
they took their time getting used to eletronic equipment.
The forests 1s where Estonia's power and spirits is rooted. The forest is
another world where today's hardships are quickly forgotten.
The destruction of Estonian forests and their proceeding into timber products
might eventually change the Estonian psychology. Will Estonians be able to
draw cosmic power from pieces of fumiture ar frame of scaffolding?
My installation aims at a symbolic representation of a natural forest
becoming a man-made structure of wood in which the hierarchical regularity
Df the forests tums into an abstract association, into a world which is human
invention. Still, the smell of freshly cut wood is preserved and when Vou
move about the installation vou will hear the familiar crackle of wood as
though Vou were making your way through a thicket. This is the sound of the
forest as survives in us in its archetypal formo In this way we are shown as
dualists: wanderers who seek something new and destroyers of something
old and longlasting.
What is our part in infinity?
Leonhard Lapin
225
JMNTOOMIK
Nasceu em Tartu, Estnia, em
1961. De 1985 a 1991 estudou
pintura na Universidade de Arte
de Tallinn. Participa de
exposies de arte desde 1985.
Suas obras tm sido exibidas na
Estnia, Rssia, Finlndia,
Litunia, Sucia, Dinamarca,
Alemanha e Gr-Bretanha.
Desde 1988 pratica land art e
realiza performances e
instalaes: Desde 1993 ensina
desenho na Universidade de
Arte de Tallinn. Em 1993, foi
bolsista durante cinco meses na
cidade de Speyer, Alemanha, e
recebeu bolsa de estudos da
Fundao Soros, na Estnia.
Bom in Tartu, Estonia, in 7967. From
7985 to 7997 he studied painting at
Tallinn ArtUniversity. He has
participated in art exhibitions since
7985. His works have been
exhibited in Estonia, Russia,
Finland, Lith uan ia, Sweden,
Denmark, Germany and Great
Britain. Since 7988 he is practicing
land art, performance and
installation. Since 7993 he teaches
drawing at Tallinn Art University. In
7993 he received a 5-months
scholarship of the Speyer town, in
Germany, and of the Soros
Foundation, in Estonia.
Exposies individuais/
Solo exhibitions
1992 Galeria Vaal, Tallinn.
1993 Salo, Helsinque,
Finlndia; Casa dos Artistas de
Speyer/Speyer Artists ' House,
Speyer, Alemanha.
Exposies coletivas/
Group exhibitions
1988 Mostra da Juventude da
Unio Sovitica/Youth Exhibition
of Soviet Union, Moscou;
Exposio Anual/Annual
Exhibition, Tallinn.
1989 Carl's Bridge
(performance), Praga.
1990 Open 90-ties, Tallinn;
Marking the Bottomness (Iand
art), Tallinn.
91 Kirsten Kjaers Museum,
Dinamarca; Casa dos Artistas de
Tartu/Tartu Artists , House
(performance), Tartu.
1992 Art Mix, Tallinn; Mito e
Alegoria na Arte Estoniana/Myth
and Alleaorv in Estonian Art.
lEONHARD lAPIN
Prmios!Prizes
1973 Bienal de Gravura de
Liubliana.
1974 Bienal de Gravura de
Tquio.
1987 prmio de pintura!painting
prize Associao dos Artistas
Estonianos.
1989 prmio de pintura!painting
prize Kistjan Raud.
1990 1 prmio! 1st prize,
Exposio de Instalaes de
Tallinn.
Obra apresentada!
Work in the exhibition
Estonian wood, 1994
madeira!wood
300 x 2000 x 2000 cm
227
filiPINAS
PH/[/PP/NES
228
EGHAI ROXAS
exposies individuais. No
concurso Diwa ng Sining,
patrocinado pela Comisso
Nacional de Cultura e Artes e
pelo Rotary Internacional em
1994, foi um dos dez artistas
premiados.
Eghai Roxas (Edgardo Roxas) was
bom in 7955 in Manila. He holds a
degree in fine arts fram the
University of the Philippines in
Quezon City. He emerged into the
art circles of his country in the
7980s, having participated in
various art workshops, graup
exhibitions and organizations in the
Philippines and other countries.
He achieved recognition as one of
the representatives of the
Philippines in-the 2nd Filipino Visual
Art Festival held in Los Angeles,
Califomia, in 7989. He also
represented the Philippines in an art
Obras apresentadas/
Works in the exhibition
Beyond i//usion, 1994
pintura (acrlica)/painting (acrylic)
122 x 183 cm
Coleo Gallery V
Imagina tive vision, 1994
pintura (acrlica)/painting (acrylic)
122 x 183 cm
Coleo Gallery V
229
GABRIEl BARREDO
230
SAlVADOR CONVOCAR
Graduou-se em 1980 na
University of the East, nas
Filipinas. No ano seguinte
tornou-se professor dessa
instituio, alm de ministrar
aulas de arte em outras
faculdades, como a St.
Scholastica. Em 1989 recebeu o
Trofu das Artes e em 1991 o
Most Outstanding Faculty Award,
concedido por sua universidade.
Em um perodo de catorze anos,
recebeu dez prmios em vrios
concursos nacionais de pintura,
entre eles o prmio do jri num
concurso da Associao Filipina
de Artes, o primeiro prmio da
mostra Hispanidad 91,
patrocinada pela embaixada da
Espanha nas Filipinas, o prmio
de melhor artista no Concurso de
Arte Gabriela e, mais
recentemente, um dos dez
prmios do concurso Diwa ng
Sining, patrocinado pela
Comisso Nacional de Cultura e
Artes e pelo Rotary
Internacional. Esse prmio lhe
garantiu um lugar na
representao filipina nesta 22
8ienallnternacional de So
Paulo. Em seu trabalho,
Convocar utiliza uma ampla
gama de materiais: madeira,
carto, papel, etc., misturando
elementos tnicos e alta
tecnologia.
.
Convocar graduated in fine arts from
de University of the East, Philippines
in 1980. In the fo//owing year, he
became a member of this
90 x 120 cm
Coleo do artista
Obras apresentadasl
Works in the exhibition
Metaphysical games, 1994
pintura (tcnica mista)/painting
(mixed media)
90 x 120 cm
Coleo do artista
Primordial pair, 1994
pintura (tcnica mista)/painting
(mixed media)
90x90cm
Coleo do artista
231
flNlANDIA FINlAND
CU~ADO~ CU~ArO~ ~IMMO )A~J[
Henceforth I will speak only with those who already look towards the Orient.
Friedrich von Schlegel, 1800
Jacob had to wait seven years for Rachei to become his wite, and for seven
years Wuorila-Stenberg shunned the pleasures of color. But the colors did
gradually begin to return to his art. In his 1992 exhibition a warm, mild
orange and blue began to tinge the black-and-white word of his paintings. In
terms of their outlook on the world, these work were also new and
unfettered. This was perhaps a matter of one of those same powerful,
spiritual impulses - the same cosmic radiance - that sparked off WuorilaStenberg's series of oil pastel paintings of the early 1980s.
Wuorila-Stenberg is interested in the East, both in terms of the lite
philosophies of Buddhism and meditation, and also in journeys to India. His
paintings in the 229 Bienal Internacional de So Paulo are the result of these
spiritual and physical pilgrimages. In fact, the theme of this whole series of
paintings is spiritual steps up towards a new, perhaps clearer, awareness.
Wuorila-Stenberg helps out his fellow journeyers with pointers; he paints a
yacht and the blue-white peaks of the Himalayas, he creates visions of a
space filled with insights. We are perhaps not far from the work of Nikolai
Roerich. This painter-and-thinker's fable-like, philosophical, imaginaryand
transcedental paintings constructed a conduit between East and West.
The journey continues, gathering speed as it nears the peaks. WuorilaStenberg shows signs in the sky,' phallically swollen clouds in allusive
borrowings from the caricatured grammar of mandala painting. We can feel
the power emanating from Bhairava. In surprising fashion he combines
eastern iconography with the physicality and materiality of western abstract
expressionismo The paintings become increasingly visionary and simplitied.
They illuminate the mountains from a bird's eye perspective, and also the
prospects from the mountains, or from their secret caves. The rhetorical
power of this style of expression leads our thoughts to the more heavyweight revelations of German romanticism: to the philosophy of Friedrich
Schelling and to the imagery of Peter Cornelius. The delicacy of touch already
speaks the language of Caspar David Friedrich.
The individual works in Wuorila-Stenberg's new series of paintings might be
ditficult to position and interpret, both chronologically and culturally. They
belong to one of the streams of European romanticism, whose contacts with
Indian traditions have often contributed a liberating complement. In texture,
they have an affinity with material language of 1960s informalism, but their
colorism rejects ali earthy tones. Theyare exhilaratingly spontaneous, and at
the same time serious and mystical. The numerous strata of pigment are the
physical counterpart to their cultural multi-Iayeredness. As a whole, the
series is a bold 1990s vision of a dialogue between East and West.
Kimmo Sarje
233
234
fRANCA
, FRANCE
CU~ADO~ CU~Aro~ CAIH[~IN[ DAVID
Catherine David
PERCURSO
ROUTE
Jean-Franois Chevrier
235
TONI GRAND
TDNI GRAND
CD - The work that you are exhibiting at the Museum of Modem Art in
Vienna shows recent pieces which seem to have surprised or even disturbed
part of the public and critics. Wouldn't this feeling of discomfort be the most
recent manifestation of a certain misconstruction which has presided the
interpretations of your work, frequently linked, quicklyand without nuances,
to the formal productions predominant in the 60's and 70's, such as supportsurface? In my opinion your works open up a new perspective, new
possibilities.
TG -In 7960 I started a "construction site" and I believe that I responded to
the literary, artistic, social events, in short, to the approach typical of the
time. I think one cannot forget, at least I don't forget, these relationships, ali
that was new and represented endearing substitutes to the old categories in
the establishment of the "artist's studio".
I don't speak of this period because /'m part of it, but beca use there is a need
to understand the perspective which my work has acquired over the years. It's
a perspective that denies those who refuse specific approaches in order to
draw new ones. For example, these perspectives are not based on a program
- the utopias, the programs of the 60's - on coherence or commitment and
also not by a predominant subjectivity or by a strong and personal
"imaginary", something between 8achelard's c/assification and MerleauPonty's phenomenology. It's something else, but how can I explain it?
I took into account the early works by Michel Foucault, the reinterpretations
of Nietzsche, the passionate debates that followed, the reinterpretation of
Nietzsche by Heidegger, and other authors' interpretation of Heidegger. I
refer to other prevailing influences in certain specific intelectual groups, as
well as other influences which were determinant for me. And the critics do
not take into account the perspective designed by me and inaccurately
deviate to different directions; on behalf of the artist, I want to emphasize it:
what I was able to do is, doubtless, linked to chance and to circumstances,
but it's absolutely not a disorganized experience!
236
JEANMARC BUSTAMANTE
-----
238
Exposies coletivas /
Group exhibitions
1980 Biennale de Paris.
1982 Muse Cantini, Marselha.
1985 Rendez-vous,
Lothringerstrasse, Munique; Les
Seconds Ateliers
Internacionaux de Pays de
Loire, Abbaye Royale de
Fontevraud; Alies und Noch Viel
Mehr, Kunsthalle, Berna; Bienal
de Graz, ustria; 12 Artistas no
Espao/12 Artists in Space,
Museu Sibu, Tquio.
1986 Aperto, Biennale di
Venezia, Veneza; Een Keuze,
RAI, Amsterdam; Centre d'Art
Contemporain
(BazileBustamante, Nick
Kemps, Jan Vercruysse),
TON GRAND
239
240
GRA-BRETANHAGREAT BRITAIN
CU~ADO~ CU~AO~ AND~cA ~O)C
COO~DcNADO~c) COO~DINAO~~
CATHV DE MONCHAUX
CATHY DE MONCHAUX
Louisa Buck
241
CORNELlA PARKER
CORNELlA PARKER
242
In Matter and what it means (1989) the monetary value of some seven
thousand coins was instantly wiped out when they were placed on a railway
track and crushed by a passing train. Reassembled in the shape of two
human figures, which dangle above the floor fram a multitude of metal wires,
these slivers of distorted metal acquire a new status as a currency of the
imagination. Simultaneously fragmented and cohesive, their floating forms
act like particles hoverng in their own forcefield, a diagram of our
constituent parts, as well as a momento mori and a grim reminder that
wealth cannot go beyond the grave.
Lterally and metaphorically Parker's sculpture rarely touches the ground. No
attempt is made to hide the means of support, however this doesn't stop
belief fram being suspended, along with the laws of gravity The shimmering
haze of metal wires which carry the clusters of crushed silverware in Thirty
pieces of silver (1988); andthe tangle of plastic threads that traps the hectic
plastic cornucopia ofFruit swarm (1992) in mid air, each contribute to a
perplexing sense of misplacement; yet paradoxically theyalso act as an
ordering device.
An important source is the 'exploded views' that occur in technical manuais
and encyclopedias. Just as these diagrams deconstruct car engines, termite
heaps and human heads in order to clarfy and expia in their structure, so
Parker attempts to make sense of the world by wrecking havoc with familiar
objects and then re-ordering them on her terms. This peculiar relationship
between method and mayhem finds spectacular expression in Cold dark
matter: an exploded view (1991) where a wooden garden shed was first flled
wth carefully-selected everyday junk, then blown to smithereens byan army
muntions team and finally reconstituted as f the explosion had been frazen
mid-blast, with the shattered remains hanging in space, organized according
to the laws of gravty But by placng a single domestic light bulb at the
epicentre of this charred detritus and refering to the astralogical
phenomenon ofCold dark matter - the unquantfiable stuff that keeps the
universe in balance - Parker creates a parallel universe, a static Big Bang,
where the concrete and the tangible is made to express the infinite and the
incomprehensible.
Cornelia Parker has spoken of "using something visible that everyone
recognizes to describe the indescribable"; and she deliberately works wth
objects which are so well known that they border on the banal. But although
much sculpture of the last decade has drawn on recycled material, what sets
this artist apart fram her contemporaries is the way in which she forces her
hackneyed source matter to transform tself so astonishingly that ali of our
certainties are sabotaged. Her alchemist's touch transforms base ingredients
into something rich and prafound, and her ideosyncratic investigation into the
workings of the world help us ali to understand it a lttle more.
Louisa Buck
HELEN CHADWICK
HELEN CHADWICK
Whether she is casting lamb's tongues in bronze, making sculpture from urine
holes in the snow ar a fountain from a pool of molten chocolate, Helen
Chadwick's visual and sensory feasts are deliberately intended to act
simultaneously on both the instincts and the intellect. According to Chadwick
the two are interchangeable, and this splicing of the sensuous with the
cerebral is just one of the many unholy alllances that, for nearly twenty years,
have underpinned her wily and elegantexplorations of gender and identity.
By fusing a multitude of unconventional materiaIs and drawing on sources
that range across myth, science and anatomy, Chadwick's work expresses
and celebrates a world of flux, fluidity and change.
Louisa Buck
243
CATHY DE MONCHAUX
Oi
244
CORNElIA PARKER
Nasceu em Cheshire em 1956.
Estudou no Gloucestershire
College of Art and Design
(1974-75), na Wolverhampton
Polytechnic (1975-78) e na
Reading University (1980-82).
Desde 1992 leciona artes
plsticas no Cardiff Institute.
Vive e trabalha em Londres e
Cardiff.
Bom in Cheshire in 1956. She
studied at G/oucestershire Co/ege
of Art and Design (1974-75), at
Wo/verhampton Po/ytechnic
(1975-78) and at Reading University
(1980-82). Since 1992 she has been
senior fe//ow in fine art at Cardiff
/ns titu te. She /ives and works in
London and Cardiff
Exposies individuais/
Solo exhibitions
1980 Stoke City Art Gallery and
Museum.
1987 Actualities, Londres.
(mostra itinerante/trave//ing
exhibition).
1993 Eigen+Art, Nova Vork;
Recent British Sculpture, Arts
Council of Great Britain e outros
(mostra itinerante/trave//ing
exhibitionJ; Ha-Ha, Killerton Park,
Devon.
Obras apresentadas/
Works in the exhibition
Co/d dark matter: an exp/oded view,
1991
fragmentos de um barraco de
jardim e seu contedo,
suspensos ao redor de uma
lmpada/fragments of a garden
shed and contents, suspended
around a /ight bu/b
Coleo da artista
Another matter, 1994
madeira e fsforo/wood and
phosphorus
Coleo da artista
245
HElEN CHADWICK
Nasceu em Croydon em 1953.
Estudou na Brighton
Polytechnic (1973-1976) e na
Chelsea School of Art (19761977). Vive e trabalha em
Londres.
Bom in Croydon in 1953. She has
studied at Brighton Polytechnic
(1973-1976) and at Chelsea School
of Art (1976-1977). She lives and
works in London.
.
Exposies individuais/
Solo exhibitions
1978 In the Kitchen, Art Net,
Londres.
1978-79 Train of Thought, Acme
Gallery, Londres/Spectro
Gallery, Newcastle upon Tyne.
1981 -84 Modellnstitution,
Newcastle upon Tyne/Sheffield
and Brighton
Polytechnics/Architectural
Association/ Chalmers Art
Gallery/Cockpit Gallery/Oval
House Theatre, Londres/Orchard
Gallery, Oerry.
1982 Fine Art-Fine Ale, Sheffield
Polytechnic.
1983 Portraits out of Placements,
Spectro Gallery, Newcastle
upon Tyne; Growing up, National
Portrait Gallery/Cockpit Gallery,
Londres.
1983-85 Ego Geometria Sum, Art
and Research Exchange,
Belfast/Aspex Gallery,
Portsmouth/Riverside Studios,
Londres.
1986-87 Of mutability, ICA
Gallery, Londres/lkon Gallery,
Birmingham/Harris Museum,
Preston/Kunstverein,
Freiburg/Third Eye Centre,
Glasgow.
1987 Allegory of Misrule,
Birmingham City Museum and
Art Ga,lIery, Birmingham; Upon
an Oval, Mappin Art Gallery,
Sheffield.
1988 Cameos, Torch Gallery,
Amsterdam/Torch Onrust
Gallery, Colnia; Blood Hyphen,
Clerkenwell Medicai Mission
(Edge '88), Londres.
1989 Lamps, Marlene Eleine
Gallery, Londres; Lumina,
Portfolio Gallery, Edimburgo;
Enfleshings, Interim Art,
Londres; Viral Landscapes,
itinerante/travelling exhibition).
GRECIA GREECE
CU~ADO~ CU~AJO~ AlHeNA )CHINA
247
248
CHRYSSA ROMANOS
Nasceu em Atenas em 1931.
Estudou na Escola de BelasArtes de Atenas.
Bom in Athens in 1931. She has
studied at the School of Fine Arts,
Athens.
Exposies/
Exhibitions
1958 1er Salon des Jeunes
Artistes, Galeria Zygos, Atenas.
1960 Mostra PanHelnica/Panhellenic Exhibition,
Atenas.
1961 2eme Biennale des Jeunes,
Muse d'Art Moderne, Paris; 5
Bienal Internacional de
Gravura/Hh Intemational Biennial
of Engravings, Liubliana; Prix
Biarritz, Biarritz; Petit Format,
Galerie Numero,
Florena/Galerie Lacloche,
Paris; 4 Artistas Gregos/4 Greek
Artists, Architectoniki, Atenas.
1964 Galerie Numero,
Florena/Roma; Museu de Sfia,
Bulgria.
19658 Bienal Internacional de
So Paulo; Salon Ralits
Nouvelles, Paris; Museu de
Berlim, Berlim; 5 Artistes Grecs,
Basilia.
1966 Artistes Grecs de Paris,
Nantes, Frana.
.
1967 Salon Comparaisons, Paris;
Super-Lund, Museu de Arte
Moderna, Lund, Sucia.
1970 Art Concept from Europe,
Galeria Bonino, Nova
Vork/Buenos Aires; Galerie
Apolinaire, Milo; Grands e
Jeunes d'Aujourd'hui, Paris.
1971 Salon Comparaisons, Paris;
Propositions Luminaires, Atelier
A. Mazarine.
1972 Grands e Jeunes
d'Aujourd'hui, Paris; Salon
Comparaisons, Paris; Galerie
Alexandre, Bruxelas; Galerie
Lara Vinci, Paris; 3eme
Biennale de I'Estampe, Paris;
Centre Culturel Villeparisis,
Frana; Inter Etrennes,
Bratislava.
1973 Salon de Mai, Paris; Forum
249
VASSllIS SKYlAKOS
/
1979-80 Atenas.
1980 Institut Franais,
Tessalnica.
1980-84 La Salita, Roma.
1981 Ericson Gallery, Nova Vork;
Nieuwe Kerk Dam, Amsterdam.
1984 Rodes.
1985 Imagem-EspaoInstalaolPicture-SpaceInstallation, Atenas.
1989 Atenas.
Exposies coletivasl
Group exhibitions
Exposies individuaisl
Solo exhibitions
1960 Copenhagen.
1964 Rotschild.
1971 -73 Galeria Desmos, Atenas.
1974 Nuovo Caprine, Roma.
1976-79 Galeri'a Desmos, Atenas.
1980lnstitut Franais,
Tessalnica; Galeria ZM,
Tessalnica.
1981 -84 Galeria Desmos, Atenas.
\.
1960 Copenhagen.
1972-73-75 Atenas.
1976 28eme Salon de la Jeune
Sculpture, Paris.
1977 Contradictions, American
Centre, Paris.
1977-78 Atenas.
1978 Museu de Arte Moderna,
Skopje, Macednia.
1979 National Gallery of Ireland,
Dublim; Nuovo Caprine, Roma.
Obra apresentadal
\
-
.I
l
_L
/
I
. ==--=-
--====. -
YANNIS METZIKOf
Fanenta, s.d.
instalao (detalhe)!
insta//ation (detai/)
Foto: Athena Cazo lea
Coleesl Collections
Galeria Nacional de Atenas;
colees particulares gregas e
internacionaislprivate collections
in Greece and abroad.
Obra apresentadal
Work in the exhibition
Jokaste, 1994
ferro, terra, tintal iron, land, paint
251
GUATEMAlA GUATEMA[A
I
252
Concem about ecology seems to inspire this good and passionate work.
Mario Monteforte Toledo
(extracted fram the catalogue Luis Daz - Instalacin, 1992)
253
lUIS DIAZ
Nasceu na Guatemala em 1939.
Em 1961 abandonou a Faculdade
de Arquitetura para dedicar-se
s artes plsticas. Em 1964
fundou a Galera de Arte OS e
passou a expor regularmente
em mostras nacionais e
internacionais. pintor,
escultor, gravador e cria
instalaes ambientais.
Bom in Guatemala in 1939. In 1961
he interrupted his Architecture
course at university to dedicate
completely to fine arts activities. In
1964 he founded the Galera de
Arte DS and exhibited his works in
several national and intemational
events. He is a painter, a sculptor,
an engraver and also creates
environmental insta//ations.
Exposies!
Exhibitions
19654 Bienal de Paris, Frana.
1967 9 Bienal de So Paulo.
19683 Bienal Americana,
Santiago, Chile.
196910 Bienal de So Paulo.
1972 Bienal de Veneza, Itlia.
197312 Bienal de So Paulo;
HAITI HAITI
REFLEXIONS ON DEATH
"It is expected that artists from Haiti always depict a laughing paradise. The
range of our imaginary world goes much beyond this idylic vision, this
simulacrum of happiness". (Patrick Villaire)
The sculptures of Patrick Vilaire are one of the few sculpture works created in
this country of African origins, where artistic three-dimensionality was nearly
completelyabandoned. His work denies the widely spread idea found in ali
the books on art of Haiti. This idea insists on the spontaneity of our artists,
on the intuitive aspect of their journey, suggesting the false notion of a total
absence of thought when creating art.
Vila ire chooses his themes in the huge reservo ir which is the Haitian culture.
After considering the "agressivity" of the "power myths", he is now focusing
death, death that for Haitians is a presence rather than an obscure force. He
does not intend to be didactic, as always, but wishes to communicate the
deep perception that rises from his researches. In reality, he has been
studying his subject in ali daily aspects of Haiti.
He got ready to better understand the vibrations of the Haitian soul when
facing the idea of death. He organized ali data, and from this organization
and from this deposit of images present in the haitian people's conscience his
work derives.
First, Vilaire dedicated himself to translate graphically the ideas issued from
the many aspects raised by this theme. These roughs or, in other words,
plans, are not a limit for him. Indeed, they help him pave the way into third
dimensiono
255
256
Four phases: the roughs, the mouldon paper, the scale model in cardboard,
the plate in welded iron. Thirty nine numbered studies for Baron Lacroix.
Everything can be used: pages from a notebook, paper napkins, pieces of
cardboard, the envelope used bya Belgian correspondent, sheets from a
payroll, red ink, blue ink, charcoal, violet felt. Glued on the walls of his studio
three photos of rural tombs keep him in contact with the tradition of the
peasant funerary architecture.
Maturation, strictness, austerity An obstinated and solitary work. Seven
sculptures on death, which has to be treated with respect and seriousness.
Nothing is hazard in Vilaire, not even the number 7. Symbolof light, lite and
creation of the world, the number 7 is also an emblem used by the cathedral
builders.
"1 have told you more than a hundred times, Patrick, that what impressed me
from the start was not only your pro file, so similar to Etzer Vilaires, but also
the way you look at things upwards, exactlyas Etzer used to do ... You began
with the birds... In the paradise of the discovery, our island was populated by
birds and men adomed with feathers ... In the shade of the varanda of your
studio, the finished pieces of art assume frightening shapes. Nobel bird of
Nitanio, mistic bird of the Cimis, bird of thoughts of our wise Ayiti indian
chiefs, I still see you,supported by your paws, raising, in the tropical night,
the derisory challenge of your steel beaks. Man-bird with a tragic destiny,
long ago I have understood the weakness of your weapons and the
uselessness of your revolt. You were condemned to die" (Fritz Daguillard).
From the emotion to the symbol, from the particular to the universal, from the
Haitian death to death: this is the joumey Patrick Vilaire offers.
These Reflexions on death which he proposes cannot and should not be
considered one by one. They stem from certa in aesthetic factors, from
entangled data through which the sculptures can be understood without
previous knowledge. We must recognise, however, that Patrick Vilaires work
follows a joumey exceptionally coherent and personal and, although it has
links with traditions, it has such a high degree of originality that it will
influence the evolution of sculpture in Haiti.
In one comer of his studio, a rough study of Omembr (Dismembered)
carved in wood already announces the next exhibition, which will have
memory as a subject. The wood of the Dismembered represents what is left
of the ancestrais house, the "founder of the race". He was the founder of
the patrimonial property which is in pieces today, and of the soil which
became barren. The sole vestige of the mansion - from which doors, roof and
windows were taken - this piece of wood was carved and placed near the
tomb, by the yard where hommages were payed to the ancestrais.
Strong images, image-bridge between death and memory
These texts were drawn from the catalogue Reflexions sur la mort - P. Villaire, which wil/ be published by
the Fondation Afrique en Cration Paris, and were written by Grard Alexis, Fritz Daguil/ard and Michle
Oriol. They were put together and edited by Michel Monnin.
PATR\CK V\lA\RE
La drive, 1993
ferro, chapa de ao/ iron, steel sheet
220 X 173 X 92 em
Foto: Jean-Claude Guery
257
Nasceu em Port-au-Prince,
Haiti, em 1941. pintor,
desenhista, escultor e
ceramista. Dirige um ateli de
formao de ceramistas e est
ligado a diversos projetos
destinados a artesos
ceramistas. membro fundador
do Centre Artistique et Culturel
Poto-Mitan e da Fondation pour
la Recherche Iconographique et
Documentaire d'Haiti. Fez seus
estudos na Galerie Remponeau,
em Port-au-Prince (1955-58), no
Centre de Cramique d'Haiti
(1956-59) e no Instituto Nacional
de Cultura do Panam (1976).
Vive e trabalha em Port-auPrince.
Bom in Port-au-Prince, Haiti, in
1941. He is painter, designer,
sculptor and ceramist. He conducts
a workshop for ceramists and is
involved in several projects
designed to pottery craftsmen. He is
founder member of the Centre
Artistique et Culturel Poto-Mitan
and the Fondation pour la
Recherche Iconographique et
Documentaire d'Haiti. He has
studied at Galerie Remponeau, in
Port-au-Prince (1955-1958), at the
Centre de Cramique d'Haiti (19561959) and at State Cultural Institute
in Panama (1976). He lives and
works in Port-au-Princ.e.
Exposies individuais!
Solo exhibitions
1969 Pan American Union (OEA),
Washington.
lambi, 1992-93
258
259
HOlANDA HO[tANO
CU~ADO~t~ CU~AO~5 rltit~ iH, iJA~~t~ I rAUl DONKt~ DUYVI$
CAREL VISSER
GAREL VISSER
Garel Visser; an experienced artist who has been a prominent Dutch sculptor
for years, seems to be creating even bolder and more exciting works of art.
Since the late 1940's, his work has presented a fascinating panorama of
styles and ambiences. Searching for ubiquitous features immediately reveals
Visser's judicious use of materiaIs and his symmetry. He uses organic and
inorganic materiaIs such as iron, leather; straw and glass, with an almost
casual and intuitive natural flair. Especial/y his recent sculptures se em to
result from sheer coincidence or to have come ready made. Nothing could be
farther from the truth. Design, material and meaning are c10sely related and
fol/owextensive searches and years of experience, especial/y where the
outer limits of the material are explored. Since 1950, Visser has evolved from
a geometricconstructivist to an apparent anarchist in his use of materiaIs
and shapes. Nevertheless, his symmetric design guides this chaos, both in his
drawings and prints and in his col/ages and col/age-like sculptures.
During the next period, Visser allowed free reign to his playful desire to
experiment. Stacks, double shapes, mirrored symmetry, a lave for materiaIs,
relativization and repudiation of pomposity continued to characterize his work.
Echoes of arte povera and his move to a farm in the Betuwe inspired Visser to
use farming tools, offal (skulls, cows horns and furs), peacock feathers, egg
shells and tractor tires. These unconventional substances se em perfectly
suited to Visser. His ingenious use of the material highlights the maturity of
his mas ter craftsmanship and his lave for Western and non-Western art.
Paul Donker Duyvis
Since 1988, he has created sculptures that resemble furniture and sanitary
fittings and can also serve as such. Although Van Lieshout initially restricted
his work to tables and cabinets, he gradually diversified his projects to
include kitchen wings, sanitary fittings and architectural designs. These
pieces of furniture consist of a rectangular frame covered with fiberglass and
polyester. The monochrome colors blend well with current avant-garde
design, while the surface of the objects highlights the structure of thefiberglass. Ali corners have been rounded off, thereby uniting the synthetic
layer with the object. The geometric shape, size and choice of material result
from functional considerations. Nevertheless, Van Lieshout also works
according to his whims: sizing is a visual process and colors are selected
intuitively.
261
TONZWERVER
TON ZWERVER'S
Ton Zwerver's cibachromes Sculpture for the moment feature the similarities
between the methods of col/age and assembly artists and the qualities of
photography, namely the arrested and subsequently extended experience of
time. Zwerver: "My art is a continuous effort to capture time, space, light and
sculpture in a photograph. The sculpture recal/s the momento Creating
Sculptures for the moment is becoming an increasingly ritualistic experience
that in volves controlling the spot, reacting to the ambiance, light and culture,
recording the relationships between the objects in the space and conveying
the thoughts on that spot". He creates his works in acquaintances' living
rooms, in artist's studios or in deserted areas. He assembles his sculptures
from objects and pieces of furniture that he brings along or finds there. This
cohesion of items acquires a ne~ unexpected meaning.
CAREl YSSER
Nasceu em Papendrecht,
Holanda, em 1928. Estudou
arquitetura na Universidade de
Delft e na Academia Real de
Arte em Haia. Desde 1966
leciona nos Ateliers '63 em
Haarlem.
Bom in Papendrecht, Holland, in
19:c.'B. He studied architecture at the
University of Delft. He also studied
at the Royal Academy of Arts in The
Hague. Since 1966 he teaches at
the Ateliers '63 in Haarlem.
Exposies individuais/
Solo exhibitions
1955 't Venster, Rotterdam.
1960 Stedelijk Museum,
Amsterdam; Haags
Gemeentemuseum, Haia.
1964 Rotterdamse Kunstkring,
Rotterdam.
1967 Haags Gemeentemuseum,
Haia.
1974 Art & Project, Amsterdam.
1975 Stedelijk van
Abbemuseum, Eindhoven,
Holanda; Galerie Maen2,
Colnia.
1976 Sperone Westwater
Fischer, Nova Vork.
1977 Stadtische Kunsthalle,
Dsseldorf; Galerie Konrad
Fischer, Dsseldorf.
1978 Whitechapel Art Gallery,
Londres; lhird Eye Centre,
Glasgow, Esccia; Stedelijk
Museum, Amsterdam.
1979 Stadtische Galerie,
Nordhorn, Alemanha.
1980 Galerie Durant Dessert,
Paris.
1981 Rijksmuseum KrllerMller, Otterlo, Holanda.
1982 Nigel Greenwood Gallery,
Londres.
1984 Groninger Museum,
Groningen, Holanda.
19851nstitut Nerlandais, Paris;
Museum Boymans-van
Beuningen, Rotterdam.
1987 Art & Project, Amsterdam.
1988 Galerie Wanda Reiff,
Maastricht, Holanda.
1989 Rijksmuseum KrllerMller, Otterlo, Holanda.
1990 Sprengel Museum,
Hannover, Alemanha.
1992 Van Reekum Museum,
Apeldoorn, Holanda.
1994 Haags Gemeentemuseum,
Haia.
Exposies coletivas/
Group exhibitions
1957 Nederlandse
Beeldhouwkunst, Museum
Boymans-van Beuningen,
Rotterdam.
1958 Bienal de Veneza.
19591 ere Biennale de Paris,
Muse d'Art Moderne de la Ville
de Paris.
1962 lhe Dutch Contribution to
International Art, Stedelijk
Museum, Amsterdam/
Montreal/Ottawa.
1963 Bienal de So Paulo.
1968 Bienal de Veneza;
Dokumenta 4, Kassel, Alemanha.
1972 Amsterdam-ParisDsseldorf, Guggenheim
Museum, Nova Vork/ Pasadena/
Dallas.
1977 Europe in the Seventies,
Aspects of Recent Art, Art
Institute of Chicago.
1983 De Statua, Stedelijk van
Abbemuseum, Eindhoven.
1986 Sonsbeek '86, Arnhem,
Holanda.
1991 Ruimte in Beeld,
Noordbrabants Museum, Den
Bosch, Holanda.
1993 Rijnmond InDruk '93,
Stedelijk Museum, Schiedam,
Holanda.
1994 Het Grote Gedicht,
Nederlandse Beeldhouwkunst
1945-1994, Grote Kerk, Haia.
Obras apresentadas/
Works in the exhibition
8 piled beams, 1962
ferro/iron
50x 50x 50 cm
Open cube, 1969
ferro/iron
50x 50x 50 cm
Folded tower, 1972
ferro/ iron
100x100x75cm
lonic folded /I, 1977
ferro/iron
45 x 115 x 60 cm
Rolling walkingstick, 1979
ferro, madeira/iron, wood
50 x 50x 50 cm
Coleo Martin Visser
Beast, 1983
tubos, madeira, folha-deflandres, vidro, arreio de
couro/tubes, wood, tin, glass,
leather hamess
135 x 300 x 300 cm
Coleo Museum Boymans - van
Beuningen, Rotterdam
Gori/la, 1983
carto, papel/cardboard, paper
165 x 133 cm
Bird on a troublesome egg in the
shadow, 1987
carto, gesso, metal, ovo,
plstico/cardboard, plaster, metal,
egg, plastic
70 x 51 x 38 cm
Waving, 1987
carto, penas, metal,
plstico/cardboard, feathers,
metal, plastic
43x 50x33 cm
Swan on a vast lake, 1991
chifres, madeira, metal, tubo,
bronze/homs, wood, metal, tube,
bronze
50x180x150cm
Coleo Van Reekum Museum,
Apeldoorn
Toads, 1992
tcnica mista/mixed media
70 x 100 cm
Cow hooves with avocados, 1993
colagem/col/age
70 x 100 cm
Tree, 1993-94
grafite/graphite
70x100cm
Square tree with asparagus, 1994
colagem/col/age
92 x 105 cm
Man ray in Egypt, 1994
colagem/col/age
150 x 200 cm
Hung with cockscomb, 1994
madeira, tronco/wood, wood
trunk
92x 46x 46 cm
14 pequenas esculturas/smal/
sculptures
263
Turim. Itlia.
Exposies coletivas!
Group exhibitions
1987 Muse Villa Arson, Nice,
Frana.
264
TON ZWERVER
Nasceu na Holanda em 1951
Bom in Holland in 1951.
Exposies individuais!
Solo exhibitions
1985 Apollohuis, Eindhoven,
Holanda.
1986 Gemeentemuseum,
Arnhem, Holanda.
1988 Galerie Torch, Amsterdam.
1990 Mobius, Boston.
1991 Galerie Tanya Rumpff,
Haarlem, Holanda; Galera
Carles Poy, Barcelona; Galerie
Thomas Gehrke, Hamburgo.
1993 W 139, Amsterdam.
1994 Galerie Tanya Rumpff,
Haarlem, Holanda.
Exposies coletivas!
Group exhibitions
1985 Wat Amsterdam Betreft,
Stedelijk Museum, Amsterdam.
1986 Fotografia Buffa, Groninger
Museum, Groningen,
Holanda!Rheinisches
Landesmuseum, Bonn.
1987 Muse d'Art Moderne,
Liege, Blgica.
1988 Plane Space, The
Photographers Gallery, Londres.
1989 Konstruirte Fotografie,
Mnchener Kunstverein,
Munique.
1990 Museum Fodor, Amsterdam;
Blikken over een weer,
Gemeentemuseum, Arnhem,
Holanda.
1991 Individuais, Nine Sculptors
from Holland, Alvar Aalto
Museum, Jyvskyl, Finlndia.
1992 Galerie Phoebus,
Rotterdam.
1993 Breda Fotografica, Breda,
Holanda.
1994 Afslag 16, Stedelijk
Museum, Schiedam, Holanda.
Obras apresentadas!
Works in the exhibition
Sculpture for the moment: The
Lodging House, Aberdeen, 1993
cibachrome
170 x 143,5 cm
Sculpture for the moment:
Kloosterhazeme, Breda, 1993
cibachrome
153,5 x 158,5 cm
Sculpture for the moment: The
Cowshed, Barcelona, 1992
cibachrome
177 x 147 cm
Sculpture for the moment: National
Theatre, Boston, 1990
cibachrome
171 x 145 cm
265
HUNGRIA HUNGARY
CU~ADO~ CU~Aro~ )UZANNt Mt)ZOlY
)o~o) CtNlt~ fO~ CONltMrO~A~Y A~I)' ~UDArt)1
ATTILA CSORGO
ATTILA CSORGO
Attila Csorgo may rightly be called a representa tive of the latest generation
of artists, of a generation that after completing its studies started its
autonomous artistic career, in a Hungary which had already gane through
changes of its political system. (More precisely, not in Hungary but in
Holland, since there he obtained a one-year scholarship at the Rijksakademie
in Amsterdam. 8ut even this exception is characteristic.) This generation is
already free from the ideological burden of the past, it has an open spiritual
horizon, is sensitive ot the new, capable of innovation and through its
participation in exhibitions it has gained intemational recognition.
The first work of Csorgo that invoked my interest was made at the High
School of Fine Arts. The artist put tiny bottles on the wall and lit them in
such a way that these objects drew not only on the effects of transparency
and glimmer but, in addition, bya line of shadow, a regular frame was
projected around them.
This was the beginning of a group of optical works (e.g. periscopes,
kaleidoscopes, camera obscura and other visual equipment) which soon also
involved the phenomenon of magnetismo For Germination, the intemational
exhibition of High School students, Csorgo made an installation out of panes
of glass placed parallel behind each other; its statical balance was
guaranteed by the arder of attracting and repulsing magnets
placed amongst them.
The point of the installation made in 1993 at the 8iennial of Small Sculptures
in Murska Sabota (Slovenia) was the sight of a little steel-ball, which was
visible only for a split second ( the main objective of the exhibition was the
creation of the aesthetic quality of minuteness). The artist created a dark
space in which a piece of equipment shoots up a ball that, with the help of a
photoelectric cell, discharges a flash of light, thus throwing light on itself To
put it in "scientific" terms: the work is made by the interplay of mechanical
movement, free fali, a photoelectric cell and electric energy.
The latest works of Csorgo also have to do with free fali, more correctly, they
have the intention to overcome it (among other things). Ventilators situated
horizontally hold various regular stereo metrical figures in the air but,
surprisinglyenough, the point is neither the illusion-inducing, nor the
"paraphenomenon" of the floating objects but the recognition that various
objects react to the lifting power by various forms of movement. And this is
already the territory of aerodynamics.
The latest works of Attila Csorgo border on technologyand sciences, even
on the world of discoveries. Some time he may step out from the discipline of
art. What prevents him from doing so is his apparent attraction towards the
aesthetical and its spiritual aspect.
Lszl 8eke
IMRE BUKTA
IMREBUKTA
Being a self taught artist, Bukta summoned up childhood memories from his
na tive village: the tools and machines of agriculture, the raw materiaIs and
the poachers' habits, the atmosphere of pheasant shootings with slingshots
in the night. His early objects (Pocket scythe, Agricultural tableware) were
incorporatedin a large installation for theParis Biennial in 1980; a
remarkable example of Hungarian arte povera. In the past ten years,Bukta
has developed his own metaphors, his own iconography, with watering cans,
rubber boots and f/yingpigs, sweet com and sunf/owers, corn-shuckers and
showering hares. His installations have the shocking, often dramatic effect
of banality taken to absurd extremes. In his case, provinciallife as subject is
derived from personal experience, and his humor is derived from empathy.
Bukta has created variations on Orwell's Animal farm in which
anthropomorphic animaIs - and people, who are no more than animaIs - are
at home. He looks with a criticaI eye at absurd attempts to raise productivity
and exploit available resources by any means available, without regard for
results. He lives fullyin a world - of Central and Eastern Europe -which has
lost its identity, no longer rural but not yet urbano
In his performance human beings, animaIs and objects ali seem to suffer
from incompetence and greed intensified by limited opportunity, the
conscious and hidden barbarity of destruction. His message can be political
in a very metaphoric way.
267
268
Ali Bukta's activities - sculpture, drawing, painting, performance, video art and
even writing - are part of the same organic knowledge of the environment, as
well as a global sensitivity. His writing has literary value; one can
understand his attitudes better by his writings.
"Go to a comer of Europe, orto another continent - on foot, if possible. Take
things with you. Take a PANE DF GLASS through which to observe the
environment. Thiswill be your window of the four points of the compasso
Take a PIG to remind you that you are a human being. He will be a companion
in solitude. You will be grateful if he allows you to scratch his ears.
But take GLUE with you, too, because after a few days the pig's curly hair will
begin to irrita te you very much ...
The fourth object you should take along is a PHDTDGRAPH of an ordinary
cricket. The pig will be happy, because the cricket is his favorite creature
and his favorite pastime, he will be looking at it before he goes to sleep...
Do not try to establish boundaries around your environment. You cannot;
your living area willbe determined by where the pig goes. A special
relationship will develop between the two of you, something inexplicable, a
deep respect that is apparent in everyday things; in the wayeach of you tries
to be the first to say goodmoming, for example, and the way you both step
back politely before answering the call of nature.
You will gaze into each other, your glances no longer modest, you will feel as
if you had already squeezed each other's hands or feet. Without even saying
it you will know that you are going to create a work of art together. "
(Published in the catalog Free Worlds, by Art Gallery of Toronto, Canada,
1991.)
Katalin Nray
ORSHI DROZDIK
Na dcada de 80, o trabalho de Orshi Drozdik estava voltado a
mostrurios de museus de cincias que ela comeou a fotografar dez
anos atrs. Ao mesmo tempo criava sua persona pseudocientfica um alter ego - que vivia no sculo XVIII, nos Estados Unidos. Seu
trabalho intitulado Adventure in technos dystopium lembra
Manufacturing the selt ttulo genrico da srie de exibies
apresentadas sob uma variedade de ttulos em diferentes
instalaes. Este trabalho desconstri a representao cientfica da
natureza, o corpo e a tecnologia atravs do discurso cientfico. Ele
. analisa a autoridade da nacionalidade e enfoca a linguagem do
poder. Sua pesquisa analisa a construo epistemolgica que a
base do seu conceito histrico do homem, da natureza e da cincia
na cultura ocidental. Seu trabalho investiga os sistemas de
pensamentos e a estrutura de poder que lhe so inerentes. Trata-se
de um trabalho rigoroso que combina uma esttica aprimorada com
uma grande variedade de materiais utilizados. Ela utiliza, nessas
instalaes, tcnicas fotogrficas tradicionais, de cunho figurativo,
alm de textos de diferentes gneros como, por exemplo,
cartas de amor.
Sua experincia pessoal com a histria da cincia foi obtida atravs
dos objetos encontrados na mitologia, exibida em museus. Sua obra
Manufacturing the selt body selffoi inspirada na fotografia que ela
tirou no museu de histria mdica de Viena em 1984; o tema dessa
foto era um modelo em cera criado em 1780 e que fazia parte do
fascnio dos Medici pelo discurso anatmico. Esse objeto foi criado
pelo escultor Susini, autor de vrios modelos em cera feitos para o
Museu de Anatomia de Florena. A Medicai Venus fazia parte da
coleo que reproduzia corpos femininos com fetos em seus teros.
Orshi Drozdik escrevia cartas de amor dirigidas aos modelos
mdicos os quais denominava Medicai Venus, utilizando seu prprio
corpo como modelo. A Medicai Venus uma escultura em cera de
uma mulher cujo corpo est dilacerado, e a ferida histrica revela
seus rgos internos; seu pescoo est ornamentado com um colar
de prolas que a sufoca; seu corpo parece estar em xtase sexual. A
escultura de Drozdik no disseca o molde emborrachado rodeado de
cartas de amor gravadas em folhas de prata. Esse trabalho est muito
prximo da obra Hairy virgin que tambm enfoca a questo da
identidade dos sexos.
ORSHI DROIDIK
In the 7980s Orshi Drozdik's work dealt with science museum displays. She
started to photograph science museums a decade ago. At the same time she
created her pseudo-seientist woman persona - an alter ego - who lived in the
78th century in Philadelphia, USA. Her work Adventure in technos dystopium is
similar to Manufacturing the self, the overall title of a series of exhibitions
shown under a variety oftitles in different installations. This work deconstructs
the scientific representation of nature, bodyand technology through the
seientific discourse. It analyses the authority of nationality and deals with the
language of power. Her search analyses the epistemological construction
surrounding historical concept of man, nature, and seience in Western culture .
Her work is investigation of systems of thought and the power structures
inherent in them. Intellectually rigorous work, combined with high aesthetics
and a wide range of material usage. She employs in this installations
photography in traditional figurative castings, writings in different genres like
love letters. Her personal experience with the science historyand through the
objects is displayed in mythology creating institutions, like museums. Her work
Manufacturing the self; body self was inspired by a photography she took in
the medicaI museum in Vienna in 7984 of a medicaI wax model. The wax
model was created in the years of 7780s as part of the Mediei's intellectual
faseination by the anatomical discourse and it is a product of his commission to
Susini, a sculptor who accomplished medicaI wax models for an anatomical
museum in Florence. The MedicaI Venus was part of the collection to illustrate
a woman's body with the foetus attached to the womb.
Orshi Drozdik wrote love letters to the medicaI model whom she called
Medicai Venus and cast her own body into her pose. The Medicai Venus is a
wax sculpture ofa woman whose body is wide open and the historical
wound reveals her inside, her neck decorated with a pearl choker and her
body in sexual ecstasy. Drozdik's sculpture does not dissect the rubber cast
body which is in ecstasy and surrounded with silver plates love letters
engraved into silver plates. This work is closely connected to the work Hairy
virgin which also deals with the history of gender identity.
269
Ii
Ii
ATTllA CSORGO
270
IMRE BUKTA
Nasceu em Mezoszentimre,
Hungria. Em 1970 completou o
curso secundrio na Escola
Vocacionallstvn Dob, Eger.
Desde 1974 tem participado
regularmente com suas
performances e instalaes de
exposies nacionais e
internacionais. Vive e trabalha
em Szentendre, Hungria.
Bom in Mezoszentimre, Hungary. In
1970 he completed high school at
the Istvn Dob Vocational School,
Eger. Since 1974 he has been a
regular participant with his
performances and installations
works in Hungarian and
intemational exhibitions. Lives and
works in Szentendre, Hungary.
Exposies individuais/
Solo exhibitions
1978 Galeria Stdi, Budapeste.
1981 Galeria Helikon,
Budapeste; Galeria Pataky,
Budapeste.
1982 Galerie der Knstlergruppe,
Stuttga rt.
1983 Stdtische Galerie,
Erlangen, Alemanha.
1984 Galeria Kecskemt,
Kecskemt, Hungria.
1985 Casa de Cultura da
Juventude/Youth Cultural House,
Szkesfehrvr, Hungria.
1988 Ernst Museum, Budapeste.
1989 Bel'Arte Gallery (com Gza
Samu), Helsinque,
Finlndia/Lunds Konsthall, Lund,
Sucia.
1991 Galeria Vrkof 14,
Budapeste.
1992 Galeria Vrkof 14,
Budapeste.
1993 Galerie der Stadt Wels,
Wels, ustria; Galeria
Municipal de Szentendre,
Szentendre, Hungria.
Exposies coletivas/
Group exhibitions
1978 Studio de Budapest, GrandPalais des Champs-Elyses,
Paris.
1979 Zeichnung heute, I.
Internationale Jugendtriennale
der Zeichnung, Kunsthalle in der
Norishalle, Nuremberg . .
1980 XI Biennale de Paris,
Manifestation Internationale
des Jeunes Artistes, Centre
Georges Pompidou, Paris.
1982 Egoland Art, Galeria
Fszek, Budapeste.
1983 3 Bienal Europia de Artes
Grficas/3rd European Biennial of
Graphic Art, Baden-Baden,
Alemanha.
1985 Contemporary Visual Art in
Hungary, Third Eye Centre,
Glasgow; 101 Objetos entre
1955-85/101 Objec,ts between
1955-85, Galeria Obuda,
Budapeste.
1986 Magic Works, Galeria
Budapest, Budapeste.
1987 Old and New Avant-garde,
Galeria Csk Istvn,
Szkesfehrvr, Hungria;
Zeitgenossische Bildende Kunst
aus Ungarn, Galerie der
Knstler, Munique; Arte Hngara
Contempornea/Contemporary
Hungarian Fine Art, Palcio das
Exposies, Budapeste.
1988 XLIII Biennale di Venezia,
Veneza.
1989 New Art of Hungary, Don
Soker Contemporary Art, San
Francisco.
1990 Triumph - The Inhabitable,
Art Hall Charlottenborg,
Copenhague; Ressource Kunst,
Palcio das Exposies,
Budapeste; Contemporary
Hungarian Art, Sala Dalles,
Bucareste, Romnia.
1991 Oscillation, VI Bastion,
Komarno, Palcio das
Exposies, Budapeste;
Metfora 90, Galeria Pcs, Pcs,
Hungria/Kennesaw, Atlanta,
Gergia.
1992 Columbus' Egg Hungarian-Latin-American
Contemporary Visual Art
Exhibition, Mcsarnok,
Budapeste; Free World Metaphors and Realities in
Contemporary Hungarian Art, Art
Gallery of Ontario, Toronto,
Prmios/Prizes
1989 Prmio Munkcsy
Obra apresentada/
Work in the exhibition
S/ttu Io/Untitled, 1994
instalao: linha de pesca,
cereal, botas de borracha,
compressor, gua/installation:
fishing line, com, rubber boots,
compressor, water
Coleo do artista
271
ORSHI DROZDIK
272
Maubuisson, Saint-Ouen
I'Aumone, Frana.
Exposies coletivasl
Graup exhibitions
1978 Studio: Cinco Artistas
Hngaros/Studio: Five Hungarian
Artists, Grand-Palais, Paris.
1979 Jovens Artistasl Young
Artists, Galeria Nacional da
Hungria, Budapeste.
1981 Museu de Arte Moderna de
Skopje, Skopje, Iugoslvia.
1982 Bienal de Bilbao, Museu de
Arte Contempornea, Bilbao,
Espanha.
1983 AIR Gallery, Nova Vork;
Fashion Moda, Bronx;
Collaborative Project and WPA,
Ritz Hotel, Washington.
1984 Eastern Europe, EI Bohio,
Nova Vork; Jack Tilton, Nova
IRlANDA IRE[ANO
CU~ADO~ CU~Aro~ DtC~N McGONAGlt
COMI~~A~IO COMMI~~IONE~ ~IU~AN ~A~~Y
In their awn very ditferent ways, these three artists embady impartant
elements af current activity in Ireland, Narth and Sauth. They represent a
generatianal shitt in sensibility, farmed but nat limited by the 7980s, a shitt
from thase wha were cantent to be Irish artists in Ireland to thase wha knaw
they can be Irish artists in the warld, and have to test their ideas in the wider
intematianal environment. Ciarn Lennan, Alice Maher and Philip Napier
each deal ditferently with the particulars af art and lite.
Ciarn Lennan embarked an this series af paintings, The Scatama Group, in
7992 to try to find a way to 'articula te my awn figuratian'. To do this he
laaked in particular at the wark af Giatta in Italy and this influence is present
as a slaw bum effect, underlying his awn canstructed language. While there
is a sense af wider narra tive and reference the paintings actual/y stand alane,
and include the viewer in their field af visian as surely as Lennan's ambient
instal/atians in the late 7970s and early 7980s which used spaces, raams and
light.
Alice Maher has maved beyand the limitatian af 'waman artist' to produce
paintings, sculptural and instal/atian warks which cut across lines af thaught
abaut being Irish, being a waman and being 'modem' at the end af the 20th
century Her wark uses a persanal icanagraphy creating a strong sense af
biagraphy it nat autabiagraphy A recent wark taak the farm af a pil/ar af
hanging hair in a roam, larger than lite, tal/er than the bady but cantral/ed by
it. This wark was alsa abaut the artist 'figuring' herself by finding a levei af
cammanalty which is beyand reasan and which cauld be described as premodem.
Philip Napier is a Narthem Irish artist wha uses site specific available
resaurces in terms af materiais and ideas, from satel/ite dishes to patataes,
to military musical instruments, to bus signs af place names and routes. His
pieces are made as a result af experience nat to describe it and his
experience is roated in the divided cammunities and appased cultures af
Narthem Ireland. In Napier's wark, no material, no abject, no aspect af
language is innacent. Everything is laaded. We ali carry baggage. It is this
baggage which he explores whether in the street in Belfast ar in a custam
built museum ar art gal/ery, asking us to cansider and to be aware. His warks
can startingly madest ar averpawering in scale but always paint to an
expectatian af a viewer ar a reader. It is the mind af this viewer, and his ar
her baggage that is Napier's real subject.
Declan McGanagle
Directar af Irish Museum af Modem Art
Declan McGonagle
Diretor do Irish Museum of Modern Art
273
AliCE MAHER
274
Obra apresentada!
Work in the exhibition
Familiar, 1994
instalao!installation
tela, madeira, fibras de
linho!canvas, wood, flax
250x250cm
CIARAN lENNON
Nasceu em Dublin em 1947. Em
1967, graduou-se pelo National
College of Art and Design de
Dublin. Em 1991, recebeu o
prmio da Pollock Krasner
Foundation e, em 1994, foi eleito
para a Aosdna, academia de
artes patrpcinada pelo governo
irlands. E representado na
Irlanda pela Green and Red
Gallery, de Dublin, e
275
PHllIP NAPIER
Nasceu em Belfast, Irlanda do
Norte, em 1965. Estudou na
Falmouth School of Art, na
Cornualha, Inglaterra, e na
University of Ulster, em Belfast.
Participa de uma equipe de
projetos formada por um artista,
um engenheiro projetista de
estradas e um arquiteto
paisagista em Portlaoise ByPass, Irlanda. Vive e trabalha
em Belfast.
Bom in Belfast, North Ireland, in
7965. He was educated at the
Falmouth School of Art in Comwa/l,
England, and at the University of
UIster, in Belfast. He is the artist on
the design team for a co/laboration
between artist, motorway design
engineer and /andscape architect on
the Portlaoise By-Pass, in Ireland.
He lives and works in Belfast.
Exposies individuais/Solo
exhibitions
1991. Coalface (performance de
60 minutos/60 minute
performance), British School,
Roma; Eating the day
(instalao/insta/lation),Orpheus
Gallery, Belfast.
1994 Actuation, Neeham Bridge,
Newry, Irlanda.
Exposies coletivas/ Group
exhibitions
1991 Shocks to the System,
Social and Politicallssues in
Recent British Art (mostra
itinerante/trave/ling exhibition),
Inglaterra/Irlanda.
1993 Other Borders: Six Irish '
Projects, Grey Art Gallery, Nova
Vork.
19941dentit e Rappresentazioni
Cartografiche, Museo Nazionale
Preistorico Etnografico, Roma.
276
Obra apresentada/
Work in the exhibition
Apparatus /I, 1994
instalao multimdia/multimedia
insta/lation
277
ISlANDIA ICElAND
278
At the anset af the 198[J's, when 'New Painting' became ali the rage in
Europe, a number af Icelandic artists taak up painting. One af them was was
Tumi Magnssan, wha had finished his art studies shartly befare.
From the very start Tumi Magnssan taak a very fresh and striking approach
to painting, gradually develaping a persanal visual imagery unique in
Icelandic art. The imagery in questian was a persanal glass an the still-life,
the elevatian af abjects sa camman place that we have ceased to natice
them inta the lafty realm af symbals. Screws and balts, caffee cups, add
farks, knives and spaans and taath brushes were ali taken aut af their
"natural" cantext, elevated, enlarged and distarted. These items are
frequent/y repeated, thaugh withaut avert patterning, to camply with the
demands af space and the colar spectrum.
Tumi Magnssan uses calars randamly, even aggressively, yet with a view to
an artistic harmany af sarts. Thus his calars have no symbalic meaning but
change accarding to the degree af light, space and time, with a result which
is bath impressive and absurd.
This approach did nat altagether satisfy the artist in his search for a visual
language af his very awn. In his present wark he has dispensed altagether
with the surface af things and cancentrates instead an visualizing different
liquid substances. Images af abjects in a readable space have given way to
images af liquid substances spreading ali aver the canvas. With the help af
traditianalails, the artist brings aut the different cansistency af liquid
substances, their surface texture and areas af cantact.
This develapment detached from the surface af things tawards their cantent,
their canceptual arigin, is nat as abrupt as it might seem. Tumi Magnssan's
warks had previausly been undergaing gradual change for some time.
Recagnizable signs and abjects were an the verge af dissalutian at different
paints af canvergence, creating "fuzzy" autlines and barders.
The artist is still taking liberties with our visual perception by his meticulous
brushwork. Brushing the colors (Iiquids) against each other, he creates a
mysterious tension in the way they either converge ar clash.
Through his use of oils, the artist effects a delicate change to the
components of these liquids, setting in motion a peculiar combination of
knowledge and perception in the viewer. Sometimes the liquids connect,
sometimes they stay separate. The viewer is taken unawares. Ali his senses
are engaged, his olfactory organs, his taste buds and his inherent aesthetic
sense. Traditional perception is turned upside down, albeit with the artist's
customary humorous slant. Should the artist's colar combinations startle ar
offend us, it is due either to our own ignorance ar an optical malfunction, for
theyare in fact exact "replicas"of the colors assumed by the
liquids in questiono
We are confronted with an extraordinary visual world, a world in which a
traditional two dimensional plane is made to convey multiple meaning,
centering as much on our senses of smell and taste as on our experience of
colors. It is a world where everything and nothing happens.
It is ali up to the viewer.
Bera Nordal
279
rUMI MAGNUSSON
ISRAEl ISRAEl
CU~ADO~ CU~ArO~ ~A~II ~HArl~A
281
1\
1\
282
Wondering through the city, Ido Bar-EI searches for the "expanded fie/d" which for him is a more definite eschatological dimension - of the object
(found or made). He ferrets through heaps of thrown-out objects, as if
searching for those traces of the past that have been thrown to the
borderlines, into oblivion, into the "black hole" of meaning and memory From
those garbage heaps he picks out especially those objects that were
intended to be locked up, as if to hide a secret. But he shows them as already
opened "Pandora's boxes" which expose the object's "other side" - its being
hollowed, stamped by a lack. Bar-E! orients his painting to accentuate the
eschatological side of the "found object", and at the same time represents
his painting as appearing only where holes exist. There he paints mainly
images and signs of objects that have been cast out from contemporary
instrumental systems. The "mechanics of Newton" (in Bar-EI's words)
appears as dry and transparent ghostly images, or as images of ghostly
objects that are merely stamping another ghostly object - the more concrete
"found object" - with their signs.
BARRY fRYDlENDER
Solo exhibitions
1983 Cafe Kassit, Nikon Gallery,
Londres.
1985 Cafe Kassit, Museu de
Israel, Jerusalm.
1987 Photographs 1982-1987,
Centro de Fotografia de
Group exhibitions
1982 Floods of Light, The
Photographer's Gallery, Londres;
Personal Vision, Teatro de
Jerusalm.
1985 From the Bible till Now 3000 Vears of Art, Grand Palais,
Paris.
198613 Photographers,
Lieberman and Saul Gallery,
Nova Vork; The First Israel i
Biennale of Photography,
Mishkan Le Omanut, Ein Harod,
Israel.
1989 Warm Light, Museu de
Fotografia de Helsinki,
Helsinque, Finlndia.
1991 Patterns of Jewish Life,
Edifcio Martin Gropius, Berlim.
Obras apresentadas/
283
IDO BAR-El
284.
Exposies coletivas/
Group exhibitions
1988 Fresh Paint: The Voung
Generation in Israeli Art, Museu
de Arte de Tel Aviv,
1990 Towards the 90's, Mishkan
Le Omanut, Ein Harod, Israel.
1991 Israeli Art Now - An
Extensive Presentation, Museu
de Arte Moderna de Tel Aviv.
1992 Routes of Wandering Nomadism, Journeys and
Transitions in Contemporary
Israeli Art, Museu de Israel,
Jerusalm.
1993 Makon - Contemporary Art
from Israel, Museu de Arte do
Sculo XX, Viena; Gent Tag Ast,
De Beyerd, Brada, Holanda.
1994 Halal: Arte Contemporanea
di Israele, Sala 1, Roma.
Obras apresentadas/
Works in the exhibition
Sem ttulo/Untitled, 1994
leo e tinta industrial
s/alumni%il and industrial paint
on aluminium
130 x 130 cm
Coleo do artista
NAHUM lEVEI
Exposies individuais!
Solo exhibtions
1972 Galeria Sara Gilat,
Jerusalm.
1975 Galerie Schmela,
Dsseldorf, Alemanha.
1976 Museu de Israel,
Jerusalm.
1977 Galerie lIIane, Paris.
1979 Bertha Urdang Gallery,
Nova Vork.
1982 Galeria Noemi Givon,
Tel Aviv.
1984 Museu de Israel,
Jerusalm.
1986 Kunsthalle Mannheim
Neus, Sammlung Ludwig,
Aachen, Alemanha.
1987 Galerie EmmerichBaumann, Zurique, Sua.
1988 Galeria Artifact, Tel Aviv.
1991 Painting Lessons,
Sculptures 1984-1990, Museu de
Arte de Tel Aviv.
1992 Narcissus 8 (instalao
permanente!permanent
installation), Des-Moins, lowa,
EUA.
1994 Galeria da Universidade
de Haifa.
Painting lesson n Q 10 (detalhe/ de ta in , 1992-94
instalao/ installation
Presente de Rita e Arturo Schwarz, Milo, para o Israel Museum, Jerusalm/
gift from Rita and Arturo Schwarz, Milan, to The Israel Museum, Jerusalem
Foto: Oded Lebel
Exposies coletivas!
Group exhibitions
1971 New Faces, Associao
dos Pintores e
Escultores!Painters and Sculptors
Assocation, Tel Aviv.
19745 Voung Artists, Galeria de
Arte Kibbutz, Tel Aviv.
197710 Artists from Israel,
Louisiana Museum, Dinamarca;
Israel '77, Museu de Israel,
Jerusalm; O Papel como Meio
de Expresso!Paper as a Medium
of Expression, CAVC, Buenos
Aires.
1978 Seven Artists in Israel
1948-1978, Los Angeles County
Museum, Los Angeles.
1979 30 x 30, Museu de Arte de
Tel Aviv.
ITAllA ITA[Y
CU~ADO~ CU~AO~ lUCll~ ~ACCA
286
In the 20th century art, after World War 11 there was a moment of
heightened tension and rupture for Europeans. Iam referring to the late 60's
when non-traditional materiais burst onto the artistic scene, radically
upsetting its balance. It was a moment of fundamental significance for art ali
over the world and one which, not by chance, constitutes the theme of this
229 Bienal Internacional de So Paulo. One just has to look at certa in
emblematic examples to prove this, such as Louise Bourgeois, a great
sensitive precursor, Hlio Oiticica, the outstanding colorist who transposes
the vital tragedy of Brazil'sfavelas (slums) into his installations or Dan Flavin
who shifts from the artistic support to address the dimension and time of
light. There is also Giovanni Anselmo whose work spills not only into space
but beyond the very walls of environment. An output marked by rigor and
conceived for closed spaces, spaces which are required for the circumscribed
boundaries to be overcome and for world's entire space to be dominated by
the power of thought.
In Italy, the great revolution of pictorial space initiated by Lucio Fontana, was
stated in accurate terms by the Arte Povera movement bom in Turin - one of
the most important industrial cities of Italy. It was within this rigorous,
idealistic setting that Anselmo's artistic adventure developed and asserted
itself, a philosophy of art that unfurls slowly, supported and protected by
sensitive stringency and lucid discipline.
There is a recurrent use of ultramarine throughout Anselmo's work and
thought processo In the artist's opinion, color was thus named because it did
not exist in Europe but hailed from the East and perhaps South America.
While it is a color, it is also a place, a fragment that comes from afar and
which has nothing to do witfJ the sea, even if the latter does at times boast
this color. "I use it", says Anselmo, "to give direction to a situation of energy:
this might be a slab or block of granite hung from the wall in running knots".
A desire is an undertaking which is projected beyond the confines of closed,
circumscribed boundaries, beyond the walls and, further still, beyond
visibility. A whole group of works bears witness to this desire to range
through the richness of our own ablity to comprehend, among which are
those presented at the Kunsthalle, Basel (1979), the Muse de Peinture et
Sculpture de Grenoble (1980), and the Castello di Riboli (1984). Germano
Celant ("Giovanni Anselmo", Spazio GFT, Florence, 1988) writes that Anselmo
has produced sculptures and installations the very existence of which is
determined bya force that is not only human but earthly". It is not a
coincidence that we find ourselves confronting works wherein the direction
of the cardinal points has been plotted out, as the artist has been using a
magnetic needle since 1967.
"1 am not particularly interested in indicating the north, the artist adds, "but
the needle constantly points to that direction beca use it feels the Earth's
magnetic fields which in their turn are inf/uenced by sunstorms. "
It is a concept of impelling necessity to overcome the contingent space which
can be linked up with more recent works (Geneva, Centre d'Art
Contemporain, 1993, Rotterdam, Witte de With, 1994) as well as the
installation Visible and invisible details along the path towards ultramarine,
conceived for this Biennale. Here magnetic needle, stone, projectors,
ultramarine and earthen path cut the space and conspire to create a sort of
microcosm, an ideal trajectory leading back to the reality of human condition.
Ancient, primary, natural forces such as energy, space, infinity and gravity
which with rigorous, almost obsessive determination domina te the whole of
this work, in every step of the way.
However, during his inexorable journey Anselmo appears to enjoyabsolute
freedom, some times even skimming the limits of pro vaca tion: stones are
ma de light, they f/y, suspended by unsettling, running knots, the forces of
gravityare inverted by a cutting,arbitrary logic that reaches almost
paradoxical proportions.
In the 44th Biennale di Venezia catalogue, Lea Vergine observes: "Often, the
sensation we get is that Anselmo wishes to go "beyond" the limits of the
world and hurl himself beyond the limits of language".
It is the extreme boundary of experience, the uncontested realm of a
stringency that accepts no delays and which, in its presentation, is deprived
not so much of ornament as of the merest hint of affectation. With his
asceptic representational pure message Anselmo urges us to stop and pause
for reflection. He poses the essential questions of existence both to himself
and to others through the philosophical component that is vital to his work.
287
GOVANN ANSElMO
288
289
290
IUGOSlAVIA YUGOSlAVIA
CU~ADO~ CU~Aro~ DeJAN )~eleNOVIC
)o~o) CeNle~ rO~ CONleMrO~A~Y A~I) ~elG~ADe
291
292
ZDRAVKO JOKSIMOVIC
Nasceu em Buce, Iugoslvia, em
1960. Em 1989, graduou-se
mestre em artes pela Academia
de Belas-Artes de Belgrado.
Desde 1992 bolsista da mesma
academia, na funo de
professor assistente.
Bom in Buce, Yugoslav, in 1960.
Master in arts at the Fine Arts
Academy in Belgrade (1989). Since
1992 he receives a scholarship to
work as an assistant professor at
the same academy.
Exposies individuaisl
Solo exhibitions
1987 Galeria Dom Omladine
(desenhosldrawings, com D. Vrga
e Z. ~askovski), Belgrado.
1988 Galeria Dom Omladine
(esculturas/sculptures), Belgrado.
1990 Galeria da Academia de
Belas-Artes (desenhosldrawings),
Belgrado; Likovni Salon Gallery
(esculturas e desenhos/sculptures
and drawings), Kragujevac,
Iugoslvia.
1991 Galeria do Centro Cultural
Estudantil (esculturas/sculptures),
Belgrado.
1992 Galeria ULUS
(esculturas/sculptures), Belgrado.
1993 Galeria Lada (esculturas e
desenhos/sculptures and drawings,
com Mrdjan Baji), Belgrado;
Galeria do Centro Cultural
Estudantil (desenhosldrawings),
Belgrado.
Exposies coletivasl
Group exhibitions
1991 Centro Cultural Iugoslavo,
Paris.
1991 Galeria PM, Zagreb.
1993 Neue Galerie,Graz,
ustria.
1994 Ernst Museum, Budapeste,
Hungria.
Obras apresentadasl
Works in the exhibition
Field I, 1993
terracota
55,5 cm (raiolradius)
Coleo do artista
Field 11, 1993
terracota
56 cm (raiolradius)
Coleo do artista
Field 111, 1994
terracota
74 cm (raiolradius)
Coleo do artista
293
IV
JAPAO ~PAN
CU~ADO~ CUfAOf ~UNIO MOiOr
294
snatched fram the fire. Could this be a metaphor for death? And f so, is the
water that spills forth fram a comer of this chunk of wood a metaphor for
lfe? This fundamental dichotomy is unquestionably at the heart of Toshikatsu
Endo s works.
In the same manner, Toeko Tatsuno is essentially a fundamental form painter.
Like her contemporary, Endo, Tatsuno began with a Conceptual art outlook,
and received early praise for her severely detailed works thatseem without
artfice as they depict the subtle differences between actuallines and the
ideallines that are only found in concepts. The true flowering of her art
occurred, however, when she was not satisfied with these ascetic works and
tumed toward the creation of chaotic paintings. Therei as f set before an allencompassing mirror, the concepts that are submerged in the depths of the
painter appear as numeraus fundamental shapes that seem to shake and
move as they float up fram the backgraund like an endlessly changing sea.
Like the metaphors for human reality that were eloquently expressed in film
by the late Andrei Tarkovsky, Tatsunos works recall the colloid sea of the
puzzling planet seen in Solaris as they revive and recall images fram the
heart of mankinds suppressed heart. Tatsunos works excavate the earth,
measure its depth, and submerge in its darkness to confirm their own clarity.
Compared to these two artists absorbed with internaI works, the artistic
world of Aki Kurada isan unlimited expanse that seems to even deny gravity.
Kuroda left for France almost immediately after his graduation fram
university in Kyoto. There he settled in Paris, first creating exquisite works
that show a line streaking thraugh their darkness like a flash. These works
led the individualist author Marguerite Duras to make the enigmatic
statement "Aki Kurada goes beyond silence". The unparalleled lightness and
brightness seen in his present works are made possible by this early
darkness. Thus, he toa is a fundamental artist. Aki Kuroda explains this thing
called creation by using a sponge-like model of the universe based on the
latest theories. Countless bubble-like cavities and passages freely gather and
disperse ali things. In fact, Kuradas works are neither painting nor sculpture,
to exist rather in their interstice in what can be called a 2.5 dimension.
Amidst the vibrations of that intermediate space we can glimpse a sense of
the abyss shared by Endo and Tatsuno.
Kunio Motoe
translation Martha McClintock (Japanese/English)
Kunio Motoe
295
AKI KURODA
03 ,1991
acrlico si telalacrylic on canvas
270 x 160 cm
Coleo do artista
Exposies individuais/Solo
exhibitions
1978 Kunsthalle Bremerhaven,
Alemanha.
1980-82 Galerie Maeght, Paris.
1983 Galeria Takagi, Nagia,
Japo; Galerie Art Aktuel,
Basilia, Sua.
1984-85 Galerie Maeght, Paris.
1986 Muse du Chteau-Fort,
Sedan, Frana.
1987 Stadtgalerie Saarbrcken,
Alemanha; Galerie Maeght,
Basilia, Sua.
1987-88-89 Galerie La Main,
Bruxelas.
1988 Galeria Nishimura, Tquio;
Galerie Maeght, Paris.
1989 Galerie Maeght, Paris;
Cadran Solaire, Sainte-Chapelle
de I'Htel Dieu, Troyes, Frana.
1990 Mayor Rowan Gallery,
Londres.
1991 Spark Gallery, Tquio.
1992 Slowakische
Nationalgalerie, Bratislava,
Tchecoslovquia.
1993 Galerie Maeght,
Paris/Barcelona; Museu
Nacional de Arte Moderna,
Tquio; Museu Nacional de
Arte, Osaka.
1994 Galerie Maeght, Paris;
Muse de la Ville de ClermontFerrand, Frana.
Exposies coletivas/Group
exhibitions
1976 Prix Europe de la Peinture,
Ostende, Blgica.
296
TOEKO TATSUNO
297
TOSHIKATSU ENDO
298
299
300
itinerante/travelling exhibition).
1991 -92 Oriel Mostyn,
Llandudno, Pas de Gales/ICA
Gallery, Londres e outras
(mostra itinerante/travelling
exhibition).
1993 Galeria Vamaguchi, Osaka.
lETONIA LATVIA
CU~ADO~ CU~AiO~ HeleNA DeMAKOVA
A~~I~leNI[jA))!)iANi ~~IGIIA ~WOD~
~O~O~ CeNle~ fO~ CONleM~O~A~Y A~I~ -~IGA
Helena Demakova
301
OlEGS TlllBERGS
(instalao/installation Aurora),
Galeria Jana Seta, Riga.
1989 Riga -Iettische Avant-garde
(insta lao/installation The dried
up rivers), Galeria Am
Sophienhof, Kiel/Galeria
Weserburg, Bremen; 7 Mostra
Republicana de Design/7th
Republican Design Exhibition,
Galeria Latvija, Riga; Lacplesis
(instalao/insta//ation Don't look
at the trees, look at the sky, com R.
Pipkalejs e Dz. Zilgalvis), Museu
de Arte Arsenais, Riga.
1990 Letnia, Um Salto Mortal
no Sculo XX - 1940-90/Latvia,
20th Century Somersault - 1940-90
(instalao/installation Joining
the Universe), Galeria Latvij~,
Riga; Rauma Biennale Balticum,
Museu de Arte, Rauma,
Finlndia; Randteckning - Five
Artists from Riga, Galeria do
Sindicato dos Artistas, Malm,
Sucia; Idea/Space/Material,
Salo de Arte, Tallin, Estnia;
Galeria Jana Seta (instalao
ao ar livre/open air installation
Railway points), Riga.
1991 My Time - Pilot, Galeria
Den Frie, Copenhague; Europe
Unknown, Cracvia, Polnia;
Five from Riga, Kulturhuset,
Estocolmo.
1992 Forma Anthropologica
(instalao/insta//ation Marking
the seaside), Salo de Arte,
Tallin, Estnia; The Stony Light
(instalao/installation Joining
the Universe), Bienal de Rostock,
Alemanha; Quadrienal
Internacional de
Escultura/lntemational Sculpture
Ouadriennial, Riga; Parmijas:
Aktuelle Kunst aus Riga, Galeria
Am Mawerkamp, Mnster,
Alemanha; Generation, Museu
de Arte Contempornea, Pori,
Finlndia.
1993 Equi-librium, Baltic-Nordic
Contemporary Art, Galeria
Latvija, Riga; The Memory of
Images - Baltic Photo Art Today;
Galeria Am Sophienhof, Kiel/Art
Hall, Rostock, Alemanha;
Galeria Latvija (objet% bject
Projection on the water by wrapped
banks), Riga; Baltic Sea
Sculpture Exhibition (instalao
ao ar livre/open air insta//ation
The dozing sheets), Visby, Sucia;
AII-Latvia Art Action "ep!"
(mostra de artes grficas/graphic
exhibition), Museu de Arte
Arsenais, Riga.
19941 Exposio Anual SCCARiga "Zoom Factor"/ 1st Annua/
SCCA-Riga Exhibition "Zoam
Factor" (instala~o/ instal/ation
Waiting for the Ber/in train),
Galeria Latvija, Riga; exposio
ao ar livre/open air exhibition,
Pedvale, Letnia.
Parking
Parking
303
llTUANIA llTHUANIA
CU~ADO~ CU~ArO~ ~AMINIAjU~[NAII[
~O~O~ C[NI[~ rO~ CONI[M~O~A~Y A~I~ VllNIU~
GEDIMINAS URBONAS
GEDIMINAS URBONAS
SARUNASSAUKA
SARUNAS SAUKA
Sarunas Sauka appeared in the artistic life of Lithuania in the early lOs when
fine arts had already experienced some possibilities of greater freedom as
well as self-expression liberation granted by the so-called "reorganization".
At that time, and in the earlier decades of the Lithuanian post-war painting,
there was lefta fairly strong influence of artistic creation of the Republic of
Lithuania period and an attempt to revive the spirit of Lithuanian Modernism
of the 20s and 30s as well as to reabilita te the painting traditions which had
not been officially mentioned up to that time but which were being
constantly promoted. The essence of said traditions - the Lithuanian
Expressionism, which took its shape in the early 30s, the plastic system of
the artists' group ARS, active coloring , the literary insignificance of the
motifs and their plastic deformation. The whole or nearly whole generation
of Lithuanian painters of the 60s and lOs exploited one or another peculiarity
of this plastic system.
The images and plastics system of Sarunas Sauka is absolutely different from
the faithfulness to old traditions; the accentuation of formal coloring,
compositional and plastic searchings are remo te to his creation; since the
very beginning his works are distinghished by a brilliant drawing, knowledge
of man's anatomy and the complexity of figure compositions. At the very first
official exhibitions his pictures demonstrated realistic forms, a sense of
accurate detail and concrete character as well as his ability to pictorially and
irrepproachfully realize that sense. This kind of in terpre ta tion of plastic motifs
in compositional, visual and semantic structures is void of any realism,
therefore it is not by chance that the definition of magic realism has not been
applied to S. Sauka's creations.
The earlier works by S. Sauka displaya somewhat raised symbolic tone; they
are plastically pretentious, of gracefulline and of a sophisticated coloring
structure, however, in respect to semantic, they were void of later dramatic
effect and phylosophic resignation. A tremendous interest was caused by S.
Sauka's creation in officialcircles by its big format and non-traditional
silhouette picture, the diptych Grunwald battle, painted in 1981 for which the
artist was awarded the National Prize in 1989. His la ter pictures form a
densely populated fantastic space, possessing the parameters of a
nightmare, dream, delirium and his principal heroes are always associated
with a keen, ruthlessself-analysis of the artist and an attempt to unmask his
most confidential ambitions, whims and passions. No wonder that among the
personages of his pictures one can notice some characters, possessing the
artist's features and the series of the artist's self-portraits has not been
finished up to now In them the artist is striving to approach the depths of his
psychic possibilities in a close-up manner and to explain to himself the
meaning of one or another psychic act, its motif and results.
His creation is first of ali meant for himselfin order to understand the major
existential problems, therefore, the spectator finds it difficult to perceive. On
the other hand the artist cannot perceive other man 's layers of
subconsciousness and their highly complex combinations.
Helmutas Sabasevicius
305
GEDIMINAS URBONAS
Nasceu em Vilna, Litunia, em
1966. De 1977 a 1984 estudou na
Escola de Arte M. K. Ciurlionis, em
Vilna. Desde 1984 estuda escultura
na Academia de Artes de Vilna. De
1988 a 1992 foi membro do grupo
artstico e performtico Zalias
Lapas. Em 1991 e 1993 estudou na
Sommerakademie fr Bildende
Kunst, em Salzburgo, ustria, nas
oficinas de Hermann Nitsch e
Ulrike Rosenbach. Desde 1993
membro do JUTEMPUS. Vive e
trabalha em Vilna.
Bom in Vilnius, Lithuania, in 1966. He
studied at M. K Ciurlionis Secondary
Art School, in Vilnius. Since 1984 he
has been studying sculpture at the
Vilnius Academy of Arts (1984-94).
Member of the art and performance
group lalias Lapas (1988-92). Since
1993 he has been member of
JUTEMPUS. He studied at the
Sommerakademie fr Bildende Kunst,
Salzburg, Austria, in the workshops of
Hermann Nitsch and Ulrike Rosenbach.
He lives and works in Vilnius.
Exposies individuais!Solo
exhibitions
1991 Percepo do
Homem!Perception of Man,
Lithuania: stone objects, video monitor, tripod, table-tennis table, football game
306
SARUNAS SAUKA
Nasceu em Vilna, Litunia, em
1958. Estudou no Instituto
Nacional de Arte da Litunia.
Desde 1988 membro da
Associao dos
Artistas Lituanos e, desde 1989,
do Grupo 24, formado por
artistas e crticos de arte. Em
1992 foi hspede de Finn
Kjergaard e pintou catorze
quadros que permaneceram na
Dinamarca. Vive em Vilna.
Bom in Vilnius, Lithuania, in 1958.
He studied at the State Lithuanian
Institute of Art. Since 1988 he has
been a member of the Lithuanian
Artists' Union and, since 1989, of
the artists and art critics' Group 24.
In 1992 he was a guest of Finn
Kjergaard and painted fourteen
pictures which remained in
Denmark. He lives in Vilnius.
Exposies individuais/Solo
exhibitions
1985 Associao dos Artistas
Lituanos.
1991 Galeria Arka (com Nomeda
Saukien), Vilna.
1992lnferno/Hell, Centro de Arte
Contempornea; Vilna/Galeria
de Arte de Panevzys,
Panevzys, Litunia.
1993 Museu da Academia de
Arte de Vilna, Litunia; Much
Meat, Galeria Arka, Vilna.
Exposies coletivas/ Group
exhibitions
19822 Exposio de BelasArtes de Jovens Pintores
Blticos - "Juventude,82"/2nd
Fine Arts Exhibition of Baltic
Young Artists Painting - "Youth 82",
Palcio das Exposies, Vilna.
1984 Jovens Pintores de Vilna e
Kaunas/Young Painters from
Vilnius and Kaunas, Casa dos
Artistas, Kaunas, Litunia.
1985 Mostra Republicana de
Belas-Artes/Republican Fine Arts
Exhibition, Palcio das
Exposies, Vilna; Mostra
Republicana do Jubileu/Jubilee
Republican Exhibition (dedicada
ao 45 aniversrio da Repblica
Socialista Sovitica da
Litunia/dedicated to the 45th
anniversary of Soviet Lithuania),
Palcio das Exposies, Vilna;
3 Exposio de Belas-Artes de
Jovens Pintores Blticos "Juventude 85"/3rd Fine Arts
Exhibition of Baltic Young Artists
Painting - "Youth 85", Palcio das
Exposies, Vilna.
1986 Mostra Republicana de
Belas-Artes/Republican Fine Arts
Exhibition, Palcio das
Exposies, Vilna; Mostra da
Criao de Jovens
Artistas/ Exhibition of Young
Artists' Creation, Palcio dos
Artistas, Vilna.
1987 Mostra Republicana de
Jovens Artistas/Republican
Exhibition of Young Artists , Works
(dedicada ao 21 Congresso do
Komsomol da Litunia/dedicated
to the 21 th Congress of the
Lithuanian Komsomol, Palcio das
Exposies, Vilna; Arte da
Repblica Socialista Sovitica
da Litunia/Art of Soviet Lithuania
(dedicada ao 70 aniversrio da
Revoluo
de Outubro/dedicated to the 70th
anniversary of the Great Octoben,
Casa dos Artistas, Moscou;
Mostra Nacional de Jovens
Artistas - "Juventude do
Pas"/AII-Union Exhibition of Young
Artists' Works - "Youth of the
Country" (dedicada ao 20
Congresso do
Komsomol/dedicated to the 20th
Congress of the Komsomo~,
Moscou; Nus/Nudes, Palcio
dos Artistas, Vilna.
19884 Exposio de BelasArtes de Jovens Artistas
Blticos - "Juventude 88"/4th
Fine Arts Exhibition of Baltic Young
Artists - "Youth 88", Palcio das
Exposies, Vilna; Mito na
Pintura Contempornea/Myth in
Contemporary Painting, Palcio
das Exposies, Vilna;
Tendenciak A Kortars Litvan
Festeszetben/ Tendencies of
Modem Lithuanian Painting,
Palcio da Cultura, Nyirgyhaza,
Hungria.
1989 Exposio Nacional de
Pintura/AII-Union Exhibition of
Painting, Casa dos Artistas,
Moscou; 14 Jovens Pintores
Lituanos em Luxemburgo/14
Young Lithuanian Painters in
Luxembourg, Teatro Municipal,
Road,1988
leo s/ tela/oi/ on canvas
110 x 180 em
Coleo do artista
Luxemburgo; Tendenciak A
Kortars Litvan
Festeszetben/ Tendencies of
Modem Lithuanian Painting,
Galeria Bartok '32, Bu-dapeste,
Hungria; Mostra da Criao de
Jovens Artistas
Lituanos/Exhibition of Young
Lithuanian Artists , Creation,
Galeria Szentendre, Szentendre,
Hungria.
1990 8 Trienal de Pintura de
Vilna/8th Vilnius Triennialof
Painting, Palcio das
Exposies, Vilna; Pintura Noite
e Dia/Painting of Night and Day,
Palcio das Exposies, Vilna;
Apokalypse und Glube,
Marburger Universitatsmuseum
fr Kunst und Kulturgeschikte,
Marburg, Alemanha; Mostra do
Grupo 24/Exhibition of Group 24,
Palcio das Exposies, Vilna.
1991 Apokalypse und Glaube,
Lippisches Landesmuseum,
Alemanha; Mostra do Grupo
24/Exhibition of Group 24, Palcio
das Exposies, Vilna; 8
Pintores da Litunia/8 Painters
from Lithuania, Galeria F 15,
Moss, Noruega/Kulturhuset,
Estocolmo; Min tid som pilot,
Oslo/Copenhague.
1992 Mostra do Grupo
24/Exhibition of Group 24, Palcio
das Exposies,
Siauliai/Panevzys/Kdainiai/
Kaunas, Litunia; Mostra do
Grupo 24/Exhibition of Group 24,
Galeria Arka, Vilna; Ao e
130 x 130 cm
Coleo do artista
Sti//-life with a red tablecloth, 1987
leo s/ tela/oil on canvas
100 x 120 cm
Coleo do artista
Staircase, 1989
leo s/ tela/oil on canvas
160 x 120 cm
Coleo do artista
Cave 111, 1989
leo -s/ te Ia/oil on canvas
150 x 150 cm
Coleo do artista
Double small, 1992
leo s/ tela/oil on canvas
80 x 100 cm
Coleo do artista
Strawberry sculpture, 1991
madeira, leos/wood, oils
100 x 30 x 30 cm
Coleo do artista
Escape, 1992
leo s/ tela/oil on canvas
130 x 120 cm
Coleo do artista
Mountain, 1992
escultura-ilustrao para o livro
Cem anos de solido, de Gabriel
Garca Mrquez, madeira,
leos/sculpture-i//ustration for the
book Hundred years of loneliness,
by Gabriel Garca Mrquez,
wood,oils
38 x 24x24 cm
Coleo do artista
Sem ttulo/Untitled, 1993
leo s/ tela/oil on canvas
114x 114 cm
Coleo do artista
307
Quanto modelagem
Towards shaping
Quanto s "Paisagens"
O uso de materiais diversos, sobretudo diversificados, nessas
criaes esclarece o carter de tal convico. Sumkovski no se
limita ao uso de materiais tradicionais. No hesita em usar tudo o
que for necessrio quando sua busca artstica necessita realizar o
conceito. Portanto, ele sai em busca de materiais naturais como
areia, serragem, revestimentos, chapas metlicas, placas de madeira
e tbuas, mas tambm lana mo de pigmentos, parafusos, unindo
tudo isso com resina epxi ou polister. Sua tcnica lhe permite o
completo controle do processo tecnolgico, com o qual obtm
diferentes texturas mistas. Por esse meio, alcana solues que em
ltima instncia falam de uma lgica completamente distinta da
modelagem artstica. Colocada sobre a parede de tela, essa
modelagem refere-se indubitavelmente lgica pictrica. O
308
pictrico ainda mais enfatizado p~la denominao das criaes Landscapes (Paisagens) - associando-as a terrenos, espaos. No
entanto, os terrenos de Sumkovski nada tm a ver com a natureza;
so de tal modo auto-referentes que se tornam clones do original, e,
mais uma vez, a determinao une-se aos simulacros de terceiro
grau.
Se a forma de unir a maioria dos elementos presentes nos objetos
superp-Ios (o que essencialmente construtivista), ento sem
dvida essas obras tm a aparncia de mltiplas camadas. O modo
como feita a montagem dos elementos e diversos materiais, na qual
cada elemento e material utilizado mantm sua prpria entidade ao
nvel da aparncia, manifesta-se numa composio extremamente
racional. O racional, que substitui a emotividade, gera a impresso
de um trabalho srio, distante de qualquer impulsividade,
expressividade e personalidade.
Quanto definio
A definio dessa multiplicidade de camadas da obra de Sumkovski
refere-se colocao de dois princpios possveis de interpretao:
atravs da desconstruo e atravs da referencialidade visada com o
artificialismo do objeto. Se a desconstruo, no seu sentido mais
amplo, presente no nvel semntico, refere-se ao nvel de
desconstruo de meios como pintura e escultura (a referncia
lgica pictrica e a referncia lgica escultrica), ento a
subjetividade artificial refere-se descoberta de uma lgica e de um
ato de modelagem diferentes. No entanto, ambas as coisas fazem
com que essas obras pertenam new object art.
O que determina se uma obra pertence new object art o conceito
de belas-artes. Essas obras no se referem realidade do tema,
porque apagam a diferena entre o ilusrio e o concreto; possuem
racionalidade no processo de construo, fundem-se na suavidade
da "maestria" atravs da subjetividade no processo artstico e,
finalmente, esto sendo mais uma vez projetadas, no mbito das
belas-artes. Portanto, as obras da new objectart, a que pertence o
trabalho de Jovan Sumkovski, so parte implcita da criatividade
artstica da ltima dcada.
are self-referent, They become the original's clones and again determination
is tied to the third degree simulacra.
If the way of attaching most of elements, the present in these objects, is to
add them (that is constructivistic in essence), then it is undoubtful that these
works are multi-Iayered in their appearance. The way in which the
assembling of elements and different branded materiais is done, and how
every used element and material keeps its own entity at the appearance
levei is manifested as an extremely rational composition. The rational, that
replaces emotion and creates the impression that the work is serious, distant
from any impulsiveness, expressivity and personality.
Towards defining
The definition of multi-Iayers in Sumkovski's work refers to placing two
possible principies of in terpreta tion through deconstruction and through the
referentiality towards the artificial objecthood. If deconstruction, in its wider
sense, present on a semantic levei, refers to the levei of deconstruction of
media as painting and sculpture (the reference to painter/y logic and the
reference towards the sculpturallogic), then the artificial subjectivity refers
to finding a different shaping logic and act. However, they both imply that
these works belong to the New Object Art.
Works incorporated in the New Object Art are determined through the fine
arts concept. They do not refer to the subject reality, beca use theyerase the
difference between il/usion and concreteness; they possess rationality in
the construction process, they melt in the softness of "masterness" through
artistic process subjectivity and final/y, theyare being projected once again,
in the fine arts concept and scope. Therefore, the works of the New Object
Art, to which Jovan Sumkovski's work belongs, are an implicit part of the
creativity of art in this decade.
Nebojsa Vilic
Nebojsa Vilic
309
JOVAN SUMKOVSKI
Nasceu em Skopje, Iugoslvia,
hoje Repblica da Macednia.
Formou-se pela Faculdade de
Belas-Artes de Skopje em 1986.
Bom in Skopje, Yugoslavia, today
Republic of Macedonia. Gratuated
fram the Faculty of Fine Arts,
Skopje, in 7986.
Exposies individuais/Solo
exhibitions
1985 Centro Cultural/Cultural
Center, Ohrid, Macednia; Centro
de Artes/Art Center, Stip,
Macednia; Expresso na
PinturalExpression in Painting
((mostra itinerante/travelling
exhibition, Macednia. .
1987 Centro Cultural da
Juventude/Youth .cultural Center,
Skopje, Macednia.
1988 Centro Cultural
Estudantil/Student Cultural Center,
Iugoslvia.
1989 Museu de Arte
Contempornea/Museum of
Contemporary Art, Skopje,
Macednia.
Prmios/Prizes
1987 Prmio Aquisio/Purchase
Reward, 1 Bienal da
Juventude/7 st Youth Biennial,
Skopje, Macednia.
1988 Grand Prix Vouth Pallete,
T. Vrbas, Iugoslvia.
19892 Bienal da Juventude/2nd
Youth Biennial, Skopje,
Macednia.
1991 Prmio Aquisio/Purchase
Reward, 3 Bienal da
Juventude/3rd Youth Biennial,
Skopje, Macednia.
1993 Grand Prix, 4 Bienal da
Juventude/4th Youth Biennial,
Skopje, Macednia.
Obras apresentadas/Works in the
exhibition
Landscape IV, 1993
madeira, polister, leo
s/carto/wood, polyester, oil/
cardboard
100 x 150 x 13 cm
Coleo do artista
Landscape V, 1993
resina de epxi, leo s/carto,
madeira/epoxy resine,
oil/cardboard, wood
106 x 150 x 13 cm
Coleo do artista
Landscape VI, 1994
resina de epxi, leo s/carto,
madeira/epoxy resine,
oil/cardboard, wood
106 x 150 x 13 cm
Coleo do artista
310
MARTINICA MARTINICA
I
ERNEST BRELEUR
ERNEST BRELEUR
The same attitude shapes the obsession about the "Iost body" mentioned by
Milan Kundera when he wrote about the first work of Emest Breleur* and his
latest radiographic assemblies: these exhumed mummies or layers-,symptoms
of our multiple lives. Both are invisible to the naked eye, as well as our
luminous double which is still being formed. Therefore, they make up a
unique subject, this body - both island and habitat of ouremotions, insularity
of the painter anguished by the terrors of the uncertainties, which, in their
practise of freedom may lead to the perplexity of an "oceanic" experienceand these x-mirrors that question the issue of the desire to clothe a
consolating image, the unbodied passage which represents death. In the
artistic craft of Emest Breleur, magic and venerability blend. The first one
summons the "retum of the late one TI, in a work of weaving undertaken on
the tissue of the ghost, while other conjures the terror that will show up in
the home of darkness after the long descent.
* Milan Kundera, Emest Breleur. D'en bas, tu humeras les rases. Strasbourg, Ed. Nue Bleue, 1993.
*Cf. Mi lan Kundera. Ernest Breleur. D'en bas, tu humeras les rases. Estrasburgo, Ed. Nue Bleue, 1993.
SERGE GOUDIN-THEBIA
SERGE GOUDIN-THEBIA
311
ERNEST BRElEUR
Nasceu em Riviere Sale,
Martinica, em 1945. Formou-se
na Escola de Artes Aplicadas de
Paris e mestre em art~s pela
Universidade de Paris. E
professor de pintura da Escola
de Artes Plsticas da Martinica.
Bom in Riviere Sale, Martinica, in
1945. He graduated from School of
Applied Arts in Paris and University
of Paris (M.A.). He teaches painting
at School of Fine Arts in Martinica.
Exposies/Exhibitions
1984 Festival Culturei de la Ville
de Fort-de,;,France.
1985 Rencontre inter Cara'ibe,
Guiana.
1986 Festival Culturel de la Ville
de Fort-de-France; Festival
Culturel de la Ville de SainteMarie; Festival da 2 Bienal de
200 x 150 em
Coleo do artista
Foto: Jean Popineourt
312
Caracas, Venezuela.
1991 Embaixada da Frana em
Barbados/French Embassy in
Barbados.
1992 Rencontre de Deux
Mondes, Espace Carpeaux,
Paris; Bienal de Dacar, Senegal;
1 Bienal da Repblica
Dominicana.
1993 Rencontre Cara'ibenne,
Curaau; Srie Blanche, Galerie
FNAC, Estrasburgo, Frana
1994 Bienal de Cuba; Bienal do
Equador.
Prmios/Prizes
1988 prmio de pintura/painting
prize, Martinica.
1992 prmio de pintura/painting
prize, 1 Bienal da
Repblica Dominicana.
Obras apresentadas/
Works in the exhibition
Srie Tombeaux, 1994
radiografia s/ tela/ radiography
overcanvas
200 x 150 cm
Coleo do artista
Srie Tombeaux, 1994
radiografia s/ tela/radiography
overcanvas
200 x 150 cm
Coleo do artista
Srie Tombeaux, 1994
radiografia s/ tela/radiography
overcanvas
200 x 150 cm
Coleo do artista
SERGE GOUDIN-THEBIA
313
Exposies coletivas/
Group exhibitions
1990 Chercheurs de rOr du
Temps, Mitarata, Caiena, Guiana
Francesa; Empreintes
Contemporaines, DRAC
Martinique, Fort-de-France.
1991 Fureur de lire, DRAC
Martinique, lamentin,
Martinica.
1992 Indigo 92, Gosier,
Guadalupe; Bienal de Santo
Domingo, Repblica
Dominicana.
Obras apresentadas/Works in the
exhibition
Cadre casier, 1992
tcnica mista/mixed media
90x 90 cm
Coleo do artista
Objet gopotique I, 1992
tcnica mista/mixed media
100 x 140 cm
Coleo do artista
Objet gopotique /I, 1992
tcnica mista/mixed media
100 x 140 cm
Coleo Institut Gopotique
"Chacun sait que la parole du mage
produisait son effet avec la suret
de la foudre", Ren Mnil, 1993-94
instalao/insta/lation
Atelier SG Thebia, s.d.
vdeo/video 10 min
Coleo do artista
Exposies individuais/
Solo exhibitions
1993 L'criture de la Terre,
Galerie Kho-Kho, Fort-deFrance; L'criture de la TerreNotre Amrique latine, Galerie
le Monde de r Art, Paris.
314
MEXICO MEXICO
CU~ADO~ CU~AO~ Te~e~A Del CONDe
Germn Venegas emerged suddenly, among the Mexicans who study the
artistic phenomena, when he was selected for the 1 Bienal Rufino Tamayo
de Pintura, in 1982. He was not unknown until then, but after being selected
in this important competition the codes he used in those days where
acknowledged. Many people were surprised with his serene way of mixing
popular motifs with erudite painting vocabulary In the ear/y moments of his
career, Germn worshipped other artists (chiefly those who had an
expressionist tone, as Georges Rouault and Jos Clemente Orozco).
His initial studies inc/uded the precocious practice of a craft: wood carving. If
at first he became a craftsman, he soon perceived that there was no reason
to prevent him from incorporating sophisticated production to this work he
dominated with perfection.
Venegas is continuously delving into different phases of the history of art. He
admires medieval death dances, Michelangelo's sketches and the Baroque
retables, while he venerates the pre-Hispanic tradition always seen in his
country through the monumental remains of ancestral cultures.
Popular art also deserved his attention. His fabulous eyes capture those
elements which can be ordained into certa in modalities. We should make it
c/ear that for Venegas the material he works with requires specific
treatments in any case. If he decides to use saturated polychromy, the wood
work wi// be made fo//owing preestablished procedures,' if he mixes wood
with other elements (horse-hair, string, etc.), he lets it breath with its own
surface, and finishing can mix "rough" surfaces with polished ones.
315
The Italian critic and publisher Francesco Pellizzi compared him to Dedalus,
the mythological creator of labyrinth. He is also an Icarus of high flghts,
beca use as a true artist he faces his production with ideas and concepts. Not
only ideas harbor in his mind, but he gives them a body through his tenacous,
energetic and constant work.
316
GERMAN VENEGAS
Nasceu em Magdalena
Tlatlauquitepec, Puebla,
Mxico, em 1959.
Bom in Magdalena Tlatlauquitepec,
Puebla, Mexico, in 1959.
Exposies individuais/
Solo exhibitions
1984 Desenhos/Drawings,
Secretaria da Fazenda, Mxico;
Pintura, Escultura e
Desenho/Painting, Sculpture and
Drawing, Galera de Arte
Contemporneo, Mxico.
1988 EI Triunfo de la Muerte,
Galera OMR, Mxico.
1990 Parallel Project, Nova Vork.
1991 Wenger Gallery, Los
Angeles, Califrnia; Desenhos
1983-1990/Drawings 1983-1990,
Galera OMR, Mxico.
Exposies coletivas/
Group exhibitions
19811 Encuentro Nacional de
Arte, Mxico.
19822 Encuentro Nacional de
Arte, Mxico.
19831 Saln de Dibujo, Palacio
de Bellas Artes, Mxico; 3
Encuentro Nacional de Arte,
Mxico; Trastiempo, Nueva
Pintura Mexicana, Museo de
Arte Moderno, Mxico.
1984 Gran Formato, Galera de
Arte Contemporneo, Mxico;
Pintura Narrativa, Museo Rufino
Tamayo, Mxico.
(dptico/diptych),1990
tcnica mista/mixed media
244 x 250 cm
Coleo particular, Monterrey,
Mxico
Autorre tra to, 1991
tcnica mista/mixed media
124x 81 cm
Coleo particular, Monterrey,
Mxico
S/ttulo/untitled
(trptico/triptych),1991
tcnica mista/mixed media
244 x 366 cm
Coleo particular, Mxico
S/ttulo/untitled, 1991
tcnica mista/mixed media
180 x 122 cm
Coleo particular, Guadalajara,
Mxico
S/ttulo/untitled, 1991
tcnica mista/mixed media
183 x 122 cm
Coleo particular, Mxico
S/ttulo/untitled,1992
tcnica mista/mixed media
262 x 381 cm
Coleo particular, Mxico
S/ttulo/untitled, 1994
tcnica mista/mixed media
244 x 610 cm
Coleo particular, Mxico
Autorretrato, 1993
tcnica mista/mixed media
Coleo particular, Mxico
317
NAMIBIA NAMIBIA
CU~ADO~ CU~ArO~ ANNAlccN clN~
Joseph Madisia as an artist and human being had to overcome a long and
ditficult struggle of few opportunities and rare chances. His artwork mostly
reflects this intense identitication with and understanding of the
urbanization of the African people. The degradation of apartheid and poverty,
the struggle for food, shelter and basic health.
318
Trying to cape as human being against the contemporary threats: loss of roots
and identity; the kil/er disease aids; religious stability; loss of family
structures.
But, throughout his career as an artist, Madisia has succeded in retaining his
vision of the spirituality of people, his lave of music and his optimistic view
for the future. At the same time and even because of his partisanship of
struggling young artists his delightful sense of humor often surfaces as he
gently pokes fun at man and his foibles. From landscapes to figurative work
his art has evolved into often intricate juxtaposing of different images from
daily lite which he likes to portray as portray as a message, ar his own
personal interpretation, mostly with people as his central theme. His three
works should be viewed individual/y, but also as a whole in the context of
the narra tive pictorial essence of African art.
In Worshipping with an African identity he uses the kneeling figures to depict
worship on a circle that contextualize the symbol of African huts and sitting
in circles to converse ar pray. With the square imago he portrays the advent
of missionaries - the bible, square buildings - which introduce a ditferent
religion, sense of values and corners for secrets. He maintains that the
secrets in corners paves the way for corruption and worshipping for someone
up front. This work is dedicated as a plea to Africans to get back to their own
way of worship.
Reprimandation of temptations depicts through the symbolic use of images
the total temptations of everyday lite for the human being - sex, wealth,
greed and luck. The tortoise is a symbol of people tolerance. He uses the
technique of cardboard print with which he has experimented for the past
five years and perfected to a fine graphic art.
In Tribal healing he reflects his own positive philosophy for the future of
Namibia. Out of the calabash flows the fluid of lite which contains the figures
and personalities of our different cultures. He sees this as the melting pot
philosophy af diverse cultures melting together and getting rid of the tribal
idea to eventual/y create one substance, one nation.
Hercules Viljoen is one of Namibia's most vital young artists. His work has
always reflected his intellectual research, contextualization ofpolitical and
cultural relationships, conceptual transformation, seeking the growth of an
own distinctive signature ar oeuvre. It is obvious from the paradoxes visible
and subjective in the contents of his work since the last fitteen years that
divergent cultural influences coalesced to shape his own style. His creative
research was mainly focused on symbolism and on potentially applying the
metaphor concept to the representational image in a post-modern art context.
This included studies on ritual, traditional art objects with ritualistic meaning
and connotation, the pictorial metaphor. In his earlier works he evinced an
obvious fascination with different kinds of materiais such as leather, wood,
corroded metal, wax, banes etc., which are transformed, integrated and
combined with a variety of drawing, painting, printmaking and three
dimensional assemblages using a wide range of conventional and innovative
media and materiais. His work reflects concern with cultural objects of the
Namibian society as an aesthetic basis for personal, political and social
comment. He says "the fact that I use recognizable, well-known images in my
work, is linked to my belief that art contains the potential of fulfilling a
communicative meaning function in society". In his work can be seen
influences of and intellectual comparisons with great South African artists
like Helen Sibidi and Norman Catherine in the way he includes the
contradictions and fusion between African and Colonial cultures, ironic
comments on contemporary society and plays with high art conventions. His
titles and subject matter in this exhibition reflect his use of Semiotics. In the
work titledTemptations (Aftermath), a relief painting, the ditferent materiais
wood, paint, nails, metal are ali rendered fairly crudely, to reflect the
simplicity, robustness and unsophistication of Namibia. Using the different
materiais and images he expresses the contradictions in terms of ecletic
style, the symbols of traditional versus progressive values.
In his installation Three stations (1994) he combines and marries his painterly
assurance to his tested skills in assemblage to create three different parts as
a whole. His subject matter is clearly illustrated in his titles and his overall
concept is "a metaphor for the fluidity of the values of sacie ty ".
Peter Strack has always expressed himself mainly through the aesthetic of
form, line and structure. As a student of ditferent philosophies, the aesthetics
in art and the spiritual power of the human spirit through the study of
antroposophy, the evolvement of his artwork has been closely related to
these themes. The definite forms of animais, the human figure, circles, lines,
triangles etc., he uses in a context so as to visualize his own personal quest
for the spiritual, the divine, the fear of lite and death, and the reason for our
existence on earth and with the earth. As his art has developed it seems as if
he has continually tried to reduce form, structure and colour to the absolute
essence of simplicity
The sculptures on this exhibition portrays to a great extent the long road of
search for spiritual fulfilment; where the open space between and around is
of equal importance as the structure created.
Annaleen fins
Annaleen Eins
319
Gaborone, Botsuana.
19911ndependence Anniversary
Sculpture Exhibition, Nambia;
Thapong International Artists'
Exhibition, Botsuana; Namibian
Art, Cidade do Cabo, frica do
Sul.
1992 Arte Contempornea da
Nambia, Paris; Namibian Art
Today, Paris; Pachipamwe
International Artists' Exhibition,
Bulawayo, Harare, Zimbbue.
1993 Daljosaphat Arts
Foundation Summer Exhibition,
Paarl, frica do Sul; Thupelo
International Artists' Exhibition,
Cidade do Cabo, frica do Sul.
1994 Tulipamwe International
Artists' Exhibition, Windhoek,
Nambia.
PrmioslPrizes
1987 Standard Bank Biennale.
1991 Namibia's Biennial
National Art Competition.
Obras apresentadasl
Works in the exhibition
Three stations, 1994
instalao com trs
componenteslinstallation with
three components
192 x 164 x 267 cm
a) Mother (Desert)
esculturalsculpture
111 x 41 x 35 cm
b)Shelter (Doubt)
acrlico sI carto ondulado,
galhos, corda e telalacrylic on
corrugated cardboard, sticks, string
and canvas
. c) Temptations (Aftermath)
acrlico sI madeira, co.rda, prego
e tbualacrylic on wood, string,
nails and board
Coleo do artista
JOSEPH MADISIA
Nasceu em luderitz, na
Nambia, em 1954. Em 1982,
participou de um seminrio
intensivo de aquarela conduzido
por Edda Mally, de Viena. De
1983 a 1985, fez cursos
extracurriculares na Escola de
Artes da Universidade da
Nambia e, em 1990, na
Academia Lalit Kala, em Nova
Dlhi, ndia. Em 1990 e 1991 foi
professor da Escola de Arts da
Universidade da Nambia. E
membro fundador do Build a
Book Kollective, grupo de
artistas e escritores dedicado
ao desenvolvimento de livros
infantis. Desde 1991
coordenador do Centro Cultural
Frana-Nambia. Em 1992
produziudoze ilustraes para o
Calendrio dos Direitos
Humanos, impresso em todas as
lnguas indgenas da Nambia.
Participou de seminrios de
arte na Universidade da
Nambia e responsvel pelas
capas e ilustraes de vrias
publicaes patrocinadas por
instituies internacionais.
Desde 1984 membro do jri de
concursos de arte infantil
patrocinados por empresas
nacionais e internacionais.
Bom in Luderitz, Namibia, in 7954.
In 7982, he took part in a intensive
watercolor workshop held by Edda
Mally, from Vienna. From 7983 to
7985, he gave extracurricular art
classes at the School of Arts at
University of Namibia and, in 7990,
at Lalit Kla Akademy in New Delhi,
India. Art lecturer at School of Arts
of Namibia (7990-7997). Founder
member of Build a Book Kollective
(group of artists and writers
dedicated to developing children s
books). Art coordinator at the
Franco-Namibia Cultural Center
since 7997. In 7992, he worked on
the Human Rights Calendar (72
linoart prints), printed in Namibia ali
in indian language. Participations in
art workshops at he University of
Namibia and illustrations and cover
designs for several books sponsored
by national and intemational
institutions. Since 7984, he has
been an art judge for children art
competitions sponsored by national
and intemational companies.
Exposies individuaisl
Solo exhibitions
1982 AMA Gallery, Windhoek,
Nambia.
1987-88 Arts Association Studio,
Windhoek, Nambia.
1989 Die Mushel, Swakopmund,
Nambia.
1990 Atelier Kandzia, Windhoek,
Nambia.
1991 Kunsthaus Oerlikon
Zurique, Sua.
1992 Loft Galerie, Windhoek,
Nambia.
1993 Oslo Radhus Information
Centre, Oslo, Noruega;
Kornhaus, Ravenburg,
Alemanha.
Exposies coletivas!
Group exhibitions
1983 Swabank, Swakopmund,
Nambia.
1984-92 lhe National Art Gallery
of Namibia.
1990 Pragadi Maidap Craft
Centre, Nova Dlhi, India; SADCC
Exhibition, Gaborone, Botsuana.
1991 Galeria Baxter, Cidade do
Cabo, frica do Sul; exposio
conjunta com John Liebanberg!
joint exhibition with John
Liebanberg, Genebra, Sua.
Prmios!Prizes
1991 Distinction por Pencil
Sketch, Standard Biennale.
Obras apresentadas!
Works in the exhibition
Tribal healing, 1993.
linogravura!linocut
68x 50 cm
Coleo do artista
Worshipping with an African
identity, 1993
silkscreen 2!3 - 48 x 63 cm
Coleo do artista
Reprimandation of temptations 713,
1993
impresso em carto!
cardboard print
73 x 32 cm - 73 x 32 cm 73x 59 cm
Coleo do artista
321
PETER STRACK
Nasceu em Berlim em 1940. Em
19~1, emigrou com os pais para
a Africa do Sul ocidental, hoje
Nambia. Em 1959 recebeu a
bolsa de estudos Dr. Erich
Lbbert. De 1959 a 1960 estudou
artes grficas na Freie Kunst
Schule e arquitetura de
interiores, arquitetura segundo
o princpio da Bauhaus,
desenho de nus e histria da
arte na Staatliche Akademie
d.b. Knste (Universidade de
Stuttgart), em Stuttgart,
Alemanha. No mesmo perodo,
realizou viagens de estudos
Finlndia, Turquia, Ir, GrBretanha, Itlia e Repblica
Tcheca. Em 1965 completou seu
curso de arquitetura na
Universidade de Stuttgart.
Desde 1974 membro da
Namibia Arts Association, hoje
National Art Gallery, da qual se
tornou vice-presidente e
presidente de 1976 a 1980 e
membro honorrio vitalcio e
322
Exposies individuais/
Solo exhibitions
1968 primeira individual (artes
grficas)/first one man exhibition
(graphic works).
1977 Namibia Arts Association
(pinturas/paintings); a convite da
South Africa Arts Association,
~ssa exposio excursionou pela
Africa do Sul em 1978/on invitation
of the South Africa Arts Association,
the exhibition travelled through South
Africa, in 1978.
1978 Arts Association
Swakopmund, Nambia.
1985 exposio de pinturas com
temas espirituais/exhibition of
paintings with spiritual themes.
Exposies coletivas/
Group exhibitions
1969 participa da mostra de
desenho industrial com vrias
peas/exhibition of industrial
Colees/ Collections
National Art Gallery e Arts
Association Swakopmund,
Nambia.
Suas obras fazem parte de
vrias col~es particulares na
Nambia, Africa do Sul e
Alemanha.! His art works are
represented in several private
collections in Namibia, South Africa
and Germany.
Obra apresentada/
Work in the exhibition
Installation: fish, phoenix, ascend,
Mars bird, struggling bird, 1993-94.
esculturas em madeira/
wood sculptures
200 x 200 x 200 cm
Coleo do artista
NORUEGA NORWAY
CU~ADO~ CU~Aro~ ~V[IN CH~I ~IIAN~[N
323
Em 1985, ela foi para Nova Vork com uma bolsa de estudos na PS1.
Isso marcou o incio do projeto Metro, para o quallnghild Karlsen
tomou como ponto de partida o metr de Nova Vork, um tnel pelo
qual passa diariamente um grande nmero de pessoas, que tm que
ficar muito prximas umas das outras. Alm disso, fascinou-a a
esttica de submundo de Blade runner: a desintegrao orgistica,
um mundo de beleza mosaica em runas.
Em 1988, ao voltar Noruega, Inghild Karlsen completou o grande
projeto Nomadis. Esse projeto inclua uma exposio de objetos de
feltro, a performance de um longo processo de feltragem envolvendo
l, sabo e grandes quantidades de gua quente, e uma performance
ligada ao material mtico de antigas culturas nmades. A mostra
White Memories (Memrias Brancas), do mesmo ano, foi idealizada
para que os espectadores tivessem que caminhar sobre a l branca e
macia, criando associaes tanto com as paisagens cobertas de
neve quanto com cmulos. Em White Memories, Inghild Karlsen
aproximou-se mais da paisagem rtica e das reas marginais da
existncia. Nos anos 90, ela utilizou conchas brancas, o alfabeto
Morse e ossos de foca e baleia em instalaes e performances como Tranquillitatis, em 1990, e Magnetic Earth e Temporary stop
(Terra magntica e Parada temporria), em 1991. O projeto atual est
ligado s paisagens rticas e s tcnicas tradicionais de
construo. Ela usa uma imensa grade de secar peixe cuja estrutura
simtrica cria associaes tanto com a era dos computadores
quanto com o desenho de uma grade. Ao criar seus prprios
"espaos", na rea limtrofe entre o interior e o exterior, ela trabalha
com conceitos problemticos relacionados com reas marginais reas que no so nem urbanas nem rurais.
Os trabalhos de Inghild Karlsen sempre tiveram uma orientao social
e crtica. Mesmo assim, seus materiais e suas tcnicas continuam
ligados a reas problemas, como a pesca da baleia e a perfurao de
poos de petrleo. Seus trabalhos funcionam sempre em nvel
metafrico e simblico - nunca como decorao ou ilustrao.
Lotte Sandberg
324
In 1985 she traveled to New York on a PS1 scholarship. This marked the
beginning of the project Metro in which Inghild Karlsen took her starting
point in the New York subway, a channel through which a great many people
pass every day, and in which they must stand close together. She was also
fascinated by the subway's Blade runner aesthetics: a tiled disintegration, a
world of beautiful mosaic fal/ing into ruin.
After her retum to Norway Inghild Karlsen completed the large project
Nomadis in 1988. This project included both an exhibition of objects in felt, a
performance with a prolonged felting process involving wool, soap and large
quantities of hot water and a performance connected to mythical material
centering around the old nomadic cultures. The exhibition White Memories
of the same year was arranged so that viewers had to step on white, soft
wool and felt, causing associations to both snow covered landscapes and
cloudbanks. In White Memories, Inghild Karlsen drew closer to the arctic
landscape and the marginal areas of existence. In the 1990's Inghild Karlsen
has made use of white shel/ sand, the Morse alphabet and the bones of seals
and whales in instal/ations and performances - such as Tranquillitatis, in
1990, andMagnetic Earth andTemporary stop in 1991. The current project is
primarily connected to arctic landscapes and building traditions. She has, to
take an example, made use of a large drying rack for stockfish, in which the
symmetrical structure creates associations to both the computer age and grid
pattems. By creating her own "places", in the borderline area between inside
and outside, she works with problematic concepts linked to marginal areasareas which are neither urban nor rural.
Inghild Karlsen's works have always maintained a criticaI and social
orientation. But even though both her materiaIs and techniques are tied to
problem areas, whether in whaling or Gil drilling, her works always function
on a leveI of metaphor and symbols - not as decoration or il/ustration.
Lotte Sandberg
INGHllD KARlSEN
Nasceu em Tromso, norte da
Noruega, e vive em Oslo.
Bom in Tromso, North Norway. She
lives in Oslo.
Exposies individuais/
Solo exhibitions
1979 Tekstil/Skulptur, U.K.S.,
Oslo, Noruega.
1980 Tromso Kunstforening,
Noruega; Fnatter, Galleri 1,
Bergen, Noruega.
1981 Rituale und Spiele, Galleri
Nemo, Alemanha.
1982 Supert Marked, Bergen
Kunstforening, Noruega; 184
Trader, Kanal2, Copenhague.
1984 Scarecrows, Henie-Onstad
Kunstsenter, Hovikodden,
Noruega; Galleri Lubbenes,
Molde, Noruega.
1985 Bergen Kunstnersentrum,
Noruega; Metro, PS1, Nova Vork;
Tromso Kunstforening, Noruega.
1987 Metro og Aero,
Kunsthallen, Brandts
Klaedefabrikk, Odense,
Dinamarca; Wang Kunsthandel,
Oslo, Noruega.
1988 Nomadis, Bergen
Kunstforening, Noruega; Hvite
Minner, Galleri Solvberget,
Stavanger, Noruega.
1989 Polygonal Journey, Art
Space Momokan, Quioto, Japo.
1990 Tranquillitatis, BSIM
Gymnastikksal, Festpillkunstner,
Harstad, Noruega.
1991 Magneto Land, Biura
Wystow Artystycznych, Lublin,
Polnia; Forelobig Stans, HenieOnstad Kunstsenter,
Hovikodden, Noruega.
1993 Tokt, Goetheinstituttet,
Oslo, Noruega.
Exposies coletivas/
Group exhibitions
1979 Nordisk Tekstiltriennale.
1980 Accenter i Nordisk Kunst,
Finlndia.
1982 Scandinavia Today, Estados
Unidos; Kunst aus Bergen,
Malmo, Sucia.
1985 Lubeck Lasser Gallery,
Nova Vork; Clocktower, Nova
Vork; Gallery Now, Nova Vork.
Obra apresentada/
Work in the exhibition
Insta//ation: outdoorjindoor, 1994
madeira e ossos/wood and banes
325
PAN
PANAMA
326
327
328
Obras apresentadasl
Works in the exhibition
Retrato dei artista por sus
cachorros, 1993
tcnica mista/mixed media
131 x 140 cm
EI naufragio deI transbordador Neptuno en las
costas de Petit Goave (Haiti), 1993
tcnica mista/mixed media 131 x 131 cm
329
Nasceu na provncia de
Chiriqu, Panam. Mudou-se
para a cidade do Panam, onde
se graduou bacharel em
cincias no Instituto Justo
Arosema. Estudou na Facultad
de Administracin Pblica y
Comercio da Universidad
Nacional. Mantm atelis de
pintura em Miami e no Panam.
Bom in Chiriqu, Panama, he moved
to Panama City, where he was
awarded a bachelor degree in
sciences at Instituto Justo Arosema.
He studied at the Facultad de
Administacin Pblica y Comercio,
National University of Panama. He
works now in his own studios in
Miami and Panama.
Exposies individuais/
Solo exhibitions
1984 Galera dei Sol, Santiago,
Repblica Dominicana.
1985 Feira Internacional de San
Jos, David, Panam.
1986 Galera Mery de Bernal,
Panam.
1990 Galera de Arte INAC,
Panam.
Exposies coletivas/
Group exhibitions
1992 The Florida Museum of
Hispanic and Latin American
Art, EUA.
1994 Desnudo en la Plstica
Panamena, Museo
Antropolgico, Reina Torres de
Araz; 4 Bienal Internacional
de Cuenca, Equador; 2 Bienal
de Arte Pictrico, Cervecera
Nacional, Panam.
Obras apresentadas/
Works in the exhibition
Bienvenidos a la fiesta, 1993-94
leo s/tela/oil on canvas
226 x 346 cm
Ritual, 1994
leo s/tela/oil on canvas
157 x 190 cm
Buscando una esperanza, 1994
leo s/tela/oil on canvas
157 x 190 cm
Ritual, 1994
leo s/tela/oil on canvas 157 x 190 em
330
PARAGUAI PARAGUAY
I
CARlOS COlOMBINO
Coleesl Co/lections
Esso Standard Oil Co., Nova
PrmioslPrizes
1963 Premio Internacional de
332
Obras apresentadasl
Works in the exhibition
Pasin y simulacro, 1994
instalao: madeira talhada e
pintadalinsta/lation: carved and
painted wood
250 x 1100 x 50 cm
Coleo do artista
Pasin y simulacro, 1994
madeira talhada e
pintadalcarved and painted wood
240 x 800 x 70 cm
Coleo do artista
Pasin y simulacro: Cruz de la
pasin, 1993
madeira talhada e
pintadalcarved and painted wood
250 x 250 x 70 cm
Coleo do arti,sta
Pasin y simulacro: Simulacro,
1993-94 (3 peaslpieces)
madeira talhada e
pintadalcarved and painted wood
120 x 120 x 220 cm cadaleach
Coleo do artista
Pasin y simulacro: Petite morte,
1993-94 (2 peaslpieces)
madeira talhada e
pintadalcarved and painted wood
220 x 450 x 70 cm (total)
Coleo do artista
333
MARIT ZAlDVAR
Nasceu no Paraguai em 1955.
Cursou a Escola de Artes e
Ofcios de Barcelona, 1988, e a
Faculdade de Psicologia da
Universidade Catlica de
Assuno, 1979. diretora do
Espao Cultural Aleph. leciona
na Escola de Belas-Artes de
Assuno. Participou de
oficinas de escultura, pintura e
gravao de Herman Guggiari,
Jordi Catafal, Felipe No, Nuno
Ramos e Jos Resende.
Bom in Paraguay in 7955. She
studied at the School of Arts and
Crafts in Barcelona and psychology
at the Catholic University in
Asuncin, 7979. She directs the
Cultural Space Aleph and teachs at
the School of Fine Arts in Asuncin.
She has participated in sculpture,
painting and printing workshops
coordinated by Herman Guggiari,
Jordi Catafal, Felipe No, Nuno
Ramos and Jos Resende.
Exposies individuais!
Solo exhibitions
1981 Sala KS Hildesheim,
Alemanha.
1986 instituto Iberoamericano,
Barcelona.
1987-89 Sala XOC, Barcelona.
1991 Centro de Artes Visuales,
Assuno; Museo Boggiani, San
lorenzo; Galeria Forum,
Assuno.
1993 Centro Cultural de la
Ciudad, Assuno.
Exposies coletivas!
Group exhibitions
1974-78 Jardn de Artistas,
Assuno.
334
MONICA GONZAlEZ
Group exhibitions
1985 Jvenes Artistas, Galera
Propuestas.
1989 Acto de Libertad, Galera
de Arte Sanos; Obrabierta,
Centro de Artes Visuales.
1990 Ms de 50 Artistas
Actuales dei Paraguay, Museo
Paraguayo de Arte
Contemporneo.
1992 Mujeres, Galera EI Patio.
1993 Pomokol, Fundao
Friedrich Nauman
Knigswinter!Galeria de Arte
Jovem, Ulm, Alemanha.
1994 Arte Joven dei Paraguay,
Centro Cultural Recoleta,
Buenos Aires; 15 Artistas
Paraguayos, Galera Corriente
Alterna, Lima; Tres Mujeres,
Tres Visiones, Centro Cultural
Gilberto Mayer, Cascavel,
Brasil.
Obras apresentadas!
Works in the exhibition
Mujer, pilar malabarista, 1993
instalao! ins tal/a tion
350x80cm
Coleo da artista
... que sepa lavar, que sepa
planchar ..., 1993
instalao! insta//ation
200 x 600 cm
Coleo da artista
... que sepa planchar, que sepa
lavar ... , 1994
instalao! insta//ation
130 x 50 cm
Coleo da artista
350 x 80 em
Coleo da artista
Foto: Pedro Caballero
335
PERU PERU
CU~ADO~ CU~AO~ JO~G[ ~A~~ ~[Z~~H
336
Julia Navarrete, Venancio Shinki and Maria Helena Spector are artists who
stand out in contemporary Peruvian painting. Their presence in the 22 Bienal
Internacional de So Paulo fills us with pride.
Space in painting is fundamental for Julia Na varre te. Her works are irreal
spaces which simula te doors, columns, and labyrinths, carry us to other
spaces. It is a constant search for an exit, for light, for something beyond.
Many times, these illusory spaces outline insinuations of faceless characters
so subtle and serene inspiring tranquility. Navarrete proposes space as an
extensive and dynamic center of mano Her artistic ability to confer an
aesthetic image an internai rationality, an articulation subtle in results ends
up being one of her most valuable accomplishments. This happens beca use
Julia Navarrete transmits to her images an accumulated load of intuition,
sensibility, harmonyand experience. The artist confirms: "I believe painting
produces peace, art should not be created to cause distress, especially today,
when there is so much aggressiveness. Art should be carried to other areas
of the spirit. I would like to arrive at poetry with my painting. This would be
ideal".
While discarding any direct reference, Venancio Shinki takes advantage of
the encounter of his cultural vertents to make allusion to myth and utopia,
obsessions of our time. But how does he approach that which could be
defined as archetypes of thought, keys af the universe and at the same time
unattainable aspirations? Shinki rehearses an answer in personal tone and
without reference to any precise tradition. Mistery is added to his painting:
he does not reproduce Andine, Oriental or European myths. Hence, he
appeals to fragments of an imaginary archeology and gives them an
appearence which is recognizable and imaginary. He gets this after a
detailed elaboration, superposing transparencies and modelling symbols
which are only obvious in likelihood.
337
JUlIA NAVARRETE
338
Exposies coletivas/
Group exhibitions
1968 Bienal de Arte de Ibiza,
Espanha.
197513 Bienal Internacional de
So Paulo.
1977 Arte Actual de
Iberoamrica, Madri.
1983 Panorama de la Pintura
Peruana, Museo Guavasamn,
Quito.
1986 5 Bienal de Artes
Obras apresentadas/
Works in the exhibition
Semblanza de humano
(trptico/triptych),1991
tcnica mista/mixed media
190 x 510 cm
S/ttu Io/untitled, 1993
tcnica mista/mixed media
180 x 200 cm
S/ttulo/untitled, 1993
tcnica mista/mixed media
180 x 200 cm
Exposies individuais/
Solo exhibitions
1990 Galera lawrenceEsucomex, Santiago, Chile.
1991 Oleos, Instituto Cultural
Chileno-Francs, Santiago,
Chile.
1993 Instituto Cultural ChilenoFrancs, Santiago, Chile.
1993 Galerie Christine Marie,
Montreal, Canad.
Exposies coletivas/
Group exhibitions
1990 Concurso Esucomex,
Galera lawrence-Esucomex,
Santiago, Chile.
1994 Montserrat Gallery, Nova
Vork.
Obras apresentadas/
Works in the exhibition
EI rapto, 1993
leo s/tela/oil on canvas
150 x 130 cm
Coleo da artista
Mirando la ciudad, 1994
leo s/tela/oil on canvas
160 x 130 cm
Coleo da artista
La cada, 1993
leo s/tela/oil on canvas
150 x 120 cm
Coleo da artista
339
VENANCIO SHINKI
Nasceu em Lima, Peru, em 1932.
Cursou a Escola Nacional de
Belas-Artes do Peru.
Bom in Lima, Peru, in 1932. He
studied at the National School of
Fine Art of Peru.
Exposies individuais/
Solo exhibitions
1979 Galera' Art Buchholz,
Bogot, Colmbia.
1973-1987 Galera 9, Lima, Peru.
1987 Asesorado Cultura, Palacio
San Francisco, Domodossol;
Palcio Torriglia Chavari, Itlia.
1990 Centro de Arte
Euroamericano, Caracas,
Venezuela.
1988-1992 Centro Cultural
Miraflores, Lima, Peru.
1993 Galera Gala, Guayaquil,
Equador; Galeria
Condeso/Lowder, Nova Vork.
Exposies coletivas/
Group exhibitions
1967 Pintura Peruana, Corcoran
Gallery, Washington/Nova
Vork/Fi ladlfia.
1981 5 Bienal de Arte,
Valparaso, Chile.
19862 Bienal de Havana, Cuba.
1990 Figuracin Fabulacin,
Caracas, Venezuela.
1991 2 Bienal de Cuenca,
Equador.
1992 Per Ayer y Hoy, Palcio
Strozzi, Florena.
Prmios/Prizes
1962 Prmio Srvulo Gutirrez,
Escuela de Bellas Artes, Peru.
19651 prmio/1 st prize, Saln
Nacional de Artes Plsticas,
Universidad San Marcos, Lima;
prmio da Bienal Tecnoqumica.
Obras apresentadas/
Works in the exhibition
Compendio (trptico/triptych), 1992
leo s/tela/oil on canvas
195 x 390 cm
Batn grande, 1992
leo s/tela/oil on canvas
150 x 200 cm
Araya,1994
leo s/tela/oil on canvas
200 x 180 cm
340
POlONIA PO[AND
HANNA LUCZAK
Curador: Anna Rakowska
Soros Center for Contemporary Arts - Warsaw
HANNA LUCIAK
Curator: Anna Rakowska
Soros Center for Contemporary Arts - Warsaw
MAREK CHLANDA
Curador: Anda Rottenberg
MAREK CHLANDA
Curator: Anda Rottenberg
341
Jan Trzupek
TOMASZ CIECIERSKI
Curador: Anda Rottenberg
TOMASZ C/EC/ERSK/
Curator: Anda Rottenberg .
The heritage of European painting has been the aspect that most influenced
the work of Tomasz Ciecierski. His pictures from the /ast two decades
brought to the surface actions, worthy of the battle scenes of Ucello and
rhythmica/ dynamics of futurists. Theyemerge from pure c%rs, nearer to the
Hockney's care/ess gamut than to traditions of Polish painting. This is the
naturallegacy of the painter.
Compositions with no beginning and no end have always prevailed, like '
Moebius ribbon, which is the title of one of his pictures; theyare typical
small figures which pass dynamically through the canvas from one end to the
other in rhythmicallines or as individual centers of simultaneous actions. The
shape of the figures appear in many "writings" which are scattered as an
open-work in the background of the picture.
Those rows of figures interfere with the next gesture of the artist: the
cancellation ar transformation of the figures are decided on the spur of the
moment. Hidden and added e/ements belong to the same canvas, like strata
of memory put aside,
A frame was always a significant element in the painting of Ciecierski. The
frame, which in his early works was only placed in the comers of the
paintings as in Dj VU, 1986, later became the main theme of his pictures
(Splendid isolation, 1990). Therefore, his pictures are made up of many
independent layers which present - each one of them - a colorful landscape.
The composition as a whole is formed by their partial or complete
juxtaposition, conveying a suggestion of endless space. It is similar to a
clich taken from a car in movement, as a photographic frame, a lucid break,
a simplified fetish of remembrance. This overlapping creates a spatial object,
the last stratum which defines the composition as a whole. It still remains
uncertain if it is a synthesis or a lens focusing ali of them at the same time ..
Maria Morzuch
HANNA lUCZAK
Exposies coletivas!
Group exhibitions
1987 2nd Biennial of New Art,
Zielona Gra; Discreet Views,
Brandts Kleadefabrik,
Kunsthallen Odense, Odense;
Polish Realities, Third Eye
Centre, Glasgow.
1988 Recent Drawings, Centrum
Sztuki Wsplczesnej, Varsvia.
1990 Crossing Over, Brighton Art
Zero-paint, 1994
instalao na Nikolaj Gallery,
Copenhague/ installatian at Nikalaj Gallery,
Kopenhagen
Foto: Jaroslaw Kozlowski
Obra apresentada!
Work in the exhibtion
Zone, 1994
instalao!installation
500 x 1000 x 300 cm
343
MAREK CHlANDA
344
Exposies individuaisl
Solo exhibitions
1976 Dom Polski, Cieszyn.
1978 Galeria Maly Rysuek,
Cracvia.
1979 Galeria Kanonicza 5,
Cracvia.
1980 Galeria Krytykw, Varsvia.
1981 Galeria Studio, Varsvia;
Galeri Sct. Agnes, Roskilde;
Galleri Kanal 2, Copenhague.
1983 Galeri Sct. Agnes,
Roskilde; Kunstforeningen,
Bergen, Noruega.
1985 Muzeum Sztuki, lodz;
Herning Kunstmuseum.
1986 Galeri Sct. Agnes,
Roskilde; Moltkerel, Colnia;
Galeria Krzysztofry, Cracvia.
1987 Fyns Kunstmuseum,
Odense.
1988 Galerie S. und H. de Buck,
Gand, Blgica.
,
1989 Galeria Potocka, Cracvia.
1990 Galerie S. und H. de Buck,
Gand, Blgica; Starmach
Gallery, Cracvia; Budapest
Galeria, Budapeste.
1991 Galeria Krzysztofory,
Cracvia; Galerie van der
Crommenacker, Arnhem; Galeria
Grodzka BWA, lublin.
1992 Galerie In Situ, Aalst;
Galerie lhomas Gherke,
Hamburgo.
1993 Galeria Krzysztofory,
Cracvia; lei Aviv Museum of
TOMASZ CIECIERSKI
Nasceu em Cracvia, Polnia,
em 1945. Em 1971 graduou-se na
Academia de Belas-Artes de
Varsvia, da qual foi professor
at 1985. Foi artista residente do
Stedelijk Museum de
Amsterdam (1983, 1985), do
Atelierhaus Worpswede (19851986) e do Muse d'Art
Contemporain de Nimes (19901991).
Bom in Cracow, Poland, in 7945. In
7977 he graduated from Fine Arts
Academy in Warsow From 7972 to
7985, he was lecturing professor at
the Warsaw Academy Artist in
residence of Stedelijk Museum in
Amsterdam (7987, 7983), in
Atelierhaus Worpswede (79857986) and in Muse d'Art
Venezia, Roma.
1988 Polish Realities, Third Eye
Centre, Glasgow.
1989 Supplements Contemporary Polish Drawing,
Muzeum Sztuki, Lodz.
1990 Polen Zeit Kunst, Sankt
Augustin, Bonn.
1991 Positionen Polen,
Kunstlerhaus Bethanien, Berlim;
Kunst Europa, Bonner
Kunstverein, Bonn.
1992 Documenta 9, Kassel.
Obras apresentadas/
Works in the exhibition
S/ttulo/untitled,1994
leo s/tela/oil on canvas
170 x 163 cm
Coleo do artista
S/ttulo/untitled,1994
leo s/tela/oil on canvas
220 x 135 cm
Coleo do artista
S/ttulo/untitled,1994
leo s/tela/oil on canvas
148 x 75 cm
Coleo do artista
S/ttulo/untitled,1994
leo s/tela/oil on canvas
89x54cm
Coleo do artista
S/ttulo/untitled,1994
leo s/tela/oil on canvas
24,5 x 35,5 cm
j .::-
345
346
Pablo Rubio
In his long journey, this Puerto Rican contemporary artist reflects, develops
and revolutionalizes his work continually. The in-depth psychosocial analysis
leads him to create an authentic fine arts proposal, with great sincerity, an
unending and continuous maturation. Sets of lights and shadows, mobility
and passivity, protest and acceptance mold the canvas with an incredible .
chromatic agility. His great freedom and projects of large format enforce the
presence of his deepest feelings: which are a call for social conscience.
Pablo Rubio
347
Exposies individuaisl
Solo exhibitions
1967 Centro de Estudiantes,
Universidade de Porto Rico, Ro
Piedras, Porto Rico.
1968 Sala de Extensin,
Universidade de Porto Rico, Ro
Piedras, Porto Rico.
1981-82 Liga de Arte de San
Juan, Porto Rico.
1982 First Federal Savings,
sucursal de San Francisco,
Porto Rico.
1983 Galeria Oller-Campeche,
Nova Vork.
1989 Sala Exposiciones Acura,
Hato ReV, Porto Rico.
1990 Vibraciones, Biblioteca da
Universidade de Porto Rico, Ro
Piedras, Porto Rico.
Exposies coletivasl
Group exhibitions
1967 Ateneo Puertorriqueo,
Grupo Forma, San Juan, Porto
Rico.
1977 Palcio Grassi, Veneza,
Itlia.
1975 Unesco, Universidade de
Porto Rico, Ro Piedras, Porto
Rico.
1981-82 Galera Palomas, San
Juan, Porto Rico.
1983 New Artists Presentation,
Madison Square Garden, Nova
Vork.
1984 A.T.& T., Red Bank, Nova
Vork; Bell Laboratories, Homdel,
Whippanv, Nova Vork; Art in
Focus, International Gallery,
Nova Vork; Instituto de Artes e
Letras, Nova Vork; Avery Fisher
Hall Cork Gallery, Nova Vork.
1985 Hispanic Heritage Month
Exhibition, International Gallery,
Nova Vork.
1989 Mujeres Artistas,
Universidad Interamericana, Ro
Piedras, Porto Rico;
1989-91 Mujeres Artistas, Plaza
Las Amricas, San Juan, Porto
Rico.
1990 Protagonistas de los 80,
So Domingos, Repblica
Dominicana/San Juan, Porto
Crecimiento, 1994
348
{3
600 em
Permanent exhibitions
1988 Paisaje, Edifcio EI Caribe,
San Juan, Porto Rico.
1992 Sntesis: Genealoga de
una Cultura, Pavilho de Porto
Rico, Expo 92, Sevilha;
Presencia, Jardn Escultrico,
Universidad dei Sagrado
Corazn, San Juan, Porto Rico.
1993 Origen VTiempo, Colegio
Universitario de Humacao,
Universidade de Porto Rico,
Humacao, Porto Rico.
PrmioslPrizes
1990 melhor exposio de
esculturalbest sculptures
exhibition, Associao dos
Crticos de Arte de Porto Rico.
19911 1 prmio de escultura/1 st
prize sculpture, Ateneo
Puertorriqueo; meno
honrosalhonorable mention,
Primer Certamen Nacional,
Museo de Arte Contemporneo,
Porto Rico.
1992 Premio Certamen por
Invitacin, Expo 92, Sevilha,
Espanha.
Obra apresentadal
Lati-dos, 1992
xi lografiajxy/ography 200 x 122 em
Foto: Flix Cordero
Exposies coletivasl
Group exhibitions
199210 Bienal Internacional de
Desenho de Cleveland,
Middlesborough, Gr-Bretanha;
2 Bienal Internacional da
Gravura de Lvov, Ucrnia.
1993 Premio La Joven Estampa,
Casa de las Amricas, Havana.
199310 Bienal dei Grabado
Latinoamericano V dei Caribe,
San Juan, Porto Rico.
199322 Prmio Internacional
Biella per I'Incisione, Biella,
Itlia.
199320 Bienal Internacional da
Gravura de Liubliana, Eslovnia.
1994 4 Trienal Internacional de
Arte de Majdanek, Polnia;
1 Trienal Internacional da
Gravura de Bitola, Repblica da
Macednia.
Exposies individuaisl
Solo exhibitions
1991 Dibujos, Pinturas V
Grabados en Fuga, Galera
Francisco Oller, Universidade de
Porto Rico.
1992 Grabados en la Escalera,
Galera de la Escalera, Colegio
Universitario de Humacao, Porto
Rico.
1993 Trazos V Cortes sobre
Papel, Galera San Juan
Bautista, San Juan, ~orto Rico.
Obras apresentadasl
Works in the exhibition
Lati-dos, 1992
xilografialxylography
200 x 122 cm
Encantador de sierpes, 1992
xilografialxylography
122x 152 cm
Animinchn,1994
xilografialxylography
122x 412 cm
349
350
(pinturas e colagens/paintings
and col/ages), San Juan, Porto
Rico.
1976 Galera Guatbiri (desenhos
e colagens/drawings and
col/ages), Ro Piedras, Porto Rico.
1979 Sala ode Exhibiciones de la
Biblioteca Jos M. Lzaro
(xilogravuras/xylographies),
Universidade de Porto Rico.
1980 Nuestro Teatro
(xilogravuras/xylographies), San
Juan, Porto Rico; Bell, Book and
Candle(xilogravuras/
xylographies), San Juan, Porto
Rico; Museo de Arte de Ponce
(xi logravuras/xylographies), Porto
Rico.
1981 Sala Francisco Oller
(xilogravuras/xylographies),
Faculdade de Humanidades,
Universidade de Porto Rico.
1984 Sala de Exposicin dei
Taller de Arte y Cultura
(serigrafias, desenhos e
Iberoamericana de Arte,
Instituto Cultural Domecq,
Cidade do Mxico; 2 Bienal de
La Habana, Cuba; 53 Saln de
Otoo, Asociacin Espaola de
Pintores y Escultores, Pabelln
de los Jardines Cecilio
Rodrguez, Parque dei Retiro,
Madri.
19871 Bienal Internacional de
Pintura, Museo de Arte
Moderno, Equador.
Obra apresentada/
Work in the exhibition
Semil/as para una reconstruccin
florestal (2 mdulos/modules),
1994
acrlico s/tela/acrylic on canvas
PORTUGAl PORTUGAl
I
Pedro Cabrita Reis comea a expor muito jovem, mas sua obra revela
desde o incio grande qualidade que a crtica portuguesa assinala de
imediato. Com apenas trinta anos j internaci'onalmente
reconhecido e os convites para participar de exposies so muito
freqentes, em museus ouem galerias europias e
norte-americanas.
Em 1992, Jan Huet escolhe a sua monumental escultura Rio para a
Documenta 9 de Kassel. Consagrao rpida, mas justa, pois fruto
de um trabalho muito pessoal, normalmente desenvolvido em sries,
de que so bons exemplos As casas e As fontes.
A instalao que selecionamos para esta Bienal, A sala dos mapas,
faz parte da srie denominada Atlas coelestis, em que Cabrita Reis,
como bem afirma Alexandre Melo, reivindica para o artista a funo
de aferidor do universo.
Pedro Cabrita Reis began to exhibit his work veryear/y, with the Portuguese
critics endorsing the very high quality of it from the very beginning. Already
internationally known at thirty, there is no lack of invitations to participate in
exhibitions in European and North American museums and galleries.
In 7992 Jan Huet chose his monumental sculpture Rio for the Documenta 9
de Kasset.' Rapid, but just, consecration for this very personal work normally
developed in series, of which As casas and As fontes are good examples.
The installation chosen by us for this 8iennial, A sala dos mapas, is part of a
series called Atlas coelestie, in which, as Alexandre Melo confirms, Cabrita
Reis revindicates the function of the artist as surveyor of the universe.
Jos Sommer Ribeiro
There were times, walking upstream, that these steps were transformed into
a thin thread of water which widened as it flowed into the arms of the sea.
And then, having drawn it we called it a river.
351
And ali the mountains that separated the valleys where rivers flow were
called land, just as it had been called before we measured and marked it out.
Throughout the night, the dark silence of the stars conjures up visions of
monsters, wild beasts and other forms, the veryessence of our dreams. Cold
light in animal shapes, almost devouring each other, yet intangible, showing
places on/y known to us, pointing out pathways among the shadows of trees,
higher perhaps than the sky
Charts and snaps. Words, lines, points and stars.
352
353
354
355
The 80s were a decisive period, and, in terms of generations, and under other
political environment, we find again the creative "fever" which had produced
the Nueva Imagen exhibition. Disquiet hands and minds under 35 years old
grouped in the col/ective "Generation of the 80s". Dinamism and conviction
emerged again stimulating versatilityand "the foolishnesses", although
iconoclasty never took possession of innovation, except in some cases.
A new image was then instal/ed, definitively and decidedly. Paral/el to
literature, that forged in one text verses, narra tive, prose, theater, visual art
work integrated graphic and fine arts, painting and sculpture, second and
third dimension, figura tive and non-figurative. The instal/ations fashion
began in Santo Domingo. Neo-expressionism replaced the expressionist
social drama. Ethno-anthropological, historical, sociological references mixed
with the ancestral cultures legacy, Pre-Colombian and Afro-Antil/ian, with
occidental modernity and contemporainity.
The conscientization of belonging to a geography grew: Caribbean basin,
Latin-American region, American hemisphere.
The three artists that represent the Dominican Republic in the 22 Bienal
Internacional de So Paulo, are eloquent representatives of this new image.
The three of them are tenacious researchers, deeply connected to their roots,
dil/igent and tireless researchers of Latin American and world art. They traveI
and make exhibitions within and without their country.
Perdomo belongs to the 60s generation. This artist studied in New York, and
definitively returned to Santo Domingo in 1984, working intensively, evolving
always within stylistical coherence, alternating figuration and abstractionism.
Presently, his paintings are concentrated in a sort of return to his origins,
through a multiplicity of signs: Pre-Colombian forms and drawings, children's
drawings, graphite.
The luminous, warm, attractive colors, with an effusive application of
pigments, have contributed strongly to the vitality of his work. Although Jos
Perdomo has a preconceived idea about the canvas, his creative process
includes modifications and casual elements.
Marco Lora Read's professional development occured in the last decade of
this century. Producing since the beginning of his career as a sculptor,
experiences of setting objects, he depthen his social and anthropological
searches, incorporating and giving priority to the ethnic aspect, de-mythifying
Antillian history, and the "discovery" of America. Recently, his onthologic
reflection has been enlarging, integrating Africa and the Amazon, forging a
code based on vegetal, organic, industrial elements and in a conceptual
manner in relation to the shifting of worlds. His artistic work is getting more
demanding, dramatic and contestatory.
The graphic artist Tony Capelln belongs, in age and definitions, to the 80s
generation. Hence he enthusiastical/y embraced fine arts and when he
paints he also modifies and modulates the original intention. When he
programmes and executes his instal/ations, from the beginning he knows
where he wil/ get and contraIs the final formulation. His starting point is the
man of the Caribbean, the mestizo, the black, with their historical backgraund
of sufferings which they carry on their backs since the beginning of slavery.
To instrument his message and part of the research he is making, Tony
Capel/n uses simple, natural materiaIs, sometimes found, prepared and
metaphorized by their own symbolic destination. Environment preservation is
also one of the artist's preoccupations.
Marianne de Tolentino
Marianne de Tolentino
357
JOSE PERDOMO
Nasceu na Repblica
Dominicana. Estudou na
Escuela Nacional de Bellas
Artes de 1961 a 1964.
Bom in Dominican Republic. He
attended the fscuela Nacional de
Bellas Artes from 1961 to 1964.
Exposies individuais/
Solo exhibitions
Galera Altos de Chavn; Galera
de Arte Praxis; Instituto
Dominicano de Cultura
Hispnica; Museo de las Casas
Reales; Galera Praxis, Mxico;
Museo de Arte Moderno,
Repblica Dominicana.
Exposies coletivas/
Group exhibitions
Bronx Museum, Nova Vork;
Brooklinmuseum, Nova Vork;
Museo de Arte e Historia, Porto
Rico; Museu do Luxemburgo,
Paris; Museo de Arte Moderno,
Repblica Dominicana.
Prmios/Prizes
Prmio de desenho/prize for
drawings, Bienal Nacional;
medalha de ouro/gold medal, 1
Bienal de Pintura dei Caribe y
Centroamrica; primeiro prmio
de desenho/first prize for
drawings, Bienal E. Len
Jimenes; Gran Premio Hotel
Una, Concurso de Arte Hoteles
Barcel.
Obras apresentadas/
Works in the exhibition
Paisajes csmicos, 1966
leo s/tela/oil on canvas
127 x 127 cm
Coleo particular
358
359
Nasceu em So Domingos,
Repblica Dominicana, em 1965.
Estudou na Escuela de Diseno
Altos de Chavn, So Domingos
(1990), no Sculpture Center de
Nova Vork (1991) e nos Atelis
Arnhem, em Arnhem, Holanda
(1992).
Bom in Santo Domingo, Dominican
Republic in 1965. Attended the
Escuela de Diseno Altos de Chavn,
Santo Domingo (1990); Sculpture
Center of New York (1fJ91) and
Ateliers Amihem; in Amihem, The
Nether lands (1992).
Exposies individuais!
Solo exhibitions
1989 Arte Objeto, La Galera, So
Domingos.
1990 Visin para um Pueblo,
Museo Nacional de Arte
Moderno, So Domingos.
da Repblica Dominicana na
Expo 92, Sevilha, Espanha.
1993 Invitaties, De Wang Leiden,
Holanda; En Passant, Van
Reekum Museum, Apeldoorn,
Holanda; Glossary, Gallery 20x2
and Gemeentemuseum, Arnhem,
Holanda.
1994 Bienal de la Habana,
Havana.
Colees!Collections
Museo Nacional de Arte
Moderno, So Domingos; Van
Reekum Museum, Apeldoorn,
Holanda; Ludwig Forum fun
Internationale Kunst, Aschen,
Alemanha.
Prmios!Prizes
1990 Rubin Scholarship,
Sculpture Center, Nova Vork; 1
prmio, categora abierta -
I
Exportadores de almas, s.d.
TONY CAPEllAN
Nasceu em Tamboril, Repblica
Dominicana. Estudou no
Departamento de Artes da
Universidad Autnoma de Santo
Domingo. Fez diversos cursos de
gravura em relevo, entalhe e
serigrafia, este ltimo no Art
Student League de Nova Vork.
Bom in Tamboril, Dominican
Republic, he studied at the arts
department of Universidad
Autnoma de Santo Domingo.
Attended varios relief engraving
courses, intaglio and serigraphy, the
latter at the Art Student League of
New York.
Exposies individuaisl
Solo exhibitions
1979 'Figura de Tiempo
(desenhosldrawings), Crculo de
Coleccionistas, So Domingos.
1987 Xilografas, Sala de
Exposies, Biblioteca
Nacional; Grabados, Casa de
Bastidas, So Domingos/Runas
dei Gran Hotel, Mangua,
Nicargua.
1988 Obsesiones Cotidianas
(desenhosldrawings), Museo de
las Casas Reales.
1990 Mitologa y Ritos, Galera
de Arte Moderno, So
Domingos.
1991 Trucamelos, Galera
Races, San Juan, Porto Rico;
Zona Mgica, Casa de Bastidas,
So Domingos; Trazos
Ceremoniales, Culturais, Plaza
de la Cultura de Santiago.
1992 Mitos dei Caribe, Museo de
Arte e Historia de San
Juan/Galera Races, Porto Rico;
Amuletos, Casa de Francia.
1993 Kbalas, Galera Nader,
So Domingos; Galera
Nacional de Arte
Contemporneo (instalaes e
pinturaslinstallations and
paintings), San Jos, Costa Rica;
Utopas, Museu de las Casas
Reales/Casa de Bastidas, So
Domingos.
Exposies coletivasl
Group exhibitions
19836 Bienal de San Juan dei
Grabado Latinoamericano.
1984 Mostra Internacional de
Arte Corre0 por La Paz,
Universidad Autnoma de Santo
instalao/ installation
720 x 90 x 120 em
Foto: Reyes Nlez
PrmioslPrizes
1989 Premio Ex-Aequo de
Pintura, Concurso Bicentenario
de la Revolucin Francesa,
Casa de Francia; prmio de
desenholdrawing prize, 1 Saln
Nacional de Dibujo, Museo de
Arte Moderno, So Domingos;
1990 1 Premio Nacional de
Grabado/7st Nat........ .ional Prize for
Engravings, 17 Bienal Nacional
de Artes Visuales.
1991 meno honrosalhonorable
mention, 10 Bienal de Arte de
Valparaso; 1 prmio/7~ prize,
Bienal de San Juan dei Grabado
Latinoamericano, Porto Rico;
prmio do jri e do pblicoljurys
and publics prize, 23 Festival
Internacional de Pintura de
Cagnes-sur-Mer, Frana;
1992 medalha de ourolgold
medal, 1 Bienal de Pintura dei
Caribe y Centroamrica, Museo
de Arte Moderno, So
Domingos; prmio especial de
desenholspecial prize for painting,
18 Bienal de Artes Visuales.
Obra apresentadal
Work in the exhibition
Marcha forzada, 1994
instalaolins ta lia tion
Coleo do artista
361
362
That is the reason why his work is so plural and welcomes so many different
ways of looking at it. In its apparent ambiguity there is a breach where
plurarity can be constructed in each look. It stems from the materialization of
the artist's tension and enables the emergence of a certain socialization of
the communion between artist work and spectator.
Daniel Machado Pinheiro
363
ROlAND URBINATI
Exposies coletivasl
Group,exhibitions
1970 Ecole des Beaux-Arts,
Bordeaux.
1976n7 cole des Beaux-Arts,
Paris.
1984/87 Galeria Vila Riso, Rio de
Janeiro.
.
1985 9 Salo Carioca de Artes
Plsticas, Rio de Janeiro.
1987 O Rosto e a Obra 8, Rio de
Janeiro; 19 Salo Nacional,
Belo Horizonte.
1988 Projeto Rio Arte (arte
muraI/murais), Rio de Janeiro.
1994 Galeria Mnica Filgueiras,
So Paulo.
Obras apresentadasl
Works in the exhibition
1. Fragmento I, 1994
tcnica mistalmixed media
200 x 150 cm
2. Fragmento /I, 1994
tcnica mistalmixed media
200 x 150 cm
3. Fragmento /lI, 1994
tcnica mistalmixed media
200 x 150 cm
Onde estamos, onde nosso lugar, qual o nosso destino, qual o lugar
de cada pessoa na sociedade humana, onde est o limite entre
assuntos pessoais e pblicos? A autodefinio torna-se cada vez
mais uma funo legtima da arte, no amplo leque de contextos nos
quais possvel nos compreendermos.
Where are we, where is our place, what is our fate, where is the place of
every person in human society, where is the boundary between personal and
public issues? Self-definition has increasingly become a genuine art task. The
range of possible contexts in which we understand ourselves is very broad.
We understand ourselves in a frame of confidence, of home, warm relations
in a community of friends, social groups, tribes, nations or race, or, on the
contrary, in the context of general human values, which implies a rather
chi//ed dimension of public lite, abstract valid meaning and conventional
language.
How can an artist cross the boundary of his own subjectivity and establish
contact with other people? Is it possible through intrinsic understanding
which brings about an attachment of souls or on the contrary through
appropriation of conventional common language which unequivoca//y
eliminates misunderstanding between people ?
Culture and art in the Czech Republic traditiona//y fo//ow the first path.
Mistrust of impersonal forms of reality in social institutions, including
mistrust of the possibility of expressing the deepest thoghts in a general
language, is very likely a result of the country's historical development.
The Czech Republic is a sma// nation in the center of Europe surrounded by
powerful neighbors. Their oppression prevented Czechs from acting
autonomously at every levei and from establishing democratic institutions for
a fair social lite for many years. Under the reign of the Habsburg emperors,
from the begirining of the 77th century to 7978, and then of fascist Germany
and communist Soviet Union in the 20th century, the cultural and inte//ectual
activity of the Czech nation was pushed towards the spiritual realm. Everyday reality and practical social lite slowly became something which stank of
corruption and false morality. Real values were searched for in the ideal
world of truth hidden deep in people's souls, in romantic national myths, in
poetry and music, or in the world of irony, absurdity, sophisticated ambiguity
and a//egory which helped the inte//ectual Czech balance sincerity and fear of
the dictator.
Czech art from the last forty years developed in this spirit and under these
conditions of political opression. Czech interest in existential philosophy,
which is based on the deep individual perception of the conditions of being,
far surpassed the peak reached in Europe in the 50s. Even now Czech art is
sti// understood in the dimension of the individual experience representation
and is sti// measured according to the expression of identity and authenticity
of personal lite. Nevertheles, a noticeable move from the interest in the
content of the individual inner world towards more objective horizons and
social contexts has evolved.
365
366
Ivan Kafka, Milena Dopitov and David Cerny, who represent Czech art at the
Bienal, belong to the artists whose work extends fram the local art discourse
and strives for understanding in a braad context: both in Prague and in So
Paulo.
Ivan Kafka is the oldest Czech participant at the 22a. Bienal Internacional de
So Paulo. He began his artistic career at the end of the 70s: He learnt early
fram his parents, outstanding Czech representatives of post-war modem art,
that perfect "craftsmanship" is decisive in art. In the 70s, however, the
"material" for this sort of "craftsmanship" was mostly a concept and
"craftsmanship" itself was nothing other than the ability to articulate
precisely ideas in a performance or an installation. Kafka's early works stem
from land art and express existential thoughts about the prafound character
of human existence. The tension involved with depicting the deep unity of
nature and spirit seems to illustrate involuntarily Martin Heidegger's
existential analyses: the unity of the situation of physical existence on earth
and the free human prajection upon the course of events. In the 80s, the
existentiaI content of Kafka's work was replaced by a linguistic aspect. Kafka
has become more reserved in his ambition to understand the deep secret of
lite, and at the same time more independent, free and precise in his
articulation of artistic language. It is also possible to look for transcendental
content, but his work is not based on it.
This is the case of the exhibited work On potent impotence.
Formal qualities such as volume in space, light and shadow, verticality,
rhythm, multiplicity and singularity, qualities of stillness and movement, can
but do not have to be understood in dimensions of social existence as a
general appearance of the mysterious relation of the individual and society.
These contents enhance the backgraund work, but the work itself is
predominantlya rich visual event. On potent impotence opens a much wider
and particularly undefined horizon of game, chance, pure reality and original
meetings.
Milena Dopitov represents the younger generation which entered the scene
at the very end of the '80s, that is at the very end of the communist
government. Fram the start, this generation was free fram the ideological
battle with the communist opressor, and therefore fram the black and white
division of the world into surface and depth. I spite of this, in every work
Dopitov draws fram her personal reflection on actual events. However, she
is more interested in the adventure of the situation than in its existential
truth. She enjoys the variety of lite and artistic language and she is not
tempted by the illusion of the single and definite explanation.
Dopitov's work Some people only live and the others are on the sea
embodies two contrasting worlds. The first, occupied by five spiders can be,
for example, understood as the organic world in which nature lets bodies
develop in the process of cellular growth into often shocking variations.
A obra de Dopitov Some peop/e on/y live and the others are on the
sea (Certas pessoas apenas vivem e outras esto no mar) engloba
dois mundos contrastantes. O primeiro, ocupado por cinco aranhas,
pode ser entendido, por exemplo, como o mundo orgnico, em que a
natureza permite que os corpos cresam, no processo de
desenvolvimento celular, em variaes muitas vezes chocantes. O
outro mundo, onde correias de couro pendem do teto, o da
geometria prtica, em que as pessoas fazem arranjos segundo pontos
fixos que lhes do estabilidade. A situao imvel oferecida pelas
tiras firmemente fixadas tambm pode ser chamada "identidade"
humana, porque mesmo esta identidade nada mais do que um
delineamento relativo num mundo indefinido de relaes. Quais
habitantes desses dois_ mundos esto "no mar" e quais "apenas
vivem"? Se estivermos premidos pela incerteza, podemos entrar e
segurar uma firme correia.
The other, where leather straps hang from the ceiting, is the world of praticaI
geometry where people make arrangements according to fixed points which
give them stability. The steady situation offered by the firmly fixed straps can
also be called human "identity" because even his identity is nothing other
than a relative delineation in the indefinite world of relations. Which of the
inabitants of these two worlds are "on the sea" and which "only tive"? If we
are tossed by uncertainty, we can go inside and take hold of a secure strap.
David Cemy seems to be the most social artist in the Czech Republic. He is
criticized by some Czech art critics for a lack of depthness. For them
depthness comes outof a search for certainties hidden deep in an artist's
soul. Cemy, however, does not draw from human feelings but human
behavior and events, common things known to everyone.
Cemy's exhibited piece The artist at work represents the traditional model of
Czech modem art: individual reflection.
He portrays himself working on some art. Every depiction leaves the
individual at the public's mercy and inevitably becomes objectified. Cemy
demonstrates this with disarming conviction by giving his work the form of a
construction set which can be produced from thousands of pieces. How can
anyone, and particularly an artist, maintain his privacy and at the same time
his contact with other people? Is it possible at ali ?
If these days the most forward-Iooking New York dealers seek a new
spirituality in Williamsburg studios, they would find it in the Czech Republic.
On the other hand, the best Czech artists are looking beyond their spiritual
boundaries towards precise articulations of generally understood artistic
language and social ways of thinking.
Ludvik Hlavacek
367
DAVID CERNY
Nasceu em Praga,
Tchecoslovquia, hoje
Repblica Tcheca, em 1967.
Estudou na Academia de Artes
Aplicadas de Praga (1988-94).
Vive em Praga.
Bom in Prague, Czechoslovakia,
today Czech Republic, in 1967. He
studied at the Academy of Applied
Arts, Prague (1988-94). He lives in
Prague.
Exposies individuais/Solo
exhibitions
1990 Exhibition for the Meanest
Instincts (com Tomas Pospiszyl),
Clube Delta, Praga.
1991 Draft, Andy Warhol
Museum of Modern Art,
Medzilaborce; Smallness,
Galeria Nacional, Znojlilo.
1992 Fertility (com Marketa
Bankova), Clube Rubin, Centro
de Artes Performticas, Praga.
1993 Artificial, Galeria Spalova,
Praga.
o
JESUS CHRIST
PLASTIC
MODEL 1:1
-.
.r1
._t..""
Exposies coletivas/Group
exhibitions
1989 Smile, Joke and Grin,
Palcio da Cultura, Praga;
November 89, Galeria Manes,
Praga; The Neostunners (mostra
underground de arte
grupal/ underground exhibition of
art group), Praga.
1990 Czech Alternative, Galeria
ULUV, Ministrio da Cultura,
Praga; Old Town Vards: Quo
Vadis (mostra ao ar livre de arte
tcheca contempornea/open air
exhibition of contemporary Czech
art), Praga.
Kit, 1993
fibra de vi dro/ fiberglass
200 x 190 x 25 em
Foto: David Cerny
368
IVAN KAfKA
Nasceu em Praga,
Tchecoslovquia, hoje
Repblica Tcheca, em 1952.
Estudou na Escola de Artes
Aplicadas de Praga (1967-71).
Realizou obras em ferro (19711973) e projetos paisagsticos e
urbansticos (1976). Vive em
Praga.
Bom in Praga, Gzechoslovakia,
today the Gzech Republic, in 1952.
He studied at the High School of
Applied Arts in Prague {1967-71}.
He has made iron works and
projects for landscape and urban
space (1976). He lives in Prague.
Exposies individuais/Solo
exhibitions
1979 Story about Folding,
Floating and Lifting, Instituto de
Desenho Industrial, Praga.
1980 Stories, Divadlo v
Nerudovce, Praga; Inquiry,
Galeria Gn, Gdansk, Polnia.
1982 Galerie Hildebrand,
Klagenfurt, ustria.
1985 Documentation 76-85,
Instituto de Qumica
Macromolecular, Praga.
1987 Installations and
Documentations, Alvar Aalto
Museum, Jyvaskyla, Finlndia.
1992 Drawings and Installations,
Galeria Municipal, Praga; One
Project, Galeria IM/Centro
Cultural da Repblica Tcheca,
Berlim.
1993 ZUR ZEIT Finsteres Licht,
Minoritenkirche Kunsthalle,
Krems, Alemanha.
Exposies coletivas/ Group
exhibitions
1977 Clube da Juventude,
Brno/Krenova, Tchecoslovquia.
1979 Four from Prague, Galeria
Wielka 19, Posnan, Polnia.
1981 Sculpture and Objects in
Old Town Vards (mostra ao ar
livre de arte contempornea
tcheca/open air exhibition of
contemporary Gzech art), Praga;
Salo de Fotografia, Belgrado,
Iugoslvia.
1982 Meeting (mostra ao ar livre
de arte contempornea
tcheca/open air exhibition of
Regensburg, Alemanha.
199112/15, Czech Globe, Galeria
Nacional, Praga; Kunst Europa,
Kunstverein, Braunschweig,
Alemanha.
1992 Prague-Bratislava, Muse
d'Art de la Ville de Paris, Paris.
1993 Archetypes, Galeria
Manes, Praga; Works for the
Place, Galeria Sypka, Vlkov,
Repblica Tcheca; 3rd Minos
Beach Art Symposium, Creta,
Grcia.
199412/15, At Sluice, Galeria
Manes, Praga.
369
370
MllENA DOPllOVA
Some people only live and the others are on the sea,1994
cinco peas de metal/tive pieces -metal construction
120 x 180 x 160 em
Foto: Vladimr Goralck
371
Some people only live and the others are on the sea, 1994
cinco peas de metal / tive pieces - metal construction
120 x 180 x 160 cm
Foto: Vladimr Goralck
Nasceu em Stenberk,
Tchecoslovquia, hoje
Repblica Tcheca, em 1963.
Estudou na Academia de BelasArtes (1987-94) e na Escola de
Artes Aplicadas (1982-85), em
Praga. Vive em Praga.
Bom in Stenberk, Czechoslovakia,
today the Czech Republic, in 1963.
studied at the Fine Arts
Academy (1987-94) and at the
Secondary School of Applied Arts
(1982-85), in Prague. lives in
Prague.
Exposies individuais/Solo
exhibitions
1988 KS Chronotechna (com
Pavel Humhal), Centro Nacional
de Cultura, Stenberk,
Tchecoslovquia.
1989 CKD (com Petr Zubek),
Centro Nacional de Cultura,
Praga.
1991 Objects and Installations,
Galeria Municipal, Stenberk,
Tchecoslovquia.
1992 Galeria MXM (com Jiri
372
Kovanda), Praga.
1993 Galeria MXM, Praga.
Exposies coletivas/Group
exhibitions
1989 Confrontations VIII, Svarov,
Tchecoslovquia.
1990 Grand Concours
International de Peinture 90,
Muse 2000, Luxemburgo; Group
Pondeli and Medhermeneutika,
Galeria U Recickych, Sociedade
de Jovens Artistas, Praga.
1991 Contribution to Happiness,
Galerie der Kunstler, Munique;
New Intimacy, Galeria ULUV,
Ministrio da Cultura, Praga.
1992 Her Brother, Her Husband,
Galeria Spalova, Praga;
Frontiers, Bolzano, Itlia;
Galerie Maeght, Paris; PragueBratislava, Muse d'Art
Moderne de la Ville de Paris,
Paris.
1993 Situation Prag,
Kampnagelfabrik, Hamburgo;
What is Left, Stencuv Dum
(espao alternativo/altemative
exhibition space), Praga; The
Boundary Rider, 89 Bienal de
Sydney, Austrlia; Aperto,
Biennale di Venezia, Itlia;
Second Exit, Ludwig Forum,
Aachen, Alemanha.
1994 Distant Voices,
Contemporary Art from the
Czech Republic, South London
Gallery, Londres; After the
Spring, Museum of
Contemporary Art,
Sydney/Camberra/Melbourne,
Austrlia; Vou Must Remember
This, Ronald Feldman Fine Arts,
Nova Vork; Milena Dopitov in
Context, ICA and Carpenter
Center, Boston.
Obras apresentadas/Works in the
exhibition
Some people only live and the
others are on the se a, 1994
cinco peas de metal/five pieces
- metal construction
120 x 180 x 160 cm
ROMENIA ROMANIA
CU~ADO~ CU~ArO~ CAllN DAN
~O~O~ C[NI[~ rO~ CONI[M~O~A~Y A~I~ ~UCHA~[~I
METAFOlCLORE DA SUB-REALIDADE
META-FOLKLORE ON SUB-REALlTY
The only solution remained is to cover it with the veil of a full scale map,
hiding the lague of this geographic error. (Lucian of Samosata)
Uma cidade uma cidade uma cidade uma cidade ... Alm das
diferenas culturais geradas pela histria e dos preconceitos
culturais gerados pela imagologia da mdia, h o problema da
cidade.
313
314
We are ali Crusoes of the same loneliness within the noise of media.
Progressing Puzzle. "META-" is not an "art piece ", but a deposit of collective
memory digged into personal archives. The five artists involved in this project
experienced the fali of the town as a logical environment and its raise as an
oppressive utopia exercised by dictatorship. Architecture and demolition,
industry and manufacture, trade and entertainment, celebration and death,
picturesque and boredom are documented in a semiotic grid which preserves
white spaces for further vicinities.
The eye of the camera is impersonal most of the time, or just filled with the
persona of the registered theme. The artists are for one the neutral
translators from a universallanguage of misery into the narratives of
photography. The subjects themselves are available and worldwide. "META-"
can be an infinite product, a puzzle game developed by witnessing situations
from Bucharest or So Paulo, from Venice or Sydney, from New York or
Moscow.
The grid of words and images used by "META-" can be adapted to any similar
urban situation, where memory and changes are inter-reacting unpredictably.
The dash in the title isan offered connection for further developments.
What makes the difference between this kind of discourse and the
anthropological statements coming from poverty and oppression, is the
unifying pessimism brought by an over-aggressive glamour and a suffocating
massification of existing values.
Maps and ruins. Exploiting the differences is the only strategy for justifying
the curatorial choice of such a common place like the exploded metropolis.
The Romanian artists are bringing in the eclectic context of the cyberpunk
aesthetics the impure wilderness of a culture which jumped from archaic
traditions directlyinto organized chaos of tyranny. The spicy side of their
installation is brought by the cynical distance towards a past which is losing
its tragic dimension in a present de-structured bv-common places of
consumers' global bazaar.
Entropic nature is mixing with the cold disorder of concrete architecture,
human factor is undermining pre-established urban criteria by the means of a
sub-reality which might be perceived as picturesque but is just another
invasion.
"META-" is an etymological metaphor meant to express the projection of
such illusions as the "global village" and the "megalopolis" beyond any
conceptual, political or social control, into the iconography of ruins. Town is
no longer a limit or a scope, but just an absorbing black hole by which
humanity is projected beyond history.
"META-" is mainly an esoteric activity - as mapping has always been.
Cartographers are like magicians, hidden inventors of a labyrinth without
authorship. Losing identity is both the faith of the town and the artist in the
post-urban decade.
Calin Dan
CAUN MAN
Nasceu em Arad, Romnia, em
1961. Em 1984 graduou-se pela
Faculdade de literatura da
Universidade de Timisoara,
Romnia. fotgrafo do Museu
de Arad. Tem trabalhos de
fotografia, vdeo, instalaes,
happenings, po~sia visual e
artes grficas. E editor da
revista Intermedia.
Bom in Arad, Romania, in 1981.
Graduated from the Faculty of
Literature at the University of
Timisoara, Romania (1984).
Photographer at the Museum of
Arad. Works in photography, vide o,
installations, happenings, visual
poetry and graphic designo Editor of
the Intermedia magazine.
CAlIN MAN
DORcl GAINA
ON GR GORcSCU
Portrait, 1993
Ocska/and, 1992
DOREl GAINA
ION GRIGORESCU
designer.
Prmios!Prizes
1993 Prmio Andrei Cadere,
concedido pela!awarded by AFRA
(Associao Franco-Romena de
Artistas), Paris.
375
RADUIGAZSAG
JOSlf KIRAlY
RADU IGAZSAG
TEODOR GRAUR
JOSIF KIRAlV
Oradea,1978
Exposies/Exhibitions
1985 Experimental
Budapeste. Hungria,
1986-81 Art of Today, BmllallEliste,
Hungria,
1986 2nd IntemationaI
of Artists' Photography,
Budapeste, Hungria,
19881mpact Art, Ouioto,
1990 Electrographic Art
Exhibition, Cuenca, Espanha.
1992 Dagegen-Verbotene
Ostkunst 1948-1989.
HalleinNiena/Graz/linz, ustria;
Show, 1987
TEODOR GRAUR
Nasceu em Bucareste, Romnia.
em 1953. Em 1918 graduou-se
pelo Institutp de Belas-Artes de
Bucareste. E professor da
Academia de Arte de Bucareste.
Tem trabalhos de fotografia,
pintura, performance e
instalao.
Bom in Bucharest, Romania, in
1953. Graduated from the Fine Arts
Institute, Bucharest (1978). Teaches
at the Art Academy, Bucharest.
Works in photography, painting,
performance and installation.
Exposies/Exhibitions
1990 Expectation and Outburst.
Szombathelyi, Hungria.
1992 Dagegen, Verbotene
Ostkunst, Austria.
1993 Erste Schritte, IFA
Galleries, Stuttgart/Bonn/Berlim.
Obra apresentada/
Work in the exhibition
Grupo: Teodor Graur, Dorel
Gaina, lon Grigorescu, Radu
Igazsag, Josif Kiraly, Calin Man
Meta-,1994
foto-instalao/photo installation
1500 x 400 cm
..
Enlenrualof~hK,~nKi ~m~hU
Landscape, 1994
Esslingen, Alemanha.
1993 Erste Schritte-Rumanische
Kunst der 90er Jahre,
Stuttgart/Bonn/Berlim,
Alemanha.
RUSSIA RU55/A
CU~ADO~ CU~ArO~ ~O~O~ C[NI[~ rO~ CONI[MrO~A~Y A~I~' MO~COW
ANATOLlJ SHURAVLEV
ANATOLlJ SHURAVLEV
In this series of five photographs of various sites in Egypt at the end of the
78th century, we are facedwith the solid and visible results of mans attempt
to situate in his surroundings that which is invisible and which surpasses
him. "That" may be called gods, God, beyondness, or simply - time.
377
further, taking away traces of the old technique of the manual reproduction
step-by-step and obtaining, via a mechanical reproduction the end ''picture:
"his" photograph "of" Egypt in the 18th century.
The picture produced by Shuravlev is an unique original, and therefore
adequately framed. Since the re-invention of linear perspective in the
Renaissance, when the concept of "picture as a window" was established,
the frame of pictorial representation has been employed to insert a pictureof-the-world into the real one. This is a two-way process: by inserting into
the world a picture simultaneously works on the world's further construction.
The frame which surrounds the work is, as Derida asserts, "parergon",
something which - like an artist's signature ar a museum institution - belongs
and at the same time does not belong to the work of art, and confirms the
work's place in a given cultural space.
One might be surprised that in these works Anataloj Shuravlev left the main
field of his previous works - the text. Here toa the text is present in the form
of photographs' titles which again desolidifies the "truth" about the
autonomy of an iconic representation: the photograph is never "purely
photographic" but is always accompanied by its symbolic supplement - the
text. It is always situated within language.
Bojana Pejic
Bojana Pejic
378
SVETLANA KOPVSTIANSKV
SVETLANA KOPYSTlANSKY
When, at the beginning of the 1970's, we began our activities as artists, the
status of unofficial art in society as a persecuted one was fu//y determined.
The cultural world throughout the entire territory of the Soviet Union
represented a total domination of the official culture which fulfi//ed purely
utilitarian tasks of education (propaganda), agitation, decoration and the
plastic expression of an ideological message.
The artists and representatives of culture who did not wish to carry out the
arder of the authorities were deprived of the possibility of exhibiting publicly
ar publishing their work. A harsh censorship system eliminated "useless art",
considering its creators as enemies of the totalitarian social structure.
Yet, in contrast to Stalin's era, the authorities did not think it was necessary
to destroy writers and artists physica//y.lt was believed that, in arder to
neutralize and destroy a free culture, it was sufficient to break the link
between the artist and the spectator, thus isolating culture from society and
the surrounding world.
A work of art was exeluded from the context of both national and world
culture, and was thus reduced to the leveI of matters that possess specific
physical characteristics. It was an attempt to destroy the artist's message as
well as the spiritual substance of a work of art.
Our creative work was an attempt to analyse and express the existing
position of art in society. We observed not only the censorship and regulation
of art and its utilisation, butalso its se vere destruction and elimination.
Today the means of totalitarian rule have become past history. We are now
living through the end of an entire era, through the end of a cultural cyele.
What is happening now is a very important process for Russian culture, a
process of its integration into a world culture, to which our country's culture
has belonged prior to the period of isolation which began in the 1930's.
Simultaneously, a revision of history and a restoration of our own traditions
are on the way.
Official culture ceased to exist the moment the totalitarian state ceased
sponsoring it.
The only living body capable of creative development under the new
conditions turned out to be the former unofficial culture which had been
leading an underground existence since the moment of its prohibition in the
30's and which is the heir to the Russian avant garde.
Living at the time of the end of an era which began over seventy years ago
requires us to look at the situation at the beginning of the century from our
distance. The ideas of that period require re-evaluation. One most fascinating
issue is that of the balance in art between a utopian and a utilitarian position,
as well as, of course, the relationship between politics and culture. By
analising our past we gain a better understanding of today's situation, for
what concerns us is a whole range of interrelated problems of art and its
existence in society. Among them are history as mithology, as a selected
version of the past reality, selecting and exhibiting traditions, and the
centuries old use of art as a political, economical and ideological too!.
It is important to understand the mechanisms of distortion, deformation and
destruction of meaning which is achieved by means of manipulation, in
particular by means of creating artificial contexts and destroying cultural,
social and historical contexts.
It is essential to analyse the various methods that authorities in various
political systems use in order to gain control over art and its utilisation. These
methods may differ substantially, while fulfilling the same functions.
Svetlana Kopystiansky
Svetlana Kopystiansky
379
ANATOllJ SHURAVlEV
Nasceu em Moscou em 1963.
Vive e trabalha em Moscou e em
Berlim.
Bom in Moscow in 1963. He lives
and works in Moscow and Ber/in.
Bolsas/Grants
1991-92 Kunstlerhaus Bethanien,
Berlim, Alemanha.
1992-93 Fundao Christoph
Merian, Basilia, Sua.
Exposies individuais/
Solo exhibitions
1990 Maria Serebrjakova &
Anatolij Shuravlev, Inter-Art,
Berlim.
1992 Anatolij Shuravlev in den
Arbeisrumen des Senators fr
Kulturelle Angelegenheiten,
Europa Center, Berlim;
Kunstlerhaus Bethanien, Berlim;
Galleria Giorgio Persano, Turim,
Itlia.
19931gnotium per Ignotius,
Galeria 1.0, Moscou; Attempt to
See, Galerie im literaturforum
Brecht-Haus, Berlim.
Exposies coletivas/
Group exhibitions
1985 Mostra de Outono/Autumn
380
Juventude, Moscou;
Serebrjakova, Shuravlev,
Kirzova, Centro de Cultura
Est'-idantil, Belgrado;
~nstalao/lnstallation, Galeria
Garage, Belgrado; Vystavka
Nesakontschennych
Rabot/ Unfinished Works Exhibition,
Galeria Furmannaja, Moscou;
Nedorogoe Iskusstvo, Vystavka
Malenkich Rabot/Cheap Art,
Exhibition of Little Creations, First
Gallery, Moscou; 10+10, Mostra
Itinerante 1989-1990/Travelling
Exhibition 1989-1990, Forth Worth,
San Francisco, Buffalo,
Washington/EUA; Moscou,
Leningrado/URSS; MoscouViena-~ova Vork, Messepalast,
Viena, Austria.
1990 Mosca 90, Sala Umberto
Boccioni, Milo; P.M.M.K.
Oostend, Blgica; V Storonu
Objekta/ln the Direction of Object,
Salo de Exposies
Kashirskaja, Moscou; In der
USSR und auberhalb/ln the USSR
and beyond, Stedelijk Museum,
Amsterdam; Katalog, Palcio
Central da Juventude, Moscou;
Artedomani, 1990 Punto
di Vista, Ex-Ospedale San
SVETlANA KOPYSTIANSKY
The/ibrary, 1992
madeira, livros, manequ imjwood, books, manikin
Foto: Svetlana Kopystiansky
381
382
SUECIA SWEDEN
CU~ADO~ CU~ArO~ MI~[l AD~[NIU~
1 (O que pintar?)
No catlogo de sua exposio realizada em 1992 no Irish Museum of
Modern Art, em Dublin, Cecilia Edefalk escreveu que "gostaria de
pintar de forma a tornar a prpria peculiaridade da pintura explcita
em si mesma". A artista sabia que no havia razo para acreditar que
a "pintura em si mesma" resultasse necessariamente em algo
parecido com arte. Em vez disso, quis experimentar um "novo
veculo": a pintura. Pintar, tecnicamente, no era novidade para ela,
mas sim seu potencial enquanto veculo. Durante muitos anos ela
trabalhou em uma estao de televiso como, segundo ela prpria,
"manipuladora de fotos" (oficialmente, "editora de imagens"),
lidando com computadores, escolhendo fotos para "ilustrar" as
notcias dirias.
1(What's painting?)
In the catalogue to her 1992 exhibition at the Irish Museum of Modem Art,
Dublin, Cecilia Edefalk wrote that she "would like to paint in a way that
makes the very peculiarity of painting explicit in itself". The artist knew that
there was no reason to believe 'painting in itself' would necessarily result in
anything like art. She preferred to experience a "new medium": painting.
Technically, painting was not new to her, but its potential as a medium was.
For years she had been working as a "photo manipulator" (officially a
"draftsman ") according to her, working at computers, appropriating press
photos in order to "illustrate" the daily news.
"Preciso estar pronta para perder uma iluso a fim de ganhar algo
mais." Isso se refere ao "eu", a uma iluso a ser perdida e uma
posio a ser reconquistada.
"Minha posio aquela
em que estou observando
e sendo
observada
ao mesmo tempo. Um
vcuo
surge
onde esses dois estados
sobrepem-se
o resultado
"I must be prepared to lose an illusion in order to gain something else", she
says. This concems the "/", since it is an illusion to lose and a position to be
regained:
"My position is one
where I am observing
and being
observed
at the same time. A
vacuum
arises
where these two states
overlap
the result
is the contortion of that space. "
Painting can help to resolve the idea of becoming Dne again by the very
overcoming of this idea. Since in painting only that which is not observing the
observor can be observed, the attempt to control the observing is simplyan
exercise of Vanity. This is whyadopting the reality of painting is difficult. This
reality can also be attested to by listening - how does space sound where
observing and being observed overlap? Reproduction is her means of making
listening possible; it reproduces the observed as it would observe.
There is no competition between an original and a reproduction. Anyhow, one
gets an original for free. That's painting!
Each time the presentation created a particular space in these "sites". The
set of paintings were supposed to guide the viewer through different paths in
a labyrinth. Nevertheless, (thf3) Art (of painting) succeeded in making a point:
"the identica/", while presenting at the same time the architecture of this
point. The paintings set the rxi"ewer in positions where only differences were
to be remarked. Only the published photograph remained unchanged.
CECIliA EDEfAlK
Exposies/Exhibitions
1988-90 Aurora 3, Atheneum,
Helsinque; Nordic House,
Reikjavik; Konstant 90,
Universidade de
Estocolmo/Universidade de So
Petersburgo.
1991 Europa Kunst, Mnchen
Kunstverein; Art/Photography,
Hasselblad Center, Gotemburgo,
Sucia; Lika Med, Moderna
Museet, Estocolmo; Stillstand
Switches, Schedhalle, Zurique;
Galleri Sten Eriksson,
Estocolmo.
1992 Cecilia Edefalk/Jan
Hafstrm, Irish Museum of
Modern Art, Dublin; Expo 92,
Pavilho da Sucia/Swedish
Pavilion, Sevilha.
1993 Prospect, Frankfurter
Kunstverein, Frankfurt; Mai
etwas anderes, Knstlerhaus
Bethanien, Berlim.
1994 Now I Copy Myself,
Knstlerhaus Bethanien, Berlim.
Colees/Col/ections
Museu dos Trabalhadores/
Workers Museum, Norrkping,
Sucia; Fredrik Roos Collection;
Convector Art Collection, Museu
de Arte de Norrkping; Moderna
Museet Stockholm, Estocolmo.
Diptych. 1994
leo s/tela/oil on canvas
60 x 80 em
Foto: Jens Ziehe
Obras apresentadas/
Works in the exhibition
First elephant, 1993
leo s/tela/oil on canvas
100 x 66 cm, 100 x 66 cm,
100 x 66 cm
Second elephant, 1994
leo s/tela/oil on canvas
170 x 240 cm
Two copies, 1994
leo s/tela/oil on canvas
80 x 53 cm, 80 x 53 cm
Chamber-play (part 1), 1993
leo s/tela/oil on canvas
60 x42 cm
Chamber-play (part 2), 1994
leo s/tela/oil on canvas
60 x 40 cm, 60 x 40 cm
Chamber-play (part 3), 1994
leo s/tela/oil on canvas
60x 40 cm
Echo, 1992-94
leo s/tela/oil on canvas
60 x 42 cm, 100 x 66 cm,
60x40cm
385
SUlCA
, SWITZERLAND
CU~ADO~ CU~AO~ U~) )IAU~
HANNAH VILLlGER
HANNAH VILLlGER
Hannah Villiger is a sculptor. She defines her photographs - taken in the last
fifteen years - as sculptures, beca use it is how she sees them. Considering
the protean work produced by Hannah Villiger in twenty years, her claim for a
genre (also as a sign to the viewer) may be considered a provocation.
However, that is the way we must see her work if we want to understand it
in its continuity. Whatever the subject or the material used, ali her work
follows the aesthetic requirements of the artistic expression.
In the mid 70s, Italy discovered the wooden sculptures which remind us of a
huge mikado-game. With the inherent force of the ritual objects, these
sculptures determine the space around them and direct their aggression
against the passers-by and the society. Created in the same period, the black
and white photos shown in groups of four or ali together, place the central
object with its energy - ignited paIm leaves, irrigation installations - in their
spacial context, in order to retrieve a sculptural shape by means of a skilled
reconstruction.
Since the early 80s, Hannah Villiger works on Polaroid photoengravings
amplified on one square meter aluminum printing plates. Either exhibited
individually or in group , these photoengravings are the artists favorite means
of expression. At the beginning, the story is similar to a documentary which
tells in a metaphorical, classical style and by a heterogeneous visual
composition, the possibilities and limits of the relation between a woman
and the world. Next, she focuses the objects, by themselves uninteristing but
which allow the artist to suggest colors and luminosities, volumes and
surfaces, and due to the absence of weight - many photoengravings are
articulated around an axis as if reacting to their own gravity force - they
witness their closeness with the photographer.
Later, Hannah Villiger started photographing her own body. Hands and feet as
well as her torso are represented by fragments. The body, absent in its unity,
becomes the material through which a sensual experience takes place.
The journey shows the influence of the 70s. The eye possesses a clarity
which rises from the refusal of any romantic egocentrismo In her more recent
works, the artist proposes surprising associations between dichotomic
elements. Her virtuosism is the elegant counterpart of a formal and
expressive intuition. The force rising from her extended limbs, independent
from any anatomical connection, stresses the rigour of shape; the principIe of
representing herself establishes a contrast with the radical distance
regarding her own body.
Some of the photoengravings made in this period are more clearly related to
a theatrical context, where feminine clothes act as orientation signs. In the
next stage, the artist will refuse the use of any allegorical reference as if,
scared by the gaze of the metaphor as a visual expression, she only trusted
the mimetic power of representation.
Whenever the gaze seems to be inopportune it is due to a lack of
alternatives. Not only the detail (of the image) is strictly controlled, but the
world to which it unfolds does not allow any way out. The skin as well as the
body become witnesses of a past experience whose instauration stands at a
halfway distance between the everyday-life and the self-portrait. The
personal expression of the self representa tion conveys the viewer toward his
own sensibility. The works are read, however, as fragments of a visionary
biography built thraugh the years and located between remembrance and
utopia.
Patrick Straumann
Patrick Straumann
PIPllOTTI RIST
PIPILOTTI RIST
When I found out the video soon I became aware that it could synthetize my
activities andmy interests. As in a handbag, everything culd be find there:
music, language, painting, movement, time, sexuality, enchantment,
technique, ugly and ratten images. This gives me enormous pleasure.
Besides, Iam able to contraI ali the pracess of praducing a video. I start
working with the camera, do the artistic creation, use the sound and editing.
I always work with a very small staff and compact equipment. This is
possible due to many praticaI reasons, such as the weight and dimensions of
the camera, which has become smaller as years went by and therefore, easy
enough to be handled by women.
Ilove the video even with the inconvinience it brings about, for example, the
bad quality of the definition of the image due to the reduction fram 720 to
560 dots. Some times I even work at making the image still more diffused,
less defined. It can be compared to certa in pictoric techniques in which the
artist uses thick and delicate strakes as a way to come c10ser to reality. I use
the video screen as a luminous easel on which the images are painted
behind the glass. The video screen becomes a sort of magic lamp. In a
pracess of digestion, I praduce something laying hold of a technique which is
supplied by the technology television offers. I do not try to retrieve reality in
perfect images (I would fail if I tried to do this), but rather I manipulate the
camera to my artistic prajects advantage. I require toa much, or else toa little
fram it. I spend a long time in artistic attempts. I know more than twenty
different methods to disarrange it. I found out that it gives me back images
that are already in my imagination. Images that stem fram my inconscient
whenever I am sleepy, overexcited or nervous - reflecting the turmoil
accumulated there. I developed a theoryaccording to which I can unveil the
unconscious content of machines in order to reflect on them my own
subconsciousness. I think there is nothing more human than the formal
imperfections and the rubbish, which also give raom for the creation of
poetry.
I started doing video installations five years ago. This gave me the
opportunity to correct two shortcomings. The video screen is a two
dimensioned luminous surface. Thus, it lacks space and odors. Therefore, it is
very important to me to reconquer the space that was shot with the help of
the video screen. Because the television confiscates space. I wish to make
the public become numb, physically numb.
My present work focuses contemporary women who are savage and
courageous. They are more savage than the images which usually represent
them. When they have children, they feel things as if they were animaIs and
think as if they were queens. The children are naughty but the pains of love
are endless. The physical needs - to be cared for, to eat, drink ano relax the
muscles - stay suspended above, in a comer of the raof Downstairs, behind
the trees, a graup of friends amuse themselves at the border of the lake.
They bathe their feet in green water. Pearls of water gleam on the dark-blue
circles under their eyes. Orange light appears among their small, pratruding
ears. Above ali, what interests me are the unelegant bodies, the
imperfections of the bodyand, related to this, the dissolution of dimensions.
Pipilotti Rist
Pipilotti Rist
387
HANNAH VllllGER
Nasceu em Cham, Suia, em
1951. De 1971 a 1974, estudou em
Zurique e em Lucerna. Desde
1986 vive e trabalha em Paris.
Bom in Cham in 7957. From 7977 to
7974 she studied in Zurich and
Luceme. Since 7986 she lives and
works in Paris.
Exposies individuaisl
Solo exhibitions
1982 Hogart Galleries, Sydney.
1985 Galerie Lydia Megert,
Berna; Kunsthalle, Basilia.
1986 Centre Culturel Suisse,
Paris.
1987 Zabriskie, Paris/Nova Vork.
1989 Museum fr
Gegenwartskunst, Basilia;
Muse des Beaux-Arts, Calais.
1990 Zabriskie, Nova Vork.
1991 Kunsthaus Zug.
1993 Midi-Minuit, Cabinet des
Estampes, Genebra.
S/ttulo/ untit/ed, 1994
fotografia/ photography
254 x 377 em
Coleo da artista
Foto: Hannah Villiger
388
Exposies coletivasl
Group exhibitions
1980 Spektrum 80, Galerie
Rgeboge,Lucerna;Aargauer
Kunsthaus, Argvia.
1981 Aspekte der Jungen
Schweizer Kunst, Stdtische
Galerje, Regensburg.
1983 Ubersicht, Aargauer
Kunsthaus, Argvia.
1987 Auf dem Rcken des
Tigers, Shedhalle, Zurique;
Stiller Nachmittag, Aspekte der
Jungen Schweizer Kunst,
Kunsthaus, Zurique.
1989 Bilderstreit, Widerspruch,
Einheit und Fragment in der
Kunst seit 1960, Rheinhallen der
Klner Messe, Colnia.
1990 Le Choix des Femmes, Le
Consortium, FRAC, Nouvelle
Usine, Dijon; Biennale
Photographique, Centre de la
Vieille Charit, Marselha.
1992 Skulpturen-Fragmente,
Internationale Fotoarbeiten der
90er Jahre, Viena.
1993 Toyama Now 1993, The
Museum of Modern Art, Toyama,
Japo.
Obras apresentadasl
Works in the exhibition
Sete grupos (grupos XXX XXXVI) s/ttulolSeven groups
(groups XXX - XXXVI), untitled
fotografialphotography
254 x 377 cm (cadaleach).
Coleo da artista
Oito obras sI ttulolEight works,
untitled, 1993/94
fotografialphotography
125 x 123 cm
Coleo da artista
PIPllOTTI RIST
Exposies individuais!
Solo exhibitions
1989 Die Tempodrossierin saust
(com Muda Mathis), Kunsthalle
St. Gallen, Sua.
1992 Galerie Walcheturm,
Zurique.
1993 Schwester des Stroms,
Galerie Stampa, Basilia.
1994 Voghurt on Skin - Velvet on
TV, Galerie Stampa, Basilia;
Bndel, Kunstmuseum St.
Gallen, Sua.
Exposies coletivas!
Group exhibitions
1991 Centrovideoarte, Ferrara;
Galerie Walchturm, Zurique.
1992leonardi V-idea, Gnova;
Kunsthalle Pallazzo, liestal;
Kunsthalle, Basilia; Shedhalle,
Zurique.
1993 Shedhalle, Zurique;
Kunsthaus Glarus, Glarus;
Galerie Akinci, Amsterdam;
Temporare Kunsthalle, Munique;
Centre d'Art Contemporain,
Martigny; Biennale di Venezia,
Veneza; Museum fr
Gegenwartskunst, Olso; Galleria
Vera Vita Gioia, Npoles.
1994 Galerie Akinci, Amsterdam;
Galleria Via degli Artisti, Turim;
Salzburger Kunstverein,
Salzburgo.
Organsmus, 1994
vdeo e instalao de vdeo/vdeo and vdeo nsta/laton
Coleo da artista
Foto: Pipilotti Rist
Obra apresentada!
Work in the exhibition
Organismus, 1994
vdeo e instalao de
vdeo!video and vide o installation
Coleo da artista.
389
TURQUIA TURKEY
- CU~ADO~ CU~AJO~ VA))lr KO~IUN
The pages of the Dutch thinker rustle in hands white as parchment: "Insects
dwelling in a beggar's hair were accustomed to call their residence a gigantic
globe and themselves the masterpiece of creation. But once one of them - a
sort of Fontenelle of the species - said to ali free thinkers of his district,
pointing at the head of a certain nobleman: "We are not unique in nature!
The whole of nature seems to be inhabited by lice too. " A faint smile of
delight appeared on Kant's face, and he marked the margin of the book with
his sharp, pale fingernail. "Mostpeople miss the purpose of lite, " he noted
down. "To digest. .. to multiply. Animais attain the same result at far less a
price." What is the possible use of the crooked, tangled trunk of a tree? And
after a moment he added, "Aus so krummen Holz, ais voraus der Mensch
gemacht ist, kann nichts gerades gezimmert werden" (From such a crooked
stick as man, nothing exactly straight can be formed).
390
The evening fog dritts across the windowpanes, seeps into the crevices, and
grows thick in the folds of the curta in. The shadows wander aimlessly along
the walls, disperse for a moment, intersect, and grow dark. The shadows
absorb the gold of the frame, the green of the curtain, and the cherry sheen
of the desk. The shadows dritt along the shiny parquet floor, glide over the
sheets of paper, reach the hand, edge its dry fingers with a dark contour,
outline the eye sockets, lie on the sunken cheeks, and circle in black the line
of the lips.
At ten o'clock Kant enters the cold bedroom, whose windows are eternally
covered by curtains. He undresses "according to the method, " and "according
to the method" carefully wraps himself up in a brown quilt like a silkworm in
its cocoon. He will fali asleep in no time. And then an enormous moth will fly
out of the cocoon and encircle his head in unsteady fligh t.
Nextmorning Kant will write down in his notebook: "Avoid bad dreams."
From Portrait of Kant, by Boleslaw Micinski.
HAlE TENGER
391
392
Obra apresentada!
Work in the exhibtion
Portrat of Kant, 1994
instalao! instal/ation
270 x 1050 x 600 cm
Coleo do artista
Partrait af Kant, 1994
393
UCRANIA UKRAINE
CU~ADO~ CU~ArO~ MA~IA ~UZMA
~O~O~ CtNlt~ rO~ CONltMrO~A~Y A~I~ .~YtV
394
Igor Kopystiansky, Ihor Podolchak and Oleh Tistollived and studied at various
times in the city of Lvov, located in western Ukraine, and faced the chal/enge
of working as unofficial artists in the context of the Soviet system.
Igor Kopystiansky and his wife Svetlana Kopystiansky exhibited as unofficial
artists in Moscow throughout the 1980s. It was out of this Soviet society and
its official political structure that Kopystiansky developed his initial
propensity for the fldestruction of artwork.
fi
According to the artist, it was during these times that the status of
flunofficial" artist insured that the work produced by such an artist would not
survive one s death. As the artwork did not possess a foreseeable position
within the future, Kopystianskys onlyalternative was to actively destroy his
artwork. He extended that attitude into the desctruction of other artists work
and in the eventual reinvigoration of the creative process by reimplementing
that which had been destroyed.
On writing about Kopystianskys work, Dan Cameron stated flthat the scars
borne by the paintings surface become active metaphors not just for the
weight of historical validation on the paintings existence as a work of art,
but also for the criticaI process that is general/y applied to the work in order
to assess its validity within the present moment. Consequently, the viewers
desire to experience the contemporary artwork as something new and
unfettered by historical forces is antecipated and then undermined by
Kopystianskys three-part process of replication, decay and revitalization.
fi
The Kopystianskys found conceptual roots for their work in the traditions of
the Soviet avant-garde, primarily in the utopianism of Tatlin and the
functionalism of fi Lissitzky. The juxtaposition of the utopian postion of art
and ts role as an accelerator to progress and the more utilitarian view of its
function as an object paraI/eis the relationship between politics and culture,
a central issue explored by Kopystiansky in his work.
The central concem of the artist is not the destruction of work, but rather a
prolonging and reinvigoration of the creative act. In his Construction, 1990,
the artist wraps columns, and covers wal/s with segments of copied paintings
to create an artificial archtectural space not functional in ts entirety as such,
although the elements making up the space have served their function in the
realization of the work.
Oleh Tistol's Project for Ukrainian money ventures into the integration of the
stereotypes in the pop tradition. The artist's concem is the merging of the
activity of painting with the broader conceptual properties of the project.
Referring to his work as Barroque conceptualism, the artist draws stylistical/y
to that period marked as Ukrainian Baroque, realizing his work on a grid of
rectangular paper segments. The fragmentation of the work is visual/y
inferred onlyby the placement of sixty-eight pieces of identical/y measured
glass upon the surface of the work.
The Project refers to the concept of creating a prototype image for
"Ukrainian" paper currency, a type of a "monopoly" or pseudo money existing
within the context of hyperinfia tion in the midst of poltica I and social
reorganization. The images placed on the artist's unit of currency are
imaginary products of national culture supported only by stereotype and the
events depicted bear no political meaning or historical significance. The work,
enttled September 17 th may relate to the unification of westem and eastem
Ukraine as equal/yas it does to the date of introduction of the artist to his
col/eague Mykola Matsenko, an artist with whom he often col/aborates.
The conceptual nature of the work is further accen tua ted by the general
properties related to the validation of paper currency in terms of its
exchange value. Such validation is based on a broader system of sociopolitical and economic factors wich are not depicted on such a unit of
currency. Visualization of images depicted on such banknotes is further
complicated due to the coveted nature of currency - hidden and guarded in
locations such as pockets, wal/ets and vaults. Its historical context also
remains unclear as the recipient is provided with no information as to wether
that bil/ has been eamed, stolen, won, and in what context it was utilized
previous to that point.
Given the broarder context relating to the validation of the banknote beyond
its existence as a material object in the real world, the artist is not concemed
wth clear identification of the image depicted in his work, and in fact
intentional/y complicates this identification. In covering the expansive work
wth glass, which at times is presented as a whole, and at others in
segments independent of one another, the artist creates a work which is
difficult to view given the amount of glare produced on a given day, and
impossible to photograph for purposes of documenta tion. In essence, the
viewer's abilty to view the image also fluctuates.
395
396
Construction, 1990
leo s/tela/oil on canvas
339 x 650 x 235 em
Foto: Igor Kopystiansky
397
Solo exhibitions
1989 Kunsthalle Innsbruck,
Innsbruck, ustria.
1991 In the lradition,
Berlinische Galerie, Museum fr
Moderne Kunst, Berlim.
1994 lhe Museum, Kunsthalle,
Dsseldorf, Alemanha.
Exposies coletivas/
Group exhibitions
198842 Biennale di Venezia,
398
Aperto, Veneza.
1989 Die Kunst der letzten 10
Jahre, Museum Moderner Kunst,
Viena; What Is Contemporary
Art?, Rooseum, Malm, Sucia;
Novostroika: Culture in the
Soviet Union loday, ICA Gallery,
Londres; From the Revolution to
Perestroika (mostra
itinerante/travelling exhibition),
Museu de Arte de Lucerna;
Scene Moscow, Museum
Hedendaagse Kunst, Utrecht,
Holanda; Momentafnahme:
Voung Art in Moscow, Altes
Staadtmuseum, Mnster.
1990 Adaptation and Negation of
Socialist Realism, lhe Aldrich
itinerante/travelling exhibitionf,
Anni Novanta, Galleria
Communale d'Arte Moderna,
Provisoire, Muse de
la Poste, Paris.
1994 Cocido y Crudo, Museo
National Centro de Arte Reina
Sofa, Madri; Memento, Galeria
Nacional, Praga; Portrait and
Selfportrait, lrevi Flash Art
Museum.
Obra apresentada/
IHOR PODOlCHAK
Nasceu em Lvov, Ucrnia, em
1962. Em 1984, graduou-se com
distino no Instituto de Artes
Apl ic(Jdas e Decorativas de
Lvov. E pintor e gravador.
Bom in LVOll, Ukraine, in 1962. In
1984, he graduated with distinction
fram Lvov State Institute of Applied
and Decorative Arts. He is painter
and printmaker.
Exposies individuais!
Solo exhibitions
1988 Galeria Balucka, Lodz,
Polnia; Stadthaus, GrossGerau, Alemanha.
1989 Galeria 72, Poznan,
Polnia; Galeria Nova, Lodz,
Polnia.
1990 Taller Galleria Fort,
Cadaqus, Espanha; Galerie
Dmochowski, Paris; City of
London Polytechnic, Londres.
1991 Galeria de Arte Moderna,
Moscou; Centro Ucraniano
Independente de Arte
Contempornea, Lvov, Ucrnia;
Mostra Especial - 5 Gravuras,
Museu de Arte Moderna, Haifa,
Israel; Art Association of
Harrisburg, Harrisburg, PA, EUA;
Plimsol Gallery, Hobart,
Austrlia.
1992 Criterion Fine Art Gallery,
Braidwood, Austrlia; Galeria
Ga-In, Seul, Coria; Museu de
Gravura, Zerad, Israel.
1993 Gutenberg Museum, Mainz,
Alemanha; Museu do Artista
(livro de artista!artists book),
Lodz, Polnia; Galeria da
Universidade, Bayreuth,
Alemanha.
Exposies coletivas!
Graup exhibitions
1985 Pequenas Formas Grficas,
Lodz, Polnia.
19861 51 Annuallnternational
Exhibition of Miniature Art,
Toronto, Canad.
1987 Small Graphic Forms, Lodz,
Polnia; 12 Mostra
Internacional Independente de
Gravura, Kanagawa, Japo;
Rock-Rollage, Galeria Arbaur,
Moscou.
19881 5t Biennial of Small
Painting; 12 Bienal
Internacional de Gravura,
Cracvia, Polnia; Intergrafia,
Katowice, Polnia; 8
Internacional de Minigravuras,
Cadaqus, Espanha; 5th
International Miniature Print
Exhibition, Seul; 64th Annual
International Exhibitions of
Prints and Photos, Filadlfia,
EUA.
1989 Small Graphic Forms, Lodz,
Polnia; International Miniature
Print Biennial, Nova Vork;
Juried Show, Summit, NJ, EUA;
L'Europe des Graveurs,
Grenoble, Frana; Two Flags
Festival of the Arts, Douglass,
EUA; 3 Bienal de Gravura,
Wakayama, Japo; 18 Bienal
Internacional de Artes Grficas,
Liubliana, Eslovnia; 151 British
International Miniature Print
Exhibition, Bristol,
Gr-Bretanha; 9 Trienal
Internacional de Gravura da
Noruega, Fredrikstad, Noruega;
Kontraste im Polen, Kronberg,
Alemanha; Exhibition of
Ukrainian Independent Artists,
Nova Vork; Entirely Intaglio,
Royal Festival Hall, Londres.
1990 1 Exposio Internacional
de Gravura de Kochi, Japo;
131 5t Annual Open Exhibition,
Manchester, Inglaterra; Mostra
Internacional de Gravura Interprint, Lvov, Ucrnia; Premio
Internazionale per l'lncisione,
Biella, Itlia; Juried Show,
Summit, NJ, EUA; Intergrafik,
Berlim; International Artists'
Meeting Plus, Lvov, Ucrnia;
Bienal Internacional de Retratos
- Desenhos e Artes Grficas,
Tuzlin, Iugoslvia;
399
OlEH TISTOl
Nasceu em Wradiivka, sul da
Ucrnia, em 1960. Em 1984
graduou-se pelo Instituto de
Artes Aplicadas e Decorativas
de Lvov. Vive e trabalha em Kev,
Ucrnia.
Bom in Wradiivka, South Ukraine, in
1980. In 1984 he graduated from
Lvov State Institute of Applied and
Decorative Arts. He lives and works
in Kiev, Ukraine.
Exposies/
Exhibitions
1990 Linha Horizontal, Beljaevo,
Moscou; Arte de uma Casa
Vazia, Galeria Nacional,
Bratislava, Eslovquia; In the
USSR and Beyond, Stedelijk
Museum, Amsterdam.
1991 Wanderlieder, Stedelijk
Museum, Amsterdam; Stijl,
Galeria dos Artistas Unidos,
Kev; End of Century Art, World
Economic Forum, Davos, Sua;
Shared Earth: A Contemporary
Exhibition of Anglo-Soviet
Landscapes, Peterborough
Museum and Art Gallery,
Peterborough, Gr-Bretanha.
1992 Ausstellung im Kligenstal,
Basilia, Sua; Kosiy Kopinir,
Kev; Nine Days, Ausstellung im
St. Alban Tal, Basilia, Sua.
1993 Estepes da Europa, Centro
de Arte Contempornea,
Varsvia; Academia Kev
Mohyla (instalao/
installation), Kev.
1994 Setembro 17, Centro de
Arte Contempornea Brama,
Kev; Zona Livre, Museu de
Belas-Artes, Odessa, Ucrnia.
Obra apresentada/
Work in the exhibtion
September 17 Ih, 1994
pastel e leo s/papel!pastel and
oil on paper
400 x 1800 cm
400
URUGUAI URUGUAY
I
The National Comission of Fine and Visual Arts endorses once more its
vehement adhesion to the 22 Bienal Internacional de So Paulo, in which
Uruguay has always participated ,
We are presenting three brilliant and sensitive artists af Uruguay's
contemporarity, who confirm the maturity of their searches and
accomplishments, the behavior and pro file of a nation which - according to
its connections to international trends - has always offered its active
personality and cultural contribution.
The artists chosen to participa te in this event are Washington Barcala, a
pioneer and a master who has recently passed away after a long and
successful stay in Spain,' Agueda Dicancro, one of the most important .artists
who were revealed by the last Biennale di Venezia, and ele ver Lara, a young
and qualified painter who is in the plenitude of his consistence.
We hope that the works of our artists wil/ honour our participation in the ..
optional complex scope proposed by the always new and boundless context
of So Paulo's Biennial.
Jorge Paez Vil/ar
W. Barcala
401
AGUEDA DICANCRO
Nasceu em Montevidu,
Uruguai. Estudou no Instituto
Pedro Figari de Ensino Tcnico
e recebeu o diploma de artes
plsticas com especializao
em cermica. Estudou escultura
com os professores Ramos Paz e
Eduardo Vepes. Foi bolsista da
OEA na Escuela Nacional de
Artes Plsticas da Universidad
Autnoma de Mxico e na
Escuela de Diseio de Mxico.
Foi professora de arte no
Uruguai, no ateli experimental
Fray Servando, Mxico, e no
Museo Nacional de
Antropologa e Historia de
Mxico.
Bom in Montevideo, Uruguay She
studied at the Technician Institute
Pedro Figan~ where she graduated
in Fine Arts and specialized in
ceramics. She studied sculpture
under Ramos Paz and Eduardo
Yepes. She won the DAS
scholarship to the Escuela Nacional
de Artes Plsticas at the
Universidad Autnoma de Mxico
and to the Escuela de Disefio de
Mxico. As a teacher, she .worked
in Uruguay, in Mexico at the Fray
Servando experimental studio and
at the Museso Nacional de
Antropologa e Historia de Mxico.
Exposies individuais/
Solo exhibitions
1965 Escuela Nacional de Artes
Plsticas, Cidade do Mxico.
1968 Instituto Nacional de
Cultura, Cidade do Mxico.
1969 Sol dei Ro Gallery, San
Antonio, Texas.
1970 Museo de Arte
Contemporneo, Punta dei Este,
Uruguai.
1982 Galera KarlemGugelmeier, Montevidu.
1983 Museo de Arte
Contemporneo, Montevidu.
198518 Bienal de So Paulo.
1986 Alianza Uruguay-Estados
Unidos (instalao/insta//ation),
Montevidu.
1987 Galera Galcanto, Punta
dei Este, Uruguai.
1989 Saln Municipal en el
Subte (instalao/insta//ation),
Montevidu.
1990 Centro de Arte y
Comunicacin (instalao/
insta//ation), Buenos Aires.
1991 Galera Sur (exposio
permanente/permanent
Exposies coletivas/
Group exhibitions
1961 26 Salo Nacional de
Artfices, Florena, Itlia.
1967 A Arte Uruguaia,
Minneapolis, EUA/Berlim.
1972-77 Madri, So Paulo,
Caracas, Buenos Aires, Itlia.
1976 Alianza Francesa,
Montevidu.
1978 Chteau de Mauriac,
Sandonillac, Frana.
1979-81 Barcelona, Buenos
Aires, Montevidu.
1985 Museo Nacional de Bellas
Artes, Montevidu.
1986 Museo Pedaggico,
Montevidu; Galera Bruzzone,
Montevidu.
1987 Galera Kramer, Buenos
Aires; Palacio Municipal y
Biblioteca Nacional,
Montevidu.
1990 Galera Pario Bulltrich,
Buenos Aires; Arte do Terceiro
Mundo, Palermo, Itlia.
1991 Saln Municipal de
Montevideo, Montevidu . .
1993 Galerie Clara Scremini,
Paris.
Prmios/Prizes
19651 prmio/1 st prize, Fundao
Fort, Mxico; 22 Exposio
Internacional de Cermica,
Faenza, Itlia.
1966 prmio aquisio/purchase
award, 4 Saln Municipal de
Artes Plsticas, Montevidu.
1972 medalha de ouro/gold
medal, Exposio Afa Romeo,
Roma.
19781 prmio/ 1st prize, Concurso
Internacional Puerta dei Sol,
Punta dei Este, Uruguai
1985 prmio aquisio/purchase
award, 33 Saln Municipal de
Artes Plsticas, Montevidu.
Obra apresentada/
Work in the exhibition
Visiones IV, 1994
. vidro, madeira/glass, wood
1800 x 1500 x 400 cm
ClEVER lARA
403
WASHINGTON BARCAlA
Nasceu em Montevidu,
Uruguai, em 1920, e mais tarde
naturalizou-se espanhol. Estudou
no Crculo de Bellas Artes de
Montevidu. Em 1950 foi para a
Europa, onde realizou estudos na
Academa de San Fernando em
Madri. Mudou-se em 1974 para a
Europa e residiu em Madri e
Paris. Faleceu no Uruguai a 8 de
dezembro de 1993.
Bom in Montevideo, Uruguay in
1920, he became later a spanish
citizen. He studied at the Crculo de
Bellas Artes of Montevideo. In 1950
he went to Europe and attended
courses at the Academa de San
Francisco in Madrid. He moved to
Europe in 1974 and lived in Madrid
and Paris. Back to Uruguay, he died
on 8th December 1993.
Exposies individuais/
Solo exhibitions
1974 Galera Caviglia,
Montevidu .
. "
Historia - c.A.N. 2, 1989
tcnica mista/mixed media 21 x 38 cm
Coleo Mara Elena 'Campo de 8arcala
Foto: Testoni Studios
405
VENEZUElA VENEZUElA
CU~ADO~ CU~AO~ ~O~[~IO GU[VA~A
EWAIPANOMA
A IMAGEM DO OUTRO
DOS CONQUISTADORES AOS GARIMPEIROS
Thus begins the long and unfinished construction process of the Other of man
and of Americans.
With her instal/ation in So Paulo, Ana Mara Mazzei faces us with a smal/
army of these mythical beings to whom De Bry referred to, and who Walter
Raleigh placed in Venezuela and who constitute, so to say, a sort of paradigm
of the Other of America's representation: the Ewaipanoma, ar the man with
no head, whose traces are found on his chest (from which we have another
Spanish word: esternocfalo). Ewaipanoma is a paroxism of a reiterated
necessity of rejection, a being without the center of human thought, the head,
and defined as Other, who bears no similarity to the European invader.
Mazzei's work takes advantage of Ewaipanoma's iconic force to situate them
as tridimensional physical beings, in a romboid space inside which the visitar
can and must enter, touch them, face them in their massive representation
proposing to mark the existence of an odd drama which goes beyond five
centuries of misunderstandings, without solving them.
Roberto Guevara
407
408
individual!solo exhibition),
Museo de Arte Contemporneo,
Caracas.
Obra apresentada!
409
Daney used to say, before departing: the film directors complain ali the time;
and this did not happen before. It is true that I saw a vide o about Truffaut n
Venice and Truffaut, at the time, was that laughng person. Today, however,
even Godard complans. And t s ali due to the crss, n the film ndustry as
well as everywhere else.
A vida muito difcil, ento no vejo por que fazer um filme nos
permitiria escapar dessa agitao e dessa dificuldade cotidiana. Eu,
por exemplo, tenho um produtor fantstico, e ele me dizia aps cada
sesso de filmagem: "Como triste!" Eu dizia: "Mas vai melhorar".
S que no foi possvel. Mesmo se estou amando uma mulher, com a
guerra na TV, a aids logo ali, eu no posso. E Deus sabe que adoro
meu produtor, e se saa triste no era para fazer-lhe mal, mas no
podia.
Life s very diffcult but I do not see how the act of flmng could make us
evade ths turmoil and ths daly struggle. I, for nstance, have a fantastc
producer, and he used to say to me after every shooting session: "How sad!"
And I would say: "It s going to get better." But I couldn't. Even if Ilove a
woman, with war broadcast by television and ads nearby, I couldn't. And
God knows how Ilove my producer, and if I went away feelng sad it was to
avod hurtng him, but I couldn't.
Philppe Garrel
Philippe Garrel
Com Lang e a esquerda, talvez existisse um risco, no o de que voc
e outros se tornassem artistas oficiais, como foi o caso no cinema
americano e russo, mas de que vocs fossem reconhecidos como
artistas quase aceitveis... E uma situao que permite viver mais
facilmente, mas que no se harmoniza com o trabalho. Como
conciliar uma posio confortvel com um trabalho de pesquisa que
s vezes mais parece um estado febril? Ao mesmo tempo, esse
paradoxo resolvido nos seus filmes, que podem ser vistos como
documentrios sobre estados de conscincia, sem os quais esses
filmes no existiriam.
Eu, que sou bastante razovel e que prefiro o equilbrio
notoriedade, sempre percebi que havia uma iluso na histria da
arte; que os valores mudam constantemente, porque as coists
precisam de tempo para se destacar. Estabeleceu-se um problema
entre o dinheiro e a arte, transformada em valor oficial e
reconhecido: a arte no mostra de imediato seu justo valor. Certas
formas de arte no tm ~ucesso; o que no impede que sejam
fantasticamente fortes. E por isso que a situao piorou: porque as
pessoas que se interessavam pela arte e que a faziam no aceitaram
oncesses, guardando a lgica para elas mesmas.
E muito difcil aproximar-se do pblico. Isto cria um curto-circuito.
Quando esse ato se torna voluntrio, provoca na arte algo como uma
doena nervosa. Hoje, com a direita de novo no poder, o perigo volta
a ser d'e ordem econmica. Os responsveis pela cultura atualmente
no so pessoas muito cultas. A direita nunca fez mais do que
sublinhar o que j estava escrito em grandes letras, ela est sempre
atrasada.
Voc quer dizer que vai se ver numa posio complicada?
Nos dois casos o problema complicado: marginalizar-se de novo
significa viver com problemas materiais; mas ser um artista para o
grande pblico, como Wenders, deve ser muito difcil
psicologicamente. Saber que a gente tem uma certa cotao na
bolsa deve criar uma culpa, um mal-estar.
Voltemos questo: o cinema no passa de um suplemento da alma
ou uma parte maldita?
A arte no existe seno no movimento entre criao e destruio. A
sociedade no dialtica, ela quer ser positiva o tempo todo; mas todo
mundo precisa desta alternncia para viver, na arte mais do que em
outros campos - e talvez seja por isso que a gente precise tanto dela.
Together with Lang and the Left, maybe there would have been a risk, not
that one which would make Vou and others beco me official artists as
happened to the American and Russian cinema, but that which, in a certain
way, vou could be recognised as nearly acceptable artists ... It is a situation
which allows an easier survival but which does not merge effortlessly with
the work. It is as if we were trying to adapt a more comfortable daily life to a
work of research that sometimes seems more like having a high temperature?
At the same time, this paradox is solved in your movies, that can be seen as
perfectly controlled documentaries about leveis of consciousness without
which these films would not exist.
I, who am a reasonably balanced person who prefers balance rather than
notoriety, always realzed that there was a kind of mrage n the history of art
whch values change regular/y, beca use things need time in order to stand
out. A problem between money and art whch was translated nto an offcal
currency and recognton was created. Art does not unvel ts own value
mmedately. Some artstic languages are never successful, and ths fact does
not deny ther ncredble strength. That is the reason why the stuation
became much worse: beca use people who were nterested n art and who
produced t did not accept compromses, keeping the logc to themselves.
It s very diffcult to get close to the audience. This creates a short-circuit.
When this atttude becomes delberate, it causes somethng lke a nervous
dsease in art. Today, with the Right wing n power agan, the economc
problem reemerges; the people who are responsble for the cultural polcy are
not very cultvated. The rght wngers have never gone beyond stressng that
whch was already written n huge letters. Theyare always late.
Do Vou mean that we are going to have a situation still more complicated
than before?
In both situations thngs would be complcated: to become an outcast agan
would mean to face survval problems whch are diffcult to overcome; on the
other hand, to become an artist wth a mass audence, as Wenders, for
example, must be very diffcult psychologcally,' to know that you have a
market value can cause a guilty, uneasy feeling.
We should resume the old question: are movies a supplement of the soul or
are they the damned side of it?
Art does not exist outside the relationshp between creaton and destructon.
Socety is not dialectic; it wants to be always positve, but everybody needs
ths alternating movement in order to live, in art as well as in other areas;
that is, maybe, the reason why we need it so much.
411
The problem is that few people do many films. When a-movie director
produces much -as Kaurismaki, Almodovar or even vou , if we compare your
production to the average one of French directors - we see a work being
woven, even if it is balanced. This is fundamental. For economic reasons or
due to the importance of the director's na me - and Leos Carax is an example people stay within the boundaries of the marginal phenomena and thus they
produce less films. What I specially like in your last three films, and even in
those Vou shot after L'enfant secret, is that Vou can put them ali together,
discuss them, like one better than the other one.
Not one of them would please many people, even the last ones. When a
director tells his producer that, in twenty years time his film wil/ be understood,
the producer does not pay attention. He wants the film to be efficient
immediately, in the two years that follow its releasing. People have been
telling me that I should not do films like La naissance de I'amour anymore. That
means that things have a short life span. Films of the past are forgotten, except
by the followers, and the techniques of the silent movies seem to have become
obsolete. People say that we are very slow and outdated - but if we would
show Potemkin in 8 mm the audience would be surprised.
I went to see Un chant d' amour by Genet and was surprised by the small
number of spectators in the theater. It is a fact that people believe that this
film is a masterpiece as ths assessment appears in the dictionary; people
admit it when they see a photo of the film in the newspaper, but that is the
limit. It is as if there was a music that was never heard by anyone, and that
would be reproduced only by means of its title and the cover of the record.
Maybe we have changed subject. What vou describe seems related to the
80's more than today. Today we would have a slightly more optimistic version
than yours. Vou, for instance, have never had as many spectators than today...
For a long time I thought that if I did not shoot films it would make no
difference for the others; I thought that, no matter what, my films would not
serve any significant purpose. But, to go back to the crisis, there is a fact
which greatly impresses me: that our awareness of the economic cisis
changes according to the season of the year we are ato Some times we are
unable to see anything beyond it and everything seems to stop around it; at
other moments we have the impression that nothing has changed, that the
world is still the same, only with more people unemployed. When the truth is
that the 3 million unemployed are a problem which does not have any
solution. Capitalism does not function adequately and does not have a
philosophy that goes with it; it is only an empirical economic system that is
going to produce 3D million unemployed people. In the sphere of wealth and
bourgeoisie ... it is against ali this that we wish to set up a barrier, placing
certa in problems aside. But how can artists meet this situation, to behave as
if a crisis did not exist, and speak freely about everything they want to,
absolutelyeverything, without letting on that a crisis exists - a crisis from
which ali intimate, philosophic and political problems stem from? How can a
movie director accept to commit himself to those who accept their roles of
entertaining the others, making believe that everything is well during one
and half,hour? It is absurd to choose this path and think that we can have
hope. We would be doing nothing but evoking artificial glorifications and
creating anguish.
With Godard -I refer to him beca use he always departs from anguish,
beca use he always refers to the crisis, from the moment he starts shooting
until the last scene - we realize that we are expecting something to happen,
something that maybe only the human spirit is able to create. Art does not
exist to ornate earth when we pass away; it exists now, to impart life.
In La naissance de I'amour life seems to be very difficult. We are always
dychotomized, always in a precarious balance as regards our survival and in
doubt about our future. For the time being, it is difficult to try to go outwards,
this would be pure fiction. We should be in a position of trying to understand.
Interview by Thierry Jousse
Fi/mography
Les enlants dsaccords
&
mm,
1965 Droit de visite
&
mm,
Anmone
mmu 1h
Kbadian, Valrie
Yvette Etivant. Aurlien
Recoing, S'Ih!i:llII'U'lHI!lI t;laimellS
1990 J'entends p/us la guitare
mm,98
Roteiro: Philippe
Adaptao: Jean-franois Goyet
Dilogos: Marc Cholodenko
La naissance de I 'amour
413
MONUMENTO EM MOVIMENTO
414
When we face the museum, the principal graup at the center points towards
downtown; fram downtown, even from long distance, we can see the group
with its impressive silhouettes, in front of the museum's transversal faade.
This perspective disperses itself when you approach it. Principal and
secondary graups are found in two leveIs, in allegorical and historical
exhibition, which open above the staircase.
The simultaneity of scenic figures composition portrays national autonomy
and unification in a supernaturalform. Dne of these figures is part of the
people's tradition independently of where it is placed here. It is included in
the group of figures at the left and represents Brazil's national hera
Tiradentes.
Dbviously, the Italian sculptor borrowed theatrical gestures for his figures of
folkloric importance. Tiradentes is placed in these scenes as in an episode
from a theater play, bearing similarity to the final scene of an opera. The
historical monument can be seen as fixed and unaltered, in a superseded
dramaturgical effect.
It is impossible to correct a scene, once the final form has been sculptured.
Dnce finished, this monument of bronze and stone is fossilized as a symbol.
Any significance is confused with the status of being a monument. Better
saying: ali meaning disappears. Dne cannot see the monument, as one does
not see one's own nose.
Arthur Engelbert
415
MARKUS RAMERSHOVEN
Nasceu em Colnia, Alemanha,
em 1960. De 1983 a 1989 estudou
na Academia de Artes de
Munique, onde se formou sob a
orientao do professor Thomas
Zacarias. Estudou tambm nas
academias de Viena e Berlim
sob a orientao dos
professores Arnulf Reiner e
Johannes Geccelli
respectivamente. De 1990 a
1993 desenvolveu uma srie de
trabalhos como artista plstico
e escultor, especializando-se
em instalaes de grande porte
e eventos de multimdia.
Recebeu bolsa de estudos da
Fundao St,einer, Munique
(1992), e da Fundao
Studienwerkes, ViIIigst (1993).
Foi diretor Artstico do Instituto
de Mdias de Berlim e
atualmente professor da
Escola Superior de Arte e
Desenho de Halle, Burg
Glebichenstein.
Bom in Cologne, Germany, in 1960.
From 1983 to 1989 studied at the
Academy of Arts of Munich where
he graduated under professor
Thomas Zacarias' tutoring. In
addition he studied in the
Academies of Viena and Ber/in
under professors Amulf Reiner and
Johannes Geccelli respectively.
From 1990 to 1993 he developed
416
MATIERE PREMIERE
417
Lyne Lapointe
Martha Fleming
418
mant/~
LVNE LAPOINTE
Projetos externosl
Site projects
1983 Projet building/caserne # 14,
projeto para um estande de tiro
abandonado nas cercanias de
Montreal!project for an abandoned
firehall in the neighbourhood of
Montreal.
1984 Le muse des sciences,
projeto para uma agncia postal
abandonada nas redondezas de
Montrealla project for an
abandoned beaux-arts post-office in
the neighbourhood of Montreal.
1987 La Donna Delinquenta,
projeto para um teatro de
vaudeville na regio de
Montreal!a project for an
abandoned vaudeville theatre in the
neighbourhood of Montreal.
1988 Chaque maison est un muse,
proposta de projeto em uma
competio fechada,
Montreallproject proposal in a
closed competition, Montreal.
1989-90 Eat me/drink mellove me,
projeto para o New York
Museum of Contemporary Art,
Nova Yorklproject for The New
York Museum of Contemporary Art.
1990 The wilds and the deep,
projeto para um terminal de
balsas desativado em
Manhattanlproject for a disused
ferry terminal in Manhattan.
1992 Duda, projeto em uma
biblioteca abandonada em
Madrilproject in an abandoned
library in Madrid; These the pearls,
projeto na igreja abandonada de
Saint Paul!project in the
abandoned church of Saint Paul,
Londres; Lgrima viva, projeto
de instalao sobre a obra
.. Allgorie de la
colonisation"linstallation project
around the work "Allgorie de la
colonisation ", de Fleming e
Lapointe, Montreal; Barra/Barre,
projeto de Lyne Lapointe e
Maria Thereza Alves para uma
fazenda de gado
419
abandonada/project by Lyne
Lapointe and Maria Thereza Alves
for an abandoned cattle ranch,
Corumb, Brazil.
1994 The spirit & the letter & the
evil eye, projeto para o Book
Museum da Bayntun's
Bookbindery como parte do
festival de Bath/ project for the
Book Museum of Bayntun 's
Bookbinderyas a part of the Bath
Festival, Inglaterra; Introduction
and index, instalao para
Printed Matter
Windows/ instal/ation for the
Printed Matter Windows, Nova
York.
Exposies/Exhibitions
1983 Cinema and Ideology,
curadora: Martha Fleming,
instalaes de Lyne Lapointe e
Rebecca Garrett, PS1/lnstitute
for Art and Urban Resources,
420
Nova York.
1984 Face Face (exposio
coletiva/group exhibition), lhe
Powerhouse Gallery, Montreal.
1988 Work from La Donna
Delinquenta, ateli Roger
Bellemare, Montreal; Jack
Shainman Gallery, Nova York.
1989 Une Histoire de
Collections, Muse d'Art
Contemporain, Montreal.
1990 leam Spirit (exposio
coletiva itinerante organizada
pela Independent Curators
Inc./travel/ing group show
organized by Independent Curators
Inc.), Nova York; lhe Collectors
Cabinet (exposio
coletiva/group exhibition), Curt
Marcus Gallery, Nova York;
Queer (exposio coletiva/group
exhibition), Wessel O'Connor
Gallery, Nova York.
1991 Outrageous Desire
(exposio coletiva/group
exhibition), Rutgers University;
Pharmacie, projeto para a
exposio coletiva
Aprentissages/project for the
group exhibition Aprentissages,
Maison de la Culture Frontenac,
Montreal; Sans titre, de Lyne
Lapointe como parte de uma
intalao/by Lyne Lapointe
instal/ed as part of an instal/ation.
1992 Queues/Rendez-Vous/Riots,
colaborao com/collaboration
with Marik Boudreau, Banff
Centre, Banff, Canad.
1993 Objets Choisis, exposio
coletiva/group exhibition, Galerie
Rochefort, Montreal; Eat
me/drink me/love me, verso
para/version for Galerie
Rochefort, Montreal.
1994 Index, projeto de livro para
a enciclopdia "De causis et
tractatibus"/book project for
Colees/ Col/ections
Le Muse d'Art Contemporain,
Montreal.
lhe National Gallery of Canada,
Ottawa.
Brown University Art Museum,
Providence, Rhode Island, EUA.
Colees particulares/Private
col/ections
EUA, Canad, Sua, Inglaterra e
Blgica.
Obra apresentada/
Work in the exhibition
Casa de Dona Yay
Rua Major Diogo, 37
Bexiga, SP
29/0utubro - 20/Novembro
Quarta a domingo - 11 :00 s
17:00 horas
PHOTODEA
Mirella Bentivoglio
421
,..""
II
. !~
Concetto Pozzatti
Da/ dizionario del/e idee recevute, 1977
colagem/cal/age 100 x 70
Foto: Concetto Pozzatti
Ida Gerosa
Foco/ai di guerra, 1992
foto produzida por computador/ C-print
Foto: Ida Gerosa
422
Relao de artistas:
1. Fernando Andolcetti (Lucca,
1930), colagem/collage
2. Richard Antohi (Milo, 1927),
pintura e colagem/painting and
cal/age
3. DinoBedino (Turim, 1928),
poesia visual/visual poetry
4. Mirella Bentivoglio
(Klagenfurt, 1922), poesia
visual/visual poetry
5. Sergio Borrini (Asola, MN,
1942), pintura/painting
6. Carlo Can (Roma, 1959), livro
de artista e design/artists book
and design
7. Emanuele Centazzo (Veneza,
1936), pintura/painting
8. Bruno Conte (Roma, 1939),
pintura e escultura/painting and
sculpture
9. Giuliana Cuneaz (Aosta, 1959),
escultura conceitual/conceptual
sculpture
10. Chiara Diamantini
(Senigallia, 1949), poesia
visual/visual poetry
11. Anna Esposito (Roma, 1935),
pintura e colagem/painting and
cal/age
12. Giancarla Frare (Benevento,
1950), pintura/painting
13. Ida Gerosa (Roma, 1938), arte
de computador/computer art
14. Giuliano Giuman (Pergia,
1944), multimdia/multimedia
15. Franco Grignani (P. Porto
Morone, PV, 1908), pintura e
-design/painting and design
16. Elisabetta Gut (Roma, 1934),
livros-objetos/object-book
17. Ketty La Rocca (La Spezia,
1939-Florena, 1976), poesia
visual/visual poetry
18. Paola levi Montalcini (Turim,
1909), pintura e
escu lturalpainting and sculpture
19. Mauro Manfredi (Parma,
1933), colagem/collage
20. Pietro Melecchi
(Castelfranco Emilia, 1902),
pinturalpainting
21 . Gisella Meti (Treviso, 1936),
escultura e
performancelsculpture and
performance
22. Bruno Munari (Badia
Polesine, 1907), multimdia e
design/multimedia and design
23. Giorgio Nelva (lanzo
Torinese, 1940), pinturalpainting
24. lamberto Pignotti (Florena,
1926), poesia visual/visual poetry
25. Concetto Pozzati (V
Vecchio, PO, 1935),
pinturalpainting
26. Giustina Prestento (Gorizia,
1926), performancelperformance
27. Oomenico Pupilli
(Grottazzolina, AP, 1943),
multimdialmultimedia
28. Guido Sartorelli (Veneza,
1936), multimdialmultimedia
29. Alba Savoi (Roma, 1929),
multimdialmulfimedia
30. Franca Sonnino (Roma, 1932),
arte txtil conceitual/conceptual
textile art
31. Anna Torelli (Npoles, 1927),
arte visual escrita/visual-writing
art
32. Anna Vancheri (Roma, 1929),
pinturalpainting
33. luigi Veronesi (Milo, 1908),
pinturalpainting
Manfredi Mauro
Tien An Men Sq., 1989
relevo-eolagem/relief-eollage 60 x 60 em
Coleo do artista
Foto: Manfredi Mauro
423
SOPHIE BOURSAT
424
Under the generic title Isis pharmacinne, in 1992 Sophie Boursat exhibited
for the first time a set of works in Alexandria, Egypt during her stay there.
It consists of sculptures, gouaches, photographs in black and white, and
polaroids which are a poetic meditation on a possible representation Df the
language/word, from a famous verse by Holderlin - "words like flowers" commented by Heidegger.
Closely related to Isis' statues, Aphrodite enasyromene (Afrodite lifting her
robe), the strong and nude image of this part of the body rarely revealed with
such evidence and simplicity arises, as described by Doris von Drathen, as "a
powerful object which emerges from the night to express its uniqueness. "
Catherine David
425
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433
CAPTULO I
Das Manifestaes
ART. 1 - A 22 Bienal Internacional de
So Paulo (doravante designada 22
BISP) ter como meta descrever a
mutao da arte contempornea. J!t .
partir sobretudo dos anos 60, o propno
suporte da obra de arte sofreu uma
expanso. A tela e a escultu.ra !o.ram
envolvidas por eventos multlmldla. Os
movimentos subseqentes questionam
os territrios predeterminados. A
interveno no prprio corpo, na
paisagem, na concepo d~o q~e arte
assinala uma nova abrangencla do
fenmeno artstico, que repercute nos
prprios suportes tradicionais. A
distino entre moderno e
contemporneo atesta um novo estado
de coisas, sobre o qual a prxima
Bienal ter por vocao refletir.
ART. 2 - A 22 BISP ser realizada no
perodo de 12 de outubro a 11 de
dezembro de 1994, no Pavilho Ciccillo
Matarazzo, Parque Ibirapuera, Porto 3,
So Paulo, SP, Brasil, bem como em
diversos locais da cidade de So
Paulo, cedidos por outras entidades e
que, a critrio da Funda~o Bienal de
So Paulo (doravante designada
BIENAL) estejam aptos para tal.
ART. 3 - A BIENAL poder realizar
gestes junto aos curadores das
delegaes estrangeiras que
participarem da 22 BISP, quanto ao
envio especfico de artistas,
movimentos ou salas especiais que
representaro o pas em questo.
ART. 4 - A BIENAL poder,
eventualmente, patrocinar encontros
entre artistas brasileiros e estrangeiros
para realizao e apresentao de
projetos em comum.
ART. 5 - A 22 BISP organizar e
dispor as participaes segundo lhe
parecer mais adequado ao critrio
esttico proposto.
CAPTULO 11
Da Participao Estrangeira
ART. 6 - Para a realizao da 22 BISP
sero feitos convites aos pases que
mantenham relaes diplomticas ou
acordos culturais com o Brasil, atravs
da entrega, s respectivas misses
diplomticas, do regulamento, ficha de
participao e etiquetas de
identificao de obras.
ART. 7 - As delegaes estrangeiras
devero nomear um curador, que ser o
elemento de ligao e comunicao
entre a BIENAL e o Departamento
Cultural do Ministrio de Relaes
Exteriores do respectivo pas.
Excepcionalmente a BIENAL poder
solicitar a um membro correspondente
internacional que selecione artistas.
Neste caso, uma instituio cultural
dever se responsabilizar
financeiramente pelo envio das obras.
Pargrafo 1 - Os membros
correspondentes internacionais fazem
parte do Conselho Consultivo ligado ao
curador da BIENAL.
ART. 8 - Ao curador caber:
a) fornecer BIENAL os dados
completos concernentes ficha de
participao de cada artista indicado,
at o dia 31 de Maro de 1994. A no
observncia deste prazo implicar a
no participao do artista;
b) informar a BIENAL sobre a
necessidade de instalaes,
desembalagens e reembalagens
especiais d~s obras, ~ntes"d,~ exp.irado
o prazo previsto na almea f abaixo;
c) esclarecer expressamente a
possibilidade e a forma de
comercializao das obras inscritas,
mediante remessa da ficha de
participao fornecida pela BIENAL,
que dever ser devolvida no prazo
previsto na alnea "a". acima, .
devidamente preenchida e assmada;
d) verificar se as obras a serem
remetidas trazem as etiquetas de
identificao devidamente
preenchidas;
e) tomar todas as providncias quanto
ao transporte no pas de origem e
seguros em geral, bem como remeter
as obras at o dia 30 de agosto de 1994
sede da BIENAL (acompanhadas de
fotocpias das respectivas aplices de
seguros);
f) remeter fotos dos trabalhos e uma
apresentao crtica do conjunto das
obras, bem como os dados biogrficos
e bibliogrficos fundamentais dos
artistas. A apresentao crtica dever
ter no mximo 3 (trs) laudas de 20
(vinte) linhas e 70 (setenta) toques.
Pargrafo 1 - Em se tratando de fitas
de vdeo ou slides, seu envio dever
ser feito atravs de correspondentes de
empresas de courier no Brasil.
ART. 9 - A participao dos artistas
escolhidos pelos curadores
estrangeiros deve se pautar pelo
disposto no Artigo 1. A BIENAL su.gere
a incluso, entre outros, de um artista
que desde os anos 60 venha renovando
suas formas de expresso. Tal
procedimento pode orientar o pblico e
produzir condies ideais para a
fruio da arte contempornea.
ART. 10 - A BIENAL sugere que o
curador de cada pas convidado envie
no mximo 3 (trs) artistas, salvo em
projetos especiais realizados em
comum com a 22 BISP.
ART 11 - O curador dos pases
participantes dever indicar um
representante, residente no Brasil, para
ser o responsvel nico junto BIENAL
por todas as obras do pas
representado encaminhadas 22 BISP,
competindo-lhe, entre outras tarefas:
a) providenciar transporte e seguro das
obras do local de desembarque no
Brasil at a sede da BIENAL, onde
estar instalado um Depsito
Alfandegrio para efetuar o
desembarao aduaneiro, sua vistoria
na presena de um representante da
BIENAL e, se necessrio, assinar a ata
de ocorrncia;
b) estar presente na data e local de
desembarque das obras para
acompanhar sua conferncia e
eventuais procedimentos junto ao porto
alfandegrio local;
c) providenciar a verificao do estado
435
CAPITULO 111
Da Participao Brasileira
ART. 17 - A participao nacional ser
constituda por artistas brasileiros ou
residentes no pas.
ART. 18 - Caber ao curador da BIENAL
a indicao dos artistas que comporo
a participao brasileira.
ART. 19 - Compete ao artista
participante:
a) entregar BIENAL, at dia 31 de
maro de 1994, a ficha de participao
devidamente preenchida,
acompanhada de um resumo biogrfico
e bibliogrfico individual, fotos, bem
como a apresentao do conjunto da
obra ou descrio e projeto da
instalao. Este material servir para
confeco do catlogo geral e
divulgao pelos rgos competentes.
O atraso de seu envio implicar a no
participao do artista no catlogo. O
atraso na remessa da ficha de
participao excluir o artista da 22
BISP;
b) remeter as obras at o dia 30 de
agosto de 1994, para o endereo
constante no Artigo 13 acima;
c) estar presente ou autorizar por
escrito um procurador junto BIENAL
para, na data e local previamente
designados, acompanhar a
desembalagem das obras, bem como as
providncias correspondentes
reembalagem, por ocasio da
devoluo, e assinar a ata da
ocorrncia;
d) providenciar a identificao
adequada das obras a serem expostas
usando as etiquetas destinadas a esse
fim;
e) enviar os resumos biogrficos e
bibliogrficos individuais com no
mximo 3 (trs) laudas de 20 (vinte)
linhas e 70 (setenta) toques;
f) informar a BIENAL sobre a
necessidade de instalao,
desembalagens e reembalagens
especiais das obras antes de expirado
o prazo previsto na alnea "a" deste
artigo;
g) providenciar seguro das obras desde
seu local de origem, permanncia na
mostra e retorno ao seu local de origem
(remeter BIENAL xerox da aplice de
seguro);
I - DA COMPETNCIA
CAPITULO IV
Das Vendas
436
11 - OBRAS ESTRANGEIRAS
CHAPTER I
On The Manifestations
ART 1 - The objective of the 22 Bienal
Internacional de So Paulo (22nd
Intematonal Biennial of So Paulo) henceforth referred to as the ''22nd BISP" is to describe the transformation undergone
by contemporary art. Especially after the
1960's, the support of the work of art
underwent a significant expansion. Canvas
and sculpture were replaced by multimedia
events. Subsequent artistic movements
began to question pre determined
~erritories. Interventions in the human body,
In the landscape, in the concept of what art
effectively is, now determine the new range
of the artistic phenomenon and its
repercussions on traditional supports. The
distinction between modem and
contemporary art mirrors a new "status
CHAPTER /I
On Foreign Participation
ART 6 - In arder to hold the 22nd BISP,
invitations will be sent to those countries
maintaining diplomatic relations ar cultural
agreements with Brazi/. The diplomatic
mission of each country will receive the
Regulations, a Participation Form and
Identification Labels.
ART 7 - The foreign delegations will elect a
Curator who will be the link and means of
communication between the BIENAL and
the Cultural Department of the Ministry of
Foreign Affairs of their own countries.
Exceptionally, the BIENAL can ask afT
Intemational Corresponding Member to
select artists. In this case, a Cultural
Institution will support financially the
remittance of the artworks.
Sole Paragraph - The Intemational
Corresponding Members are part of an
Advising Consultory Board associated to the
BIENAL Curator.
ART 8 - The Curator will:
a) provide the BIENAL with complete data in
the Participation Form relative to each artist
chosen, by March 31, 1994. Non-compliance
with this term iNill imply the nonparticipation of the artist;
b) report to the BIENAL any requirements
for facilities, within the building's
limitations, for the installation of artworks
unpacking and repacking of the artworks '
before the term covered in item 'T below
expires;
c) fully c!arify the possibility and form of
sale.of ar~works listed, forwarding the
Partlclpat/On Form supplied by the BIENAL
with the accurate market sales price. This
Form must be retumed within the term
specified in item "a" above, duly completed
and signed;
d) verify if the Identification Labels sent
together with the artworks are duly filled in,
as requested by the BIENAL;
e) adopt ali the necessary measures
conceming transportation in the country of
437
CHAPTER 111
On Brazilian Participation
ART 17 - Brazilian participation will consist
of Brazilian artists or foreign artists,
presently residing in the country.
ART 18 - The Curator of the BIENAL will
indica te the Brazilian partieipants.
ART 19 -It behooves the partieipating artist
to:
a) forward the Participation Form, duly filled
in and accompanied by individual
biographical and bibliographical summary,
photographs and a presentation of the
collection of the artworks or, should be it
the case, description and plan of
installation, no later than May 31, 1994.
This material will be used for the general
catalogue and for the media and publicity of
the BIENAL. Any delay in forwarding the
Participation Form will automatically
exclude the artist from partieipating in the
event and catalogue of the 22nd BISp,
b) forward the pieces to the address in
Artic!e 13 above, by August 30, 1994;
c) to be personally present, or authorize by
proxya representa tive towards the BIENAL
to, on the date and site previously
appointed, supervise the unpacking of the
crates/artworks, as well as the assure the
proper repacking procedures at the c!osing
of the 22nd BISP, sign the pertinent records
and minutes of the proceedings;
d) provide the appropriate identification of
the artwork to be exhibited, with adequa te
labels;
e) forward the individual biographical
summary of a maximum of 1 (one) page with
20 (twenty) lines and 70 (seventy) strokes;
f) report to the BIENAL the need for special
438
CHAPTER IV
On The Sales
I) ON THE JURlSDlCTlON
CHAPTER V
On The General Rules
ART 28 - The removal of the pieces in the
Copyright 1994 by
Fundao Bienal de So Paulo
Edio/Published
Fundao Bienal de So Paulo
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CEP 04098-900 So Paulo Brasil
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Telefax ("55 11) 5490230
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otherwise, without the permission
of the copyright ho/der.
22 Bienal Internacional
de So Paulo
12 de outubro a 11 de dezembro
de 1994