Escolar Documentos
Profissional Documentos
Cultura Documentos
darcílio lima
um universo fantástico
apresenta
darcílio lima
um universo fantástico
21 Surrealismo Fantástico
Mário Pedrosa
127 cronologia
Lembranças e resgates...
Afonso Henrique Costa
começou a pintar já em idade avançada, e realizava uma Ivan Serpa e Darcílio Lima
pintura naïf pontilhista, ilustrada por uma magia de flo trabalhando juntos na
residência Serpa, s/d |
res, plantas, pássaros e pavões e incontáveis borboletas.
Ivan Serpa and Darcílio
Lembro ainda de Zama e de Sônia von Brüsky, promissoras Lima working together
desenhistas com imagens rasgadas e dilaceradas que mar at the Serpa’s house,
undated
geavam o surrealismo.
Aparecia sempre muita gente. Desde Hélio Oiticica,
Lygia Pape, Antonio Manuel e, claro, Darcílio Lima, cujo tra
balho fantástico e obsessivo em bico de pena me deixav a
fascinado. Tornei-me amigo de muitos deles; de alguns ga
nhei e até consegui comprar trabalhos, sobretudo gravuras,
com os parcos tostões da curta mesada de um adolescente.
Isso marca o início da minha coleção, que passou a ser uma
das metas da minha vida, até eu me dedicar tot almente à
arte, trabalhando no mercado, associando-me a galerias, for
mando coleções, lançando e representando artistas, e pro
duzindo exposições, inclusive no exterior.
9
Surrealismo Fantástico
Mário Pedrosa
GG Ah, é?
AM Sexualiza, não é?
AM Claro, o MAM!
Yves Serpa [YS] Eu tinha 14 anos quando ele [Darcílio] veio mo
rar aqui em casa, por volta de 1965. Meu pai o conheceu
na Casa das Palmeiras, lugar que ele ia muito porque era
amigo da Dra. Nise da Silveira e também para estudar o que
acontecia com aqueles ditos loucos. Ele foi se fascinand o
com o que via por lá e Darcílio foi um dos alunos que mais
lhe chamou a atenção. Tempos depois, chegou a um ponto
em que o Darcílio estava com dificuldades, mas sua famí
lia era do Ceará e ele estava meio desconectado deles. En
tão, meu pai o trouxe aqui para casa. Na época todo mundo
achou que meu pai era louco por trazer para dentro de casa
uma pessoa egressa de uma instituição psiquiátrica. En
tão, meu pai afirmou: “não, ele não tem nada de doente.
Darcílio é um gênio; ele precisa é de ter alguém que possa
alavancá-lo”. Ele foi se moldando à família e a família se
moldando a ele. Ele veio para cá e a gente conversava muito,
brincava muito...
34
GG Tinha humor.
YS Por aí, 18, 19 anos. Ele era um pouco mais velho do que eu...
GG Divertido como?
Ele era uma pessoa pura, uma alma pura. De uma alegria!
Tinha momentos de tristeza. Tinha, mas ele equacionava
para ficar alegre novamente.
Darcílio Lima na
Primeira Comunhão,
s/d | Darcílio Lima
receiving his First
Communion, undated
Darcílio Lima no
seminário, s/d |
Darcílio Lima in the
seminary, undated
Darcílio Lima no
carnaval, s/d | Darcílio
Lima during the
carnival, undated
1968 1969
Inaugura, em janeiro, sua primeira Integra o VII Resumo de Arte do Jornal
exposição individual,na Galeria L’Atelier do Brasil, categoria “desenho” no MAM–RJ.
(Rio de Janeiro), com texto de apresentação
de Mário Pedrosa. Nessa exposição, um Capa do livro A Celestina, clássico
jornalista da época afirma, “[Darcílio] espanhol de Fernando de Rojas, feita a
foi convidado por um militar a retirar as partir de desenho original.
estrelas de coronel que usava em sua Recebe isenção de júri no XVIII Salão
indumentária no dia da inauguração”. Nacional de Arte Moderna, e o prêmio
Integra o VI Resumo de Arte do Jornal do Assis Chateaubriand no Salão da Bússola.
Brasil, no MAM-RJ e o XVII Salão Paulista Participa da Sala Especial Sala de
de Arte Moderna. Arte Mágica, Fantástica e Surrealista,
Obtém o certificado de isenção de júri na X Bienal de São Paulo.
no XVII Salão Nacional de Arte Moderna. Conhece e se aproxima do premiado
Participa de várias coletivas: “Mostra de desenhista e gravador Marcelo Grassmann
arte fantástica – necrológica”, no Floresta (1925),um entusiasta de seu trabalho e o
Country Club (Rio de Janeiro), no qual introduz na técnica da gravura.
apresenta o objeto A virgem; “Carolina”,
composta de “interpretações plásticas do 1970
personagem da música de Chico Buarque Participa da IV Coletiva da Galeria
de Holanda”; e “As eróticas”, no Museu Ibeu– “O rosto e a obra”; da Jovem
de Arte Moderna da Bahia. Arte Contemporânea, no Museu de Arte
Na noite de vernissage de Ivan Serpa, Contemporânea da USP e do XIX Salão
uma jornalista do Jornal do Brasil (Rio de Nacional de Arte Moderna.
Janeiro) escreve: Darcílio Lima, também Interesse de europeus pelo seu trabalho:
pintor, apareceu com um trabalho intitulado Mantém contato com Jacques Fouché,
A noiva. O trabalho: uma jovem, (aluna, da Arte-Idéia; ilustra um texto de Jean-
aliás, de Serpa), vestida com longa veste Jacques Pauvert para a revista francesa
branca, pintada com símbolos e caracteres Bizarre. E acerta com Eric Losefeld o
eróticos que só são mesmo entendidos lançamento de um livro de desenhos para
quando seu autor os explica, de viva voz. a sua editora, segundo um jornalista do
Correio da Manhã (RJ).
129
1971 1974
Ganha o prêmio de Viagem ao Exterior Tem trabalhos incluídos na Mostra
no XX Salão Nacional de Arte Moderna, de Gravura Brasileira, Fundação Bienal
no MAM–RJ. de São Paulo.
Célia Resende,
Belisário Franca,
Darcílio Lima e outros,
na gravação do
vídeo Fragmentos
do fantástico, s/d |
Célia Resende,
Belisario Franca,
Darcílio Lima
and others in the
shooting of the
video Fragmentos do
fantástico, undated
1985 2001
Um jornalista que o encontra em Cascavel Quinze desenhos sobre papel, produzidos
relata: “Deparei-me com um mendigo de em 1966, na Casa das Palmeiras, são
olhar perdido, cabelos ralos e mal cuidados. apresentados em “Inconsciente e criação”,
[...] Morava agora nos fundos de uma velha no Museu Nacional de Belas-Artes,
igreja Batista, ao lado de um cemitério”. Rio de Janeiro.
Começa a ser articulado o seu retorno ao
Rio de Janeiro.
2004
“Mar do inconsciente: a imagem como
1986 linguagem”, exposição de artistas da
Possível ano de retorno ao Rio de Janeiro. Casa das Palmeiras, no Espaço BNDES,
Rio de Janeiro.
1988
Última exposição em vida, na Casa de 2005
Cultura Laura Alvim, no Rio de Janeiro. Seus trabalhos são apresentados na
exposição “Visual glossolalia”, na Louise
Ross Gallery, em Nova York, junto de
1990 artistas como Minnie Evans e Carlo Zinelli.
Foi morar em Búzios (RJ), onde voltou
a produzir em óleo sobre tela.
2006
Mostra em homenagem aos 150 anos de
1991 nascimento de Sigmund Freud, Centro
Morre em Cabo Frio (RJ), em 31/08, em Cultural Banco do Nordeste, Fortaleza (CE).
consequência de uma queda sofrida em
Búzios, seguida de traumatismo craniano.
2012
Outsider Art Fair, Nova York.
2000
Tem obra exposta na “Mostra do
Redescobrimento”, Fundação Bienal de 2013
São Paulo, São Paulo. Metro Show, Nova York.
131
Darcílio Lima em
requintado interior
Europeu, s/d | Darcílio
Lima in a refined
European interior,
undated
ENGLISH VERSION
139
CAIXA is one of the main supporters of the Brazilian Memories and recaptures...
culture and annually disburses more than BRL 60 Afonso Henrique Costa
million from its budget to sponsor cultural projects
in its own centers and that of third party, centered Conceiving the retrospective of the Darcílio Lima’s
upon movie screenings, art exhibits, theater plays, lifework and working in its coordination have shown
dance shows, musical presentations, and dance and to be a link to my own past.
theater festivals throughout the Brazilian territory, I have always been interested in art. Since I
not to mention the Brazilian handicraft. can remember, as a youngster visiting friends and
Projects are chosen by means of call for tenders, colleagues, firstly I greeted the people I met in their
an opportunity for CAIXA to democratize the access places, but soon after I headed for the paintings on
to producers and artists of all federative units, as the walls to examine them. The curiosity about the
well as to ensure the transparency to all society arts has always been inherent to my range of view,
sectors concerning the sums disbursed by the something inborn that I seem unable to justify.
institution. I was born with it.
The exhibition “Darcílio Lima – A Fantastic Around 1966/67, I decided to take the classes
Universe,” conceived and coordinated by Afonso provided by the Department of Courses of MAM-RJ
Costa and curated by the psychoanalyst Guilherme (Museum of Modern Art of Rio de Janeiro). Many
Gutman, is an effort to rescue, appreciate and give celebrated masters taught there, such as Aluísio
publicity to the work of visual artist Darcílio Lima, Carvão, Domenico Lazzarini and, mainly, Ivan Serpa,
one of the most important representatives of whom I became a student.
of Surrealism in Brazil. Unarguably, the most important lesson that
By staging this new exhibit to the audience of Ivan Serpa left to me was how to look at the arts.
Rio de Janeiro, CAIXA underlines its cultural policy He has refined my ability to see, freeing it, making
to foster the debate and dissemination of ideas, it savvier, clearer and more objective. In fact, Serpa
furthering the diversity of thought, and keeping always let his students free to do whatever they
alive its core motif, which is to widen the access will, truly encouraging them. He only advised them
to artistic production. to work, and to do it increasingly more. He really
demanded it.
Caixa Econômica Federal
140
His classes were popular and somehow I also recall the special care of Serpa for
everybody would come around. That was how I met Darcílio. He has even generously hosted Darcílio
many people. After all, MAM-RJ was back then the at his place, after the latter’s sojourn at Casa
throbbing heart of the city’s art scene and since then das Palmeiras, where Nise da Silveira developed
I started visiting art galleries and exhibits – which a remarkable work. Ivan Serpa adored Darcílio;
were not so many –, along with the art centers that undoubtedly one of his favorite students, who he
put on institutional shows. This included the art encouraged and supported the most. Undeniably he
gallery Galeria do Ibeu in Copacabana, which was was a patron of the arts for him, with all possible
the stage for memorable fine arts events. commitment and dedication. He used to state that
There were eclectic interests among the Darcílio needed no classes, he only had to work hard,
students of Ivan Serpa. Quite a bit of everything. and, in view of this, the artist grew more and more
From those really young, which was my case, to the obsessed with the development of his notable work.
elderly ones, such as Grauben do Monte Lima, who I used to meet Darcílio fairly frequently and
started painting in her old age, and employed a my memories of him are clear. Always holding a
Naïve pointillist technique, illustrated by the magic folder from the stationer’s Papelaria União packed
of flowers, plants, birds, peacocks, and a handful with pieces, some of them still underway, and on
of butterflies. I also remember Zama and Sônia von which he used to work anywhere, when the time and
Brüsky, promising drawing artists whose torn and occasion thus allowed.
lacerated images were quite akin to Surrealism. His drawings were obsessive in nature, with
There were always many people, including thousands of points and strokes, demanding much
names as important as Hélio Oiticica, Lygia Pape, time to be completed. He really was a perfectionist
Antonio Manuel and, of course, Darcílio Lima, whose and a virtuoso. Darcílio really took pleasure out of
fantastic and obsessive dry print work fascinated showing his work, unveiling the content in his folder;
me. I became friends with many of them; some of and I wound up purchasing one engraving on one of
them gifted or sold me pictures, mainly engravings, these occasions.
which I paid with the few bucks I got as monthly Recapturing his lifework, witnessing art
allowance. This marks the beginning of my collection, collectors open their folders with the artist’s works,
which became one of my goals in life, until I was fully stirred the same feeling on me. It was not easy.
dedicated to the work with fine arts, being active Darcílio has not only left a small work, as his craft
in the market, partnering art galleries, assembling took a long time to be completed, given his virtuosity
collections, launching and working as an agent for and obsession, we also could not find any of his
artists, and producing exhibits, even overseas. pieces at museums and institutions but one drawing
Visiting MAM-RJ came out to be part of my of the Gilberto Chateaubriand’s Collection, which
routine. It was an oasis of freedom during the has been loaned for use by MAM-RJ, and is featured
military government, when censure was the Brazilian in this retrospective. As a matter of fact, his works
reality. The museum was alive with its fabulous are spread in a number of private collections, and it
cinémathèque, where I could watch all relevant is thanks to their owners’ generosity and enthusiasm
movies, and I did not miss any of the exhibits and that we managed to gather such a relevant
events held on its surroundings. There were events compilation of his lifework.
such as Resumos JB, of Salão da Bússola, and I would like to thank all of them, especially the
Domingos da Criação, which were organized by descendants of Ivan Serpa, who so openly received
Frederico Morais in 1971, real happenings that drew us, giving free access to the late parent’s collection,
crowds and were news on the media outlets. which ended up being the main source of the pieces
141
now exhibited. I would also like to thank Guilherme Named for the serpent and under the heel of this
Gutman, who so bravely accepted my invitation myth, the locals built a tower – which looks more
to the demanding enterprise of being the exhibit’s like an extremely tall and robust stake driven on the
curator, and who insisted in selecting with me the soil –, preventing the great serpent from showing up
works for this show. from the depths whence it comes, and mercilessly
With this recapture of the lifework of Darcílio – encroaching, voraciously and veraciously, the city
after all, his work is still little known –, I am glad and its people, so fearful of its fury as fervent
and proud to witness, for the first time after his believers in the protection powers attributed to the
decease, the largest and most important compilation image of Our Lady of O, posted atop this nonpareil
of the works of Darcílio Lima, an artist whose quality pedestal. The phallic totemic tower, insomuch as
and virtuosity in building a fantastic universe housing a monster, triggers everyone’s memories
cannot be denied! that it indeed is there. Sleeping or foaming at the
mouth, one never knows, but unarguably filled with
January, 2015 hatred beyond compare, having the strength of
legions, and the tragic prowess and the strange
Afonso Henrique Costa works as a producer, beauty of the damned.
curator, art dealer and consultant in the art market, The stake restrains the beast, and, even
and has already been associated with several though, it manages to pour its venom over the cities.
galleries, organizing remarkable exhibitions. Along The snake finds its vein, through which it flows, and
his career, he participated and still is an Executive it is no hard task to imagine the creature wriggling
Officer and member of the Boards of Directors of in adumbral channels, brushing against earthy
several museums and cultural institutions. Costa walls or nestling in the hole where it is compelled to
was responsible for the compilation of important linger, with glinting eyes wide open, and heedful of
collections, including João Sattamini Collection, the muffles and vibrations above the land, besides
loaned for use by MAC (Museum of Contemporary the sounds that, from over and beyond the earth,
Art, in the city of Niterói, State of Rio de Janeiro), somehow it reaches.
chiefly spearheading the organization of its fabulous As it is usually up to the snakes, its tracks
concrete art collection. He produced a number of are sinuous and shady, and the sulci left by its
exhibitions in Brazil and overseas, launching several slithering does not mark the ground of the Brazilian
renowned artists. He was born and resides in town but, rather, another topography; its path is that
Rio de Janeiro. of the brain gyri, and of the hearts and minds of
those leaving themselves open to be affected by the
fabulous strokes of Darcílio Lima. His pointillism is
akin to the cosmic mysteries and constellations that,
Darcílio Lima and the great serpent labyrinth meanwhile hard to decipher, are analogously and
Guilherme Gutman paradoxically pedestrian like his art, which not only
speaks with the language of the angels, celestial or
There is an ancient legend about the foundation of the fallen, but also speaks with the language of men,
city of Cascavel, in the State of Ceará. An enormous touching on the things of the flesh, the violence and
and devilish serpent was believed to indwell in its the passion.
underground; a venomous cascabel rattlesnake that Let us bear this symbolic image in mind,
inspired its name, a naming in its strong sense: knowing that the symbols – astrological, of dead
something that creates an origin myth and becomes languages and fantastic alphabet – are abundant
the insignia of this village starting to clew. in the Lima’s work: a gigantic “phallus/mast”
142
whereat sanctity rises on one edge, while the great copulate, interpenetrate, and chew one another
rattlesnake coils up on the other. In his lifework, in an orgiastic state. There are swollen wombs of
these antagonistic forces hold the staged figures multiple pregnancies, breasts with pointed nipples,
in oppressive interfriction, with the latter then vaginas and penes that receive and penetrate, and
variously hollering about the violence this fidgety provocative and thirsty tongues. They aren’t passive
artist sustained. in nature: there is plenty of motion.
Not to mention the sacred image of Our Lady And on top of each of these beings assembling
of O, supervising from above the battle between such fantastic bestiary, there are other beings,
good and evil, which epitomizes an essential sort of profane vestments, which, really tiny at
ambivalence: in the saint’s iconographic history she times, hint at Lilliputian hallucinations, and expose
has often been represented with the womb filled by a liaison with eroticism. Also, there are other
the Immaculate Conception. This is just the belly overlapping layers: like fabrics of assorted patterns
of an advanced stage pregnancy that, to a given – maybe serpent scales, as wondered above – that
Christian morality, would be shamefully similar to Darcílio obsessively accomplishes out of outstanding
the pregnant wombs of all ordinary women, who technical mastery.
“sinned,” loudly and maybe tastily, and whose Where do these beings in the “Darcilian
earthly pleasures the church decided to keep animalia” come from? Here it comes one of the most
detached from its dogmata. sensitive issues about the construal of his lifework,
This ambivalence can be equally found in the possibly a key to it.
Darcílio Lima’s life and work. Having received a Critics usually point out that the Lima’s
Christian education, it is no wonder that his works motivations are deeply-rooted, generated and
keep the transfigured and reviewed remainders of gestated from within his pulsating womb. Similarly
this background. Little is known about his personal to Mário Pedrosa, who showed the world talents
life, as he was elegantly discreet when it comes to as remarkable as Hélio Oiticica (1937–1980) and
how he solved the fret between lust and sin. In his Lygia Clark (1920–1988); or else Frederico Morais,
lifework, nonetheless, good and evil are intertwined who domestically and internationally revealed the
at many levels, to wit, the serpent’s ubiquity, work of Arthur Bispo do Rosário (1909– 1989); not
alluding to the original sin, or the diverse references to mention the British and French peers; Brazilian
to elements of liturgical rites. critics could trace the instinctive component of
The serpent and its peers are everywhere in the his work. A trait which bypasses the conscious
Darcílio’s work: there are enigmatic-eyed and alluring rationality to convey a notion of truth. In this view,
felines, or else openly threatening, with mouths open his production would burst forth like virgin crystal
wide and sharp teeth. There are anthropomorphized waters from a rock.
birds tied around all sorts of unusual beings. There For sure there are strong unconscious
are fish tails, wings and claws. And, omnipresent, motivations behind the recurrence of themes in the
snakes, full body or metamorphosed in other Darcílio’s lifework, although, unlike what seems to
creatures, even if at times merely implied by their move artists in general – in the specific sense of
squamous texture, which is also the hallmark of someone who creates, so as to say, backed up by
many of the artist’s drawings and engravings. the minimum ground of stability as a counterpoise
They are beings posing themselves as to the psychotic structure –, he is compelled to
dreadful, outrageously androgynous, racked with reweave the fine matter of a world where he can
excruciating pains and, maybe because of this, live. Could his work fall under the heterogeneous
equally willing to inflict pain. They interdevour, umbrella definition of outsider art, visionary art or
143
art brut? Hard to tell... He was not triggered only tread and the Brazil reality in the 1960s and 1970s:
by inner urges, and though there is something an underdeveloped country subject to a totalitarian
strikingly intuitive to his produce, one cannot tell government which is commonplace to many of the
he took the art as a system for granted. It was as artists’ produce at the time, such as in Oiticica,
if a good review affirmed: “he has hidden monsters Antonio Manuel (1947) or Cildo Meireles (1948).
on standby, which are ready to be exposed...” But The Lima’s temporality seems more transcendental,
surely there are other certainties impelling him to in the sense that he concerts contemporary cultural
create, and some of their images perhaps snake references, as a Coke bottle, with references from
toward him, encountering and even startling him, as other eras, latitudes and longitudes. Hither and
they come from the outside, like hallucinations, or thither, he would go and resort to political stances
intermingling with him, like deliria. underlined by critical irreverence, as when he
Similarly, there may be doubts about the dressed a general overcoat for his vernissage.
pertinence of classifying him as a surrealist. But if an encounter with his alter idem took
Undeniably his figures are surreal, but he does place – a crucial sparkplug for him as a visual
not pass them on caged in the formations of the artist –, it involved himself and professor Ivan
unconscious. They are not exactly figurations of Serpa (1923–1973), who accepted him along with
dreams in ink on paper, which was one of the his quirks (Darcílio was a quite peculiar person),
motives of a certain line of the Surrealist art and hosted the student for two to three years in
movement. As widely known, dreams have a latent his atelier/place. There, Serpa was not exactly
content and a manifest content, the latter being teaching him something, but drawing him outward,
what can be recalled in the morning after. Although meanwhile both of them created works that were
the oneiric contents may be taken as “news from somehow correlated.
elsewhere” – news which are the piecemeal of We should not be indifferent to the relevance of
dislocations and substitutions, besides oddly paced Nise da Silveira and her Casa das Palmeiras, where
and peculiarly dreamlike –, this “otherwere” should Darcílio stayed in 1966. Before this, taken by Mário
be conceived as frames of our psychic landscape, Pedrosa, Ivan Serpa, Abraham Palatnik and Almir
a log of our mental function or a given locus of our Mavignier, they got in touch with the works of the
psychic apparatus. Imprinting dreams and fantasies madmen committed to Psychiatric Hospital Pedro II, in
in pieces of art is what many artists – the good the Rio de Janeiro neighborhood of Engenho de Dentro.
and the bad – feel that they do when creating. In Possibly this experience further widened the Serpa’s
the case of Darcílio Lima, the topography is another sensibility regarding madness and its prolificness.
one; the labyrinths through which the serpent slides To Darcílio, the sojourn at Casa das Palmeiras
are not situated in the inner recesses of his soul, was a necessary stage to the great encounter with
which, in a sort of cathartic move, he would go and Serpa and for the creative outburst that followed.
externalize. Darcílio is prompted into action by other The production put out after this should be
imperatives which, although hit body and spirit acknowledged as his most characteristic work,
right on spot, are of a different sort and summon and maybe his acme.
up the strength of a God. Darcílio, such as Bispo Perhaps the transference relationship
do Rosário, had no choice: he did not create upon established between Serpa and Lima can help
artistic urges or the need for an outlet for his own understand his creation mechanisms. He stated:
questions; he was somehow demanded to answer to Then I met Ivan Serpa, who told me: “You need no
a request he was the only one to see or hear. classes, you only have to work. After this, I stopped
It is hard to establish a connection between the seeking teachers [...]. As I work on something, I feel
supra-realistic universe wherein Darcílio seemed to that the subject shapes up. Serpa made me work and
144
turned into a paragon of work for me. Many times Paula Lima. The case is not about his drawings.
I take a break, weary, and he starts, it is like an He is the very case.
exorcism, and I feel that the pace is steady.” A dry print of the finest kind, which is, so to
Something that is already latent starts to speak, structurally academic, does not hail from
embody and the overwhelming presence of Serpa any fashion, either from here or elsewhere. His
helps set it into motion. It is as if the entire weaving drawing is an instrument, a means to an end: a
of his world – and maybe his own self – were message that Darcílio brings and waits to convey,
tethered down to earth through the medium of Serpa. with the pressing ponderings that transcend the
How to fully appreciate the magnitude of the “beauty” or “skill” (an extraordinary one) of his
Darcílio Lima’s lifework aesthetic experience? subtle, accurate, sharp and self-motivated impulse,
Perhaps subtly approaching each of his pieces to, as which unhesitatingly and seamlessly proceeds from
with an ear on the ground, discern the hissing and a texture to another. This sharpness indicates that
shaking of the great rattlesnake in its labyrinth. Darcílio is there, and within his ego something
rather pungent urges to be set on paper. He has got
Guilherme Gutman was born, resides and lives in much to say and does it as an artist, which means
the city of Rio de Janeiro. He holds a Bachelor of that he is not only a talented person, but a subject
Medical Sciences from UFF (Federal Fluminense under the sway of an inner world with a message, a
University), was a Psychiatry resident physician, dreadful one.
meanwhile started his studies of psychoanalysis. The stroke’s sharpness and inevitability emanate
He holds a Master’s and a Ph.D. degree from the from the very artist, but the compulsion of his efforts
Institute of Social Medicine, UERJ (State University possibly rises from the depths. The artist, first and
of Rio de Janeiro). Gutman worked in many foremost, is the personification of a knight-errant
psychiatric institutions, where he managed to from other ages, which he carries within himself.
deepen his insights on the relationships between Coincidently, he has scores to settle, really
art and madness. He is an associate lecturer of impending causes. A bloody revolution is taking
the Psychology Department of PUC-Rio (Pontifical the world by storm, and, although it is not political
Catholic University of Rio de Janeiro), psychoanalyst in essence, the consequences ensued are just
and author of several articles and book chapters. as profound.
He was born, resides and lives in the city of This is the well-known “sexual revolution,”
Rio de Janeiro. conveyed by the transformation of habits, mainly
carried out by the youngsters all over the world.
Started by the “beatniks,” it advanced and
was intensified by the hippies and, with less
Fantastic Surrealism commitment, or yet with the air of an unbearable
Mário Pedrosa secularism, by the so-called fine arts.
I am referring to a movement that some, in their
That is an antiquated expression in a contemporary insufferable academic worldliness, have even coined
world. I mean, outdated. Even further – obsolete. as a “school of erotic themes.”
Be it as it may, the person who coined the term is In this vein, would then Darcílio fall under the
young, quite young. aesthetically erotic movement or school depicted
If he were merely uninformed, or one of those above? It is necessary to dot the i’s and cross the t’s.
“primitive” people, one could turn a blind eye He is not resorting to the “motif” for amusement,
without further ado. Such is not the case of Darcílio to be “up to date” or follow a vogue.
145
Darcílio directs his attention to the body, the the former carrying in its throat a woman, who is
scheme of a body of vague, undefined identity, yet caressed and swallowed at the same time. A brutal
barely allegorical. At times, the figure displays an nail pierces the palm of one paw with open claws,
eagle or a serpent head, or else that of a griffin, meanwhile the other paw ends as the breast of a
and feet showing claws, or plants and centaur tails. female who came to lick a festive-tailed griffin.
Here, we may find the symbolic elements of his This true surrealist from the State of Ceará is
fantastic zoology. The large bodies spread on the a man of his time. On account of his splendorous
sheet surface are sometimes diagonal, as if they archaism, his affinity with another present-day
advanced in a round dance, or else they are simply figure is inevitable. He is a prophet, a revolutionary
erect with crowned or plumed head, always opening herald of sexual freedom against the religious
in the ultimate holes: the vagina, the anus or the taboos enshrined by the old churches. For sure, that
mouth. Moreover, they are dismembered in joints, person is Buñuel. Darcílio descends from the same
forearms, and knees. Amphisbaenas, harpies, and family line.
giant phalli sinking into orifices flow out of these
smaller apertures. Here, one can perceive a vigorous Rio, January 1968.
denial of the flesh, which merely appears, here
and there, in the shadings that are closer to the Mário Pedrosa (1900-1981) was an influential
genital openings. Moments of an actually sensual Brazilian art critic whose work is recognized all over
rendering are rare. Bodies are hollow, with no more the world. A thinker and political pundit, he followed
than the outward skin, and empty in order to sprout up the developments in the Brazilian cultural and
new figurations, as well as new acts of copulation, artistic scene of his time. He was also a political
renewed aberrations and flaming or devouring activist who helped found the Brazilian Communist
serpentine tongues. Party, which he ultimately left. He participated in
The crucifix is a significantly recurrent detail, the Fourth International, but was expelled from it.
wherein the image of the Crucified, with nails and Banished during the Vargas Era to the United States,
all, always appears in erection. Crosses, papal he returned to Brazil after the dictatorial government
emblems, including that of Pius X, reveal the point of ended. By the time, he started dedicating to art
convergence of this personal mythology, which is not critic, but never lost sight of his political concerns.
as erotic as it is heretical. Not in vain his previous He published academic essays, as well as
series was referred to as Christ and Matter, made newspaper articles in Tribuna da Imprensa, Correio
up of crayon drawings. Back then he discovered da Manhã and Jornal do Brasil. He was engaged
in Christ’s mystery a desperate voluptuousness of in the conception of MAM-RJ, and was one of the
the flesh. Darcílio started to fight the dragons of main organizers of II Bienal de São Paulo (1953/54),
concupiscence, which are epitomized in his view by a director of MAM-SP and General Secretary at IV
the Church’s mysticism. He holds the mysticism in Bienal de São Paulo (1957). He was the Vice-
counterpoise to erotic love. In one of his drawings, it President of AICA (International Association of Art
is blatant that the impersonal Pope’s figure, stripped Critics) (1957-70) and President of the Brazilian
bare, is shown with a chest-high mask, a tiara on Association of Art Critics, the Brazilian section
the head, and a claw carrying a cage in which a of AICA (1962). He organized the Extraordinary
rat gnaws the crown of thorns as if it were bones; International Congress of Art Critics (1959), which
and one more crucified figure with a raised phallus focused on the city of Brasília as core issue.
appears on the edge of a rag. A sharp-toothed eagle He was a member of several juries in international
flows out of an arm wrapped around a serpent, art biennials. He was one of the main enthusiasts
146
of the Abstract Art, Concrete Art and Neo-Concrete downtown together, by bus – I guess it was the 455
Art Movements. He followed up and encouraged line, and we used to come back talking and bouncing
the production of influential Brazilian artists, such off ideas. Therefore, this relationship was facilitated
as Lygia Clark, Hélio Oiticica, Lygia Pape, Amilcar by Serpa, it did not happen at the museum. It was in
de Castro, Mira Schendel, Alfredo Volpi and many the very Serpa’s place, in 1967, I guess.
others. In his elderly years, he was one of the
founders of the Brazilian Workers’ Party. AC We found a poster of one exhibit where Darcílio
was featured at the Art Gallery L’Atelier, in 1968.
The poster did not reproduce any of his works, only
bringing a text by Mário Pedrosa.
Interview with Antonio Manuel You actually did not have a direct contact with
Antonio Manuel Darcílio, it was always through the medium of Serpa
Guilherme Gutman or Mário, wasn’t it? In other words, you did not have
Afonso Costa a direct relationship with Darcílio, with him going to
your place, or going out together, did you?
Afonso Costa [AC] Antonio, firstly I would like I would also like to know what led Darcílio to
to thank you for your account. We are very proud work on your screen-print of Che Guevara. This was
to rescue the lifework of Darcílio Lima, an artist something that Serpa always did. I know copies of
who, in fact, was left in oblivion, in limbo. In this screen-print with watercolor both by Darcílio
the research we carried out, we tried to find his and Serpa.
works in institutions and museums, and there is
nothing. There was one single work we could find AM In fact, there was a relationship with Darcílio,
in the Gilberto Chateaubriand’s collection, which not only at the Serpa’s place, but I remember two
was loaned for use by MAM. But we also found the occasions when I went to Casa das Palmeiras
collection formerly owned by Ivan Serpa, left to with him. He was a habitué and a student at this
his sons, and chose many of the Darcílio’s works institution, located at the Haddock Lobo Street, in
they have. And this gave substance to the exhibit, the district of Tijuca. I had an atelier in the district
became the very core of it, and to which we added of Glória, and Darcílio visited me once. We set a
other works owned by private collectors, in this quest time, but I was more than two hours late, and he
to find his material. was sad and left a note saying:
I met you at MAM, around 1967/68. I was a – Well, we set a meeting for 11 am, so, when the
kid back then and was just beginning to visit the clock stroke 1 pm, I went away!
museum, having classes with Ivan Serpa. That was In this note he draw a chalice from where two
the occasion on which we met each other, as well as naked women sprouted, something ghostly, and that
when I knew Darcílio. Have you met Darcílio there? I cannot find now, it is in my atelier.
How did you know him? Thus, there was an actual relationship, part of
it outside of the Serpa’s house, but occasionally also
Antonio Manuel [AM] I cannot remember it very well, at MAM.
but surely by means of Serpa. I used to pay visits About the matter of the screen-prints: I had
to his place in the district of Méier, at the Juruviara made a deal with Serpa and Lygia Pape, the three
Street. I have been there several times, Serpa hosted of us, that each would produce a graphical work
us over the weekends, and I used to meet Darcílio and pass on the other ones to make an intervention.
there. Many times we came back from Méier to Serpa made an intervention in my screen-print,
147
whereas I made an intervention in the Lygia Pape’s, In sum..., at the time, I was still a teenager,
and so forth. Darcílio lived at the Serpa’s place, he around 18 or 19 years old, full of rebel and disquiet,
was the family’s sweetheart... of Lygia, the Serpa’s and I talked to him about this.
woman, of Serpa himself, and of their children; he Darcílio had a thoughtful character. I did not
became part of the family. He worked 24/7 at that ask for anything, he himself offered to talk to the
atelier, and Serpa obviously gave my screen-prints of psychologist... And I paid this psychologist with
Che Guevara for him to make an intervention as well. works. At each two sessions, I gave a drawing to
him. In the end, two years later, he called me there
Guilherme Gutman [GG] You told that sometimes you and we saw all of the drawings, and he returned
would go back by bus, that you had these meetings. everything to me and said: “Look, this is more
How about his talk? Did he speak more about art or valuable with you than with me. I only want a
about his own life and all? Does something special collection of photos of these works.” These drawings
come to your mind about it? are kept with me to date, they are free, detached and
candid works.
AM Yes, I guess there was something... More about
life, his life itself. Now, something specifically about AC Darcílio was a virtuoso, he had an obsessive
art I cannot seem to recollect. But events, such as pointillist work, right? This is an undeniable truth.
at Casa das Palmeiras, he used to tell, about some
people there who had interesting works. In sum, AM But Serpa taught him some discipline. Serpa
he asserted that he would like to go abroad, to was fundamental in his life... He made it happen!
exhibit overseas; he used to say some things about I remember his first drawings; they were made with
that, about making a dream come true, moving on, crayons, quite unconnected and unorganized. With
disseminating his work, he knew what he was doing. Serpa he kept a discipline, he worked every day,
He is very affectionate. For instance, he lived there, and his work thrived. The drawing scale
introduced me to my first psychologist. is larger, graphics are richer and the Pointillism
arises. The communication prowess is higher.
GG Yeah, right? The Darcílio’s Surrealism goes even further. This
discipline imposed by Serpa was capital for Darcílio.
AM Yes. In one of these bus chats, coming back It was crucial to improve his financial life, because
from the Serpa’s, and talking about my need for Darcílio started to sell his works to the Serpa’s
therapy, something like that, he talked about my first collectors. There is one picture, which Gutman
psychologist. showed, of both of them at the atelier of Ivan Serpa;
working side by side, on the same table. It was
AC Was this person also his psychologist? just like that, one influenced the other; there was a
dialog, a relationship in their works, wasn’t there?
AM No, he wasn’t his psychologist, but he was He also encouraged Serpa, who was an enthusiast
connected to Casa das Palmeiras. of the arts. Then, their working side by side was
One day he escorted me to the door of this a perfect partnership, and outstanding source of
psychologist’s office in Copacabana, rang the bell, encouragement. And there are similarities. Some of
and started to introduce me... the Serpa’s drawings are similar to those of Darcílio.
– This is Antonio, of whom I spoke to you! Those women, those buttocks that Serpa created
And, after this, I went on my first session, by with the Pointillism craft, which influenced Darcílio.
means of Darcílio.
148
AC There are even works that both of them signed. AC Is there anything else you would like to say?
Gutman, for instance, has one work in his collection
which is signed by them. I mean, you can tell it was GG About him, about his work...
done by Serpa, of the series of beasts he produced,
and that was ultimately signed by Darcílio. You can AM He was very vibrant and impressed a lot of
tell them apart. But there is such a synergy between people with his work, evolution, even Mário Pedrosa,
them that their works intertwine quite seamlessly. as I said. In sum, an artist dealing with the
There is no conflict but a true unison, an actual surrealism, but with such extraordinary prowess
symbiosis. and robust technique! That helped him convey his
After Darcílio wins that prize which allowed him message. He is a unique and outstanding artist.
to take trips abroad, and moves away to Europe,
where in France he meets Dali, Labisse, in sum, AC One more thing: besides all this erotic bias in
several surrealists, exhibiting with them, there was the Darcílio’s work, did he talk something about
a sort of movement and all. But when he returns... his own sex life, relationships, something of
How was it? Why did he vanish? sexual character, or was he extremely discreet in
this respect? Or was him a faun, or someone who
AM I don’t remember; I cannot seem to recollect... embarked on this type of adventure, because his
but indeed he vanished away. He went away with erotic approach is absolutely ubiquitous with all
these trips... But I remember some of his talks, those phalli, vaginas, snakes, tongues, breasts
when he returned, showing clippings of newspapers, and nipples, buttocks and so forth! His work is a
magazines, showing off the success he achieved cornucopia of erotic symbols, right?
overseas, mainly in France. He became an important
artist; after all, he exhibited alongside Dali. But AM No, he has always been discreet. We did not
afterwards I lost contact with him. I knew he went touch on this subject, I do not remember talking to
back to Cascavel, but I didn’t see him anymore; him about this, or of him telling me something about
there was no more news about him. his sexual situation. I guess that he reserved all of
it as a subject to his work. There were no comments
AC I guess that it was just when he came back from about a girlfriend or a boyfriend, I never heard of it.
Cascavel, when we went to the city of Cabo Frio and It seems that this eroticism was concentrated on his
resided there, and we later on knew that Darcílio work: naked women sprouting off a chalice, inside a
died in a really nasty accident. He fell off a bike, glass of champagne – this is extraordinary.
landed on the back of his head on a curb and died.
After this, nobody spoke about Darcílio anymore; GG Darcílio also attended the seminary. He resorted
he vanished. Nonetheless, before he’s deceased, to the religious imagery and reshaped it.
there was an exhibit at Casa Laura Alvim, when
Célia Resende headed the center, along with Stella AM It sexualized it, right?
Marinho. We got a picture of this exhibit’s opening
where everyone appears. AC Yes, he was a seminarian. We obtained one picture
of his teenage years, on a cassock, as a seminarian.
AM I guess so... I also lost contact, we did not meet
anymore. It was back then. But I can’t remember the AM He was a seminarian. You remembered a strong,
exact date. striking trait of his work and life. Sometimes he
let this out through his work and garments. One
149
relevant point is that Darcílio Lima is “delivered” frequenting the Ivan Serpa’s atelier and attending
by Dr. Nise da Silveira; he appears after Casa das his classes at MAM-RJ. In his early production,
Palmeiras. This is a fundamental part of his path. newspaper sheets and flongs were the canvasses to
his art, which primarily addressed political issues
AC She was the first one... and aesthetic discussions. Later on, he produced
several short films. After the 1980s, he started doing
AM A forward-thinking person! Wonderful! geometric abstract paintings. Overall, his works
She worked with Raphael, Emygdio, and Darcílio stimulate reflection about the Brazilian social and
was also in the same wave. Through Casa das political scenario. With an impressive portfolio of
Palmeiras, he goes to Serpa, they meet, improve one exhibits in renowned art galleries, museums and
another, and, later on, they start visiting Pedrosa, institutions, he was the Brazilian representative of
undergoing an evolutionary and prolific path of this year’s Venice Biennial.
extraordinary strength.
AC We are rooting for you to find it until the exhibit. Yves Serpa [YS] I was fourteen when he [Darcílio]
Do you have any other type of documentation of his? moved to our place, around 1965. My father met
Photos, letters, anything else? him at Casa das Palmeiras, where he used to go on
account of his friendship with Dr. Nise da Silveira,
AM No, I don’t. Only the memory of his mustache. as well as to study what happened to the so-called
But I will find this drawing! madmen. He was fascinated by what he saw there
and Darcílio was one of the students who he cared
AC Antonio, thank you very much. Your account was the most. Some time later, Darcílio was going
quite rich, as well as invaluable! through a tough time and, as his relatives lived in
Ceará, he was kind of estranged from them. It was
Antonio Manuel, painter, sculptor and moviemaker, back then that my father brought him home. On that
was born in Portugal in 1947, and moved away to occasion, everybody thought him crazy toreceive
Brazil in 1953, where he set up house with his family as guest someone who had just left a mental
in Rio de Janeiro. In the mid-1960s, he started institution. Then, my father said: “No, he is not sick
150
at all. Darcílio is a genius; he needs someone to we lived in a “harsher” world. That was a time
encourage him.” He accommodated himself to the of revolution, a bit afterwards, and everyone was
family, and vice-versa. He moved in and we talked suspicious of everything.But he couldn’t care less;
and played a lot... he wanted to make his drawings, which was his cup
of tea, and did not care about politics at all!
GG He had a lot of humor.
GG In regards to the universe of his drawing, mainly
YS Sure! He was always laughing. He was, so to when connected to Ivan Serpa, your father, there is
speak, serious and focused when he was drawing. violence, sexually, and a crazy orgy that, in fact,
That was the time when he stepped out of the world he did not live, but which underlies his drawings,
to do his work, his lifework. When he finished, the joy do you agree?
and playfulness returned. He was quite jolly.
YS Exactly. This is why he seemed detached from
GG He was very young back then, around eighteen the world, he went to another dimension where he
years old, isn’t it? created. Another thing I could see was that his
works were mainly black and white in the beginning.
YS Yes, around 18, 19 years. He was a bit older than me... Only Indian ink drawings. Later on, he started
adding some color. And if you pay attention, his
GG And was he fully integrated? colored works are pretty. A unique and stunning
coloring. Something really striking and personal.
YS Totally. He was part of the family. He was not a
guest, and not really an employee! He was part of GG That’s true, over and above the subjects,
it. We were three siblings, but many children were everything is quite exuberant and vibrant.
added, my parents adopted other six. I remember a
cousin that came to stay for one year, but remained YS In the Darcílio’s work, the watercolor painting
for ten years here. I have a foster sister that arrived we see is a different one. Because watercolors are
at 2 and left to be married. Darcílio was also like typically faint... But not his! It has a vibrant coloring!
that; he arrived and became a son.
He joined the family without any stigmas. GG I thought the same, because there was
My father was a really exemplary father, brother something there, which could be drawn from the
and friend. drawings, or which warrants us to read a sort of
vitality, aggressiveness, and even violence.
GG Did you get along well?
YS Probably. It was a sort of outlet, even though
YS Oh, really swell. He has always been funny, he was calm.
a joker.
GG And how about his personal life? Did he have
GG How was he funny? friends? Do you know something about this?
YS Darcílio was so pure of a person; he used to YS When he came to our place, his friends where
speak his mind and sometimes we joked: “I think those he met at Casa das Palmeiras. Later on, he
this guy is nuts!” But, some time later, realized met all the folks who visited our house and, after
that he was indeed a naive person, he couldn’t this, he had a new life.
give things a double meaning, which we could as
151
GG One of the pictures that mostly caught my his work. He incorporated certain techniques, but
attention shows your father and Darcílio working did not go too far with this. This is also important.
very closely, on the same table. This relationship is You see the work of an artist, his technique, is
empowering for him, isn’t it? fascinated by what you see and figure out how to
apply such technique to reinvent your own work!
YS Yes, that certainly happened. My father
encouraged Darcílio to loosen up. GG Do you think that Darcílio sticked to this?
GG Do you think that Darcílio needed this sort YS Yes, he even started reading about arts. He read
of empowerment? quite a deal. We had around four thousand books.
And Darcílio had access to this.
YS Darcílio needed that, he needed someone who
talked to him: “You want it, so make it happen! GG This makes me wonder about something: Did
Do not be tamed, just go,” or “What do you want, Darcílio have some artist or artists as influence or
is this it? Did you get it? Or not? So, try again!” focus of interest, either prior or contemporary to him?
GG However, looking at the technical skills of YS He was much fond of Dali. Dali was always
Darcílio, the feeling is that he grasped something. someone he looked up to. He thought Dali somehow
had the same freedom as his own. He spoke a lot
YS Exactly. This demand to put into effect what has about Dali; liked and spoke a lot about my father,
planned – he got it, do you see? He was meticulous. appreciated other artists that had a very meticulous
My father was quite demanding, and ifa given work work, such as Paulo Garcez. They even met here.
was not perfect, he destroyed it. Darcílio himself
destroyed a number of things as he grew aware GG Was he to any extent aware of the worth
of the legitimacy of his work. The work had to be of his pieces?
legitimated against the mental picture of what it
should be. This demand was also incorporated in YS Yes, he had. Maybe not in the beginning.
his routine. One can see that the Darcílio’s work was But, later on, he got a notion that his work stirred up
very meticulous; he attained an amazing balance. people’s interest. In the beginning, he even thought
it was funny: “Wow, there is quite a bunch of people
GG I guess that this meticulosity is a characteristic into what I do,” but later on he became aware.
of many phases of his father. Because of this, I keep
thinking that Darcílio started with the Pointillism by GG Darcílio had an almost chaste image. Do you
the same time Ivan Serpa worked on the opticals and know if he has ever been into someone?
points of light.
YS No, I guess that he has never been emotionally
YS Darcílio also embarked on this path. attached...
GG This is the reason why I think he was influenced. GG If nobody talked about it, then I guess it has not
really happened.
YS But he never copied. For instance, he witnessed
a technique being used and thought: “Oh, this is YS No. He was that sort of person you knew and
something I can use in my work.” He did not maculate became friends with. You know, I think that he
152
Psychiatric Institute Pedro II (Engenho de Dentro, Fernando de Rojas, based on the original drawing.
Rio de Janeiro), by the end of the 1940s. He is considered hors concours by the jury of
Darcílio lived and worked with Serpa for nearly 18th Salão Nacional de Arte Moderna, and bestowed
three years. Encouraged by Serpa, his production with the award Assis Chateaubriand at Salão
flourished, ultimately finding the path that, in the da Bússola.
years to come, helped reach the acme of his lifework.
His work is showcased at Sala Especial Sala de Arte
Receives a golden medal at the 3rd Salão de Arte Mágica, Fantástica e Surrealista (Magic, Fantastic and
Contemporânea in the city of Campinas, State of Surrealist Art Show) at the 10th Bienal de São Paulo.
São Paulo. According to an art critic, member
He meets and establishes a bonding with the award-
of the jury, “Nobody knew him.”
winning drawer and engraver Marcelo Grassmann
(1925), an enthusiast of his work and by whom he is
1968 In January, he opens his first solo exhibit, at the
introduced to the engraving technique.
Art Gallery L’Atelier (Rio de Janeiro), introduced by a
text by Mário Pedrosa. In this exhibit, a journalist of
1970 He partakes in the 4th Collective Show at
the time asserts: “[Darcílio] was recommended by a
the Art Gallery Ibeu – “O rosto e a obra” (The Face
military officer to remove the colonel stars he used to
and the Work); at Jovem Arte Contemporânea (Young
wear on his garment on the opening day.”
Contemporary Art), at the Museum of Contemporary
He is featured in the 6th Art Summary of Jornal do Art of USP and the 19th Salão Nacional de
Brasil, at MAM-RJ and in the 17th Salão Paulista Arte Moderna.
de Arte Moderna.
Europeans take interest in his work: “He establishes
He is considered hors concours by the jury at the contact with Jacques Fouché, from Arte-Idéia;
17th Salão Nacional de Arte Moderna. and furnishes a text of Jean-Jacques Pauvert with
He partakes in several collective shows: illustrations, to be featured in the French magazine
“Mostra de arte fantástica – necrológica” (Exhibition Bizarre. He closes a deal with Eric Losefeld to launch
of Fantastic Art – Necrologic), at Floresta Country a drawing book by the latter’s publishing house,” as
Club (Rio de Janeiro), where he introduces the item informed by a journalist of Correio da Manhã (RJ).
A virgem (The Virgin); “Carolina”, made up of
“plastic interpretations of the character of the song 1971 He wins the prize Viagem ao Exterior (Travel
by Chico Buarque de Holanda;” and “As eróticas”, Abroad) at the 20th Salão Nacional de Arte Moderna,
at the Museum of Modern Art of Bahia. at MAM–Rio.
On the Ivan Serpa’s vernissage evening, a journalist He is featured in the 3rd Panorama of Current
of Jornal do Brasil (Rio de Janeiro) wrote: Darcílio Brazilian Art, at MAM–SP.
Lima, also a painter, was featured with the work He is featured in the London magazine Art and Artists
entitled “A noiva” (The Bride). The work: a young, with images and a critical essay by Beresford Evans.
(also one of Serpa’s students), dressed in a long
white garment, has erotic symbols and characters 1972 Comment by a critic: “Using the prize [to
painted on her body which can only be understood travel abroad], he enjoys an extensive tour to the
when explained by the author out loud. most remote corners of New York, Cairo, Medina,
Turkey, Paris, Scotland and Weimar.” There are also
1969 He is featured the 7th Art Summary of Jornal references to “Scotland [where he supposedly lived
do Brasil in the category “drawing” at MAM-RJ. in a castle], in addition to Black Forest and Austria.”
Cover of the book “A Celestina”, Spanish classic by During his sojourn for two years in Paris, he executed
154
a contract with the engraving publisher Vision 1990 Moves away to the city of Búzios, in the State
Nouvelle, the same of Miró, Dali and Vasarely. of Rio de Janeiro, where he is dedicated to oil on
He publishes the “Vision contemporary” in the English canvas again.
magazine The Image, followed by images of his works.
1991 He dies in the city of Cabo Frio, in Rio de
Opens an exhibit in the Art Gallery Trois, Pleux, Deux,
Janeiro, on August 31, as a result of the fall suffered
in Paris.
in Búzios, followed by head trauma.
1983 Upon request by the Mayor, he draws the 2006 Exhibit in memory of the 150th year of Sigmund
official flag of his hometown. Freud at the Cultural Center Banco do Nordeste,
Fortaleza, in the State of Ceará.
1985 A journalist that meets him in Cascavel
reports: “A far-away looking beggar with thinning 2012 Outsider Art Fair, Nova York.
neglected hair comes into view. [...] He now lives
on the back of an old Baptist Church beside a 2013 Metro Show, Nova York.
cemetery.” At this point, his return to Rio de Janeiro
is in the making.
Fragmentos do Fantástico |
Fragments of Fantasy
Roteiro e direção | Script and direction
Celia Resende
Fotografia | Cinematographers
Belisario Franca e/and Paulo Santos Filho
Assistente de direção | Assistant director
Roni Lima
Luz e still | Light and still Leonardo Nery
Produção | Producer Luiz Carlos Lopes
Assistente de produção | Assistant producer
João Paulo Lima
Edição | Editors
Celia Resende, Giorgio Albonetti
e/and Ruy Junior
Cosmovisão | Cosmovision
Audiovisual de Paulino Cabral
de Mello | Audiovisual work by
Paulino Cabral de Mello
Presidenta da Caixa
Miriam Belchior
162
distribuição gratuita
Comercialização proibida
Acesse www.caixacultural.gov.br
Baixe o aplicativo Caixa Cultural
Curta facebook.com/CaixaCulturalSaoPaulo