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brut#1

Nova Arte Nova

Arte nova, recente, jovem, contemporânea

MarciusGalanCIRCULACAO.jpg

Marcius Galan, Seção Diagonal

Sobre a exposição Nova arte Nova, com curadoria de Paulo Venancio Filho

ANA MARIA MAIA
especial para o Canal Contemporâneo

Qual a medida de juventude para a criação? O que a faria inédita no mundo, seu criador, suas próprias feições ou o uso que se fez dela até então? A exposição Nova Arte Nova, montada entre outubro de 2008 e janeiro de 2009 no CCBB do Rio de Janeiro e agora itinerante no mesmo Centro, só que de São Paulo, até o fim de abril, lança bases para estas procuras. Sob livre metodologia e referencial de nomes e percepções de seu curador, o carioca Paulo Venancio Filho, professor da UFRJ, a coletiva preenche os três andares do edifício de arquitetura nouveau e neoclássica da montagem paulistana com “heterogenia, instabilidade, fluidez”; atributos cabíveis a uma exposição de arte contemporânea em “tempo real”, segundo a versão de parede do texto curatorial de Venancio Filho. Leia na integra no  Canal Contemporâneo

Buenos Aires, AR

Open Space - ArteBA | Buenos Aires, AR | 2008

“Gonper Museum – work in progress feeds a reflection about the blocked between the artist, the art institution and the museum framework; arouses questions about museum procedures through which the objects become historical, scared and eternal in the social imaginary.
The fictitious museum is a work that works both ways: it seems to mock and to question the power and the techniques of the museum system, as far as to enjoy these same techniques to be available and to be potent to the eyes of the public. A work that happens in unison to the ways that make it visible, and that, leaned over the exhibition, finds in the articulation of the elements of the architecture, in the exhibited pieces and in the work of art itself your private meaning. Thereby, it approaches itself of the concept of ‘Antimuseum” put by Leenhardt as a demand that thinks of itself as an “art form and not as a way to show art”.
Fabiano Gonper takes to himself the functions of the artist, the curator, executive director and graphic designer, and mixes these commitments in negociation with real institutions, like the museums, cultural centers and art galleries, and also in dialogues with other artists.
Built as a site specific for each exhibition, the Gonper Museum has passed through a long way and some of its exhibitions had the function of showing works that weren’t made by Fabiano, like the one that he made with the work of the artist Antonio Dias at Baró Cruz Gallery, or like the reading of the works exhibited in the Museu de Arte Moderna de São Paulo during Panorama 2005, named “São 19:00 em Brasília”, where he reunited works of Iran do Espírito Santo, Mauro Piva, Paulo Climachauska, Regina Silveira e Waltércio Caldas. It was exhibited in São Paulo, Goiânia, Recife and United States, with specific assembly to put his own work up.
Inside the virtual space of the Gonper Museum, Fabiano Gonper had already exhibited two different series: Pinturas Variáveis and Desenhos Secretos. The first one, researches the poetic of the body using mirrors. It takes us to Narcissus, but in a sense of myopia and that cannot recognize its form. Only two materials with opposite property are overput in the formulation of these works: the mirror that collects reflexes of anything that is positioned in front of it and the anti-reflex glass that rejects any image that tries to reflect in the interior of its field. The overput of the two materials causes a mist situation over the mirrors, a difficulty to see and to recognize. The Pinturas Variáveis work as paradoxal collectors of portraits that don’t identify the subjects and that don’t fix over the surface the faces of those who look at them, varying as the public walks through the exhibition.
Desenhos Secretos generate tensions between the public and the private. They are like crumpled letters, whispering voices, objects that escapes from the view, that because they concentrate themselves in the occultation of their possible meanings reaffirm, as Drummond says that “the poetry is uncommunicative”. They are drawings with images extracted from the most different sources, combined to words and that only with great difficulty one is able to penetrate, to investigate between the wrinkles of the transparent cloth the fragments of a confidential poetic, with intimate register that keep reflections of the his author as a person, citizen and artist.
The Museum is in its essence an institution which aim is to turn visible and public something that is worthy of relevance; but the exhibition politics of the institutions with this profile, operates with criteria hierarchy and values that result also in the occultation of the not recognized. The mirrors paradox that chases away the comprehension of self-recognition and that hides more than what it shows, and the drawings which contents are to us like enigmas that we have to reveal. Combined, these two works form a plastic and conceptual body where visibility and concealment reveal themselves as capital problems.

Divino Sobral visual artist and independent curator  Goiânia, GO, Brasil

Translation by Ana Araújo.