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Um caminho para o reencantamento/série Inhotim

Saindo da modernidade você caminha ao encontro de palmeiras de todos os tipos e verdes de muitos matizes

 

Tudo envolvido em orquestras de cigarras e pássaros cantando. A verdadeira naturalização do humano e a humanização da natureza, como disse o artista. Sim, ali se descortina o direito à vida da natureza perdida.

SUBMERGIR no cenário de INHOTIM é como mergulhar em um mundo mágico que foi esquecido pela modernidade.

Edgar de Souza, Sem Título – Bronze (2000)

O Parque impele as pessoas à reflexão sobre a diversidade e sustentabilidade substituídas pelo lixo consumista. O homem moderno e urbano sofre o impacto de adentrar no seu “habitat” verdadeiro e distante no tempo.

Inmensa – Cildo Meireles, Aço ( 1982-2002)

Sente que o seu mundo é esse ali representado. Mata Atlântica, aráceas, bromélias e palmeiras lhe abraçam num aconchego uterino.

As intervenções artísticas dialogam com a natureza. A galeria onde o artista apresenta o “som da terra” como o mantra “om” soa apelando ao renascimento dos humanos em comunhão com a terra. 

 

As instalações de Tunga e de Cildo Meirelles remetem à necessidade de salvamento dos homens, um renascer mais consciente, lógico e urgente, necessário ao reencantamento do homem diante da natureza.

 

 
Tunga – Galeria Inhotim

Os sons captados do canto da cigarra que se unem numa sinfonia única em Inhotim, de   Brumadinho, em Minas Gerais.Ao final o som da Terra, na obra do artista americano Doug Aitken numa sinfonia inusitada.  Esse museu a céu aberto é um deleite pela natureza exuberante e as extraordinárias instalações e obras de arte contemporânea. 

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As cabeças do gênio Jaume Plensa

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Quando entrei na Basílica de San Giorgio Maggiore em Veneza e me deparei com aquela cabeça gigante em malha de aço inox, a visão era como se ela flutuasse na majestosa abóboda. Um silêncio intenso perpetrou minha alma, em uma conjunção perfeita com o divino. Fiquei perplexa diante do “Mist”, obra escultural do artista catalão Jaume Plensa.

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Sem conhecer Plensa, nem saber que foi considerado um dos 10 melhores escultores do mundo, senti na sua obra a espiritualidade refletida, aquela que só encontramos nas obras dos artistas mais amadurecidos. Em seguida, mais alguns passos adiante na igreja, vi que flutuava na nave uma mão metálica com letras penduradas em sua malha de aço. Monumental o conjunto: cabeça e mão.

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Foi então após algum tempo de admiração e reflexão daquelas obras, que entendi o sentido do tema “Together”, “juntos”. Sim, cabeça e mãos, dialogando eternamente. Não sem razão, o primeiro movimento inteligente do homem foi a pinça, o qual nenhum ser vivente além do homem é capaz. As mãos obedecem o comando da cabeça.

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O que me impressionou foi a sutileza conceitual de Plensa, apreciar sua obra é como ler seus pensamentos.Ele, com propriedade afirma “minha obra não é para ser tocada, mas sim acariciada…

” Este pensamento é muito forte no trabalho das esculturas de alabastros, maiores do que o tamanho de uma pessoa de estatura alta, brancas e silenciosas, situadas na sacristia da Basílica, um corredor escuro onde enfileiradas recebem apenas uma luz central, concedendo-lhes a majestade, respeito e silencio que merecem, realmente elas pedem uma carícia do visitante.

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 As obras de Jaume levam a introspecção silenciosa e a religação com o divino. A cabeça de Plensa é tão maravilhosa quanto as obras.

Me surpreendo com a consciência e direcionamento que ele atribui a sua obra. Hoje, existem mais mercadores de arte do que artistas verdadeiros. Quando Plensa revela que “direciona seu trabalho para a comunidade” e , “quer celebrar a vida e não atos individuais”, verifico, com tristeza que a contemporaneidade nos presenteia com artistas que produzem em escala industrial, quase sempre atendendo a pedidos individuais, inclusive, focando a obra em temas sugeridos pelos próprios clientes. Não é, infelizmente, arte.

O que seria da humanidade sem a perpetuidade das obras de arte, sem o teto da Capela Sistina, sem Moisés, Pietá, David, eGuernica, o retrato da revolução, Guerra e Paz, o Museu de Bilbao, a cidade de Brasília. Como no dizer de Plensa quando suas obras são removidas, “o vazio deixado é imenso. Muitos dos minhas instalações e exposições começam quando terminam. 

É quando de verdade começam a trabalhar, ao indicar que o abismo pode ser criado. A vida nos ensina, nós damos valor real a uma pessoa quando ela já não está mais. E a arte também fala destas coisas. Exposições temporárias são desfeitas, mas cada trabalho é para o futuro … e esta é uma responsabilidade enorme, porque o dia que você desaparecer a obra continua existindo”.
Concluo minha admiração por Plensa constatando que ele é o gênio de mil cabeças. “A cabeça é o lugar mais selvagem de nosso corpo”. Jaume Plensa.

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A view of the Venice Biennial 2015

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This was the third Venice Biennale I visit in the past six years. I made many Brazilian Biennials in Sao Paulo, throughout my life. Always moved by the curiosity to know through the artists a little of what the future of thw world holds, which language to be deciphered in tomorrow’s life. This is because, for me, the artist is a sorcerer, a true prophet, with magical views and at the same time time real about the time that expect us.

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But above all, what instigates me is the impulse to unravel the human soul. Like Oedipus, deciphering the Sphinx, I go to the works of artists from all countries and continents, curious to decipher them.

But in the last Biennials, I realize an artistic yearning for a different language, original and creative. The need to forget the old to find the revolutionary, without much success mostly. Naturally occurring in the contemporary world, the escape of traditional aesthetics in the search for a new aesthetic.
But ready to be surprised, I begin my journey.

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Chaos predominates when I start walking through the artworks of each pavilion. The old trying to find a more contemporary language, giving space to coherence, a difficult task for the artist who lives in a world dominated by chaos. To the spectator is left the search for conceptual aesthetic. Nothing is easy in this cluster of artistic works.

I note that in some, aesthetics is set aside, with the dominance of conceptual, effort that is often not achieved.
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At the Venice Biennale in 2013, the attempt was the search for a human reflection, the reconnection with the divine, with Junggiving the “start” with his book “The Secret of the Golden Flower”, reflected in many works as the Brazilian video on a seance, the Vatican with the meeting of souls, in film session where images of people met with visitors touching their hands. In addition to other exciting works as a short film over time, provoking a reflection of the audience on the use of time in everyday life.

In the 2015 exhibition, at the Giardino, where are located the pavilions of countries (read, works selected by the cultural institutions of government) the “start” was the book “The Capital” of Marx and his dialectic. What, for me, did not cause the expected impact, however, the following works were able to translate the appeal of a wicked world, miserable, chaotic in pursuit of peace. Peace translated into artistic works, with a language chaotic as well. This is because were repeated old techniques of collage , woodcut, texts, etc., with no success in innovation or in the beautiful which ecstasy.

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Japan managed to combine the beautiful and the message, presenting an installation with a boat, simulating an immense network in wonderfully red tones, like an immense tree, from where fell keys as fruit. There I could see the beautiful in total harmony with the message. The keys of global communication, those which open the universal language through networks, one that allows people from the farthest corners of the planet to exchange impressions and emotions. Original and simple, as it should be a beautiful work of art. In front of it people were enraptured with a sense of unparalleled peace, surreptitiously reaching one of the themes of the Biennale in 2015.
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Talking about Arsenal (another part of the Biennale, where there is a curator to select the exhibitors), the works appear a little more mature and with a more defined language, but also repetitive, with no major news or impact. There was much use of photography and words in overlapping collages, as well as facilities that spanned great outdoors.

One or other work arouses more attention, but nothing impressive.

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Impressive was the work exposed in the Church of San Giorgio Maggiore, as a parallel event of the Biennale, from the Spanish Plensa. Magnificent and really creative with that conceptual aesthetic that takes the viewer to reflection. A gigantic head of chromed grille, subtly with the contours of the human face, like a puzzle in the main nave of the church, on its side, suspended from the ceiling, one hand also gigantic, almost golden metal with many hanging letters, suggesting dialogue between brain and human hands. Dialogue we do throughout our whole life. The power of reason over the movement that drives us.

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Aside from the work of Plensa, actually, I did not found a new aesthetic yet, or the revolution of contemporary art, everything too fleeting and disposable, nothing new announced, where can be noticed the beautiful of eternity, the chronicle of an era going through the times. All artworks exhibited come into entropy, while the Renaissance remain intact in its beauty, in the Uffizi Gallery in Florence, with much beauty to all of us, their customs, religion, politics, class differences in living, true chroniclers of its time, without the wear of the works.

The statements above do not invalidate the fact of loving contemporary art, including “graffiti”, as Banksy and others. But within its quirks, I believe, there are real artists whose works will persist over time, as the “old” (the traditional appearance) had left.
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Placements of this tour refers specifically to the Venice Biennale, where crowding the art of the planet, what is being done today, which are the announced prophecies, which the revolutionary language of real transformation that will prevail in our world in decay.

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Two surprises in Cortona

It is a town located between the regions of Umbria and Tuscany, perched high on a mountain, stalking the fertile valley of olives and vineyards intermixed by tall cypress trees, typical of the region, forming a green landscape of many hues.

Still in Brazil, I have talked to my nephew Carlo who said had fallen in love with the landscapes shown in the film, and not only him, his son Joao, a twelve years old boy, had also watched the movie twice and also the wonderful images of Tuscany. O promised him to send all photos made in the route and I really did, to his delight.
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I did not know anything about this city, except that it was the scene of the famous movie.

In Florence, from where we left, me and my friends by train, the first destination was Camucia, city where it gets to go to Cortona, up there in the mountains, that because there is no cars or train in the city, which is closed wih the typical walls of medieval cities.

Total discouragement as it was raining heavily.

What to do, “We are in the rain, we must get wet”.

We have finally arrived in Cortona and, between a peek and another, we began to dazzle with beautiful streets, medieval houses, amazing stairs along the way, flowers falling on the windows, promenades here and there, showing us the most beautiful Tuscan landscapes.

It is like diving into a distant past.

And was walking at this time that the first surprise happened, I came across an Etruscan Museum, indicating that they were there, hence the Etruscan style of the walls I had seen in the beggining  of the way.

Cortona was built by that people I admire very much, you notice they developed a remarkable civilization, both from the political point of view and the artistic, and especially in the recognition of the role of women in society. Avant-garde allowed their active social participation including them in economic activities.

Great with business, the Etruscans held economic power  over other people at the time, with the accumulation of wealth, aroused the greed of neighbors, forcing them to surround their cities with high walls. They left strong marks in several cities of Tucany which were dominated by them.

It was  in the Etruscan Museum in Rome, a few years ago, that I met closer by the pieces exposed, some of  the wonderful civilization they were.

But, continuing on my pilgrimage in Cortona, admiring the small town, I neither imagined to face the second surprise that enraptured me.

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I saw in front of the little Jesus church, high above the city where you face a great view of Tuscany, the little Diocesan Museum, I decided to go inside, sure that there was only marginal artworks. It was when I faced with a lot of joy, nothing more than the “Annunciaion” (in Italian, Annunciazione) from Fra Angelico – the work of Blessed was one of the most sought in the museums I have visited. There is another “Annunciation” from friar, in the Prado Museum, but this triptych (usually a set of three paintings together united by a triple frame giving the aspect of being only one artwork), tempera on wood, is special, the Prado’s was painted before (1430/32) and from Diocesano (1433/34), in this one, the Blessed highlights more the news of the angel for Mary, and in the left corner diminish the importance of the expulsion of Adam and Eve from paradise), and, below, reports key scenes in the life of the Virgin, both are beautiful.

I get dazzled with the delicacy of the paths in the brush strokes of Fra Angelico, his painting is a harbinger of renaissance with the main concern with the technique, already demonstrating the notion of perspective, giving a certain three-dimensionality to the work, while so far prevailed linearity .In the work we observe a true alliance with the divine.

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Another important work of Angelico is “Final Judgment”, where there is a certain modernity in revealing the inner state of the characters. I feel and think that seeing the Annunciation was one of the greatest gifts life has given me.