The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This article by the artist João Câmara Filho celebrates the tenth anniversary of the founding of the Oficina Guaianases de Gravura, the print shop in Olinda, Pernambuco. The author describes the origins and activities of the nonprofit organization that had no aesthetic “prejudices” and was entirely at the disposal of both “learned and colloquial” artists. The “democratic” nature of the shop, which was open to printmakers and to amateurs and supporters, is described by the author as a reaction against the repression of the authoritarian regime imposed by the Brazilian military dictatorship (1964–1985). The article mentions the cooperative spirit that existed among members and the methods used to raise funds for the materials needed for printing; the author also stresses the desire of the group to develop the technical potential of printmaking, and lithography in particular. The report ends by quoting statements by artists associated with the workshop, such as Delano, Gil Vicente, Liliane Dardot, Tamires Teixeira, and José Alves de Moura, among others.
Artigo do artista João Câmara Filho sobre os dez anos de fundação da Oficina Guaianases de Gravura, em Olinda, Pernambuco. O texto descreve o surgimento e as atividades dessa sociedade sem fins lucrativos, sem "preconceitos" estéticos e à disposição de artistas e poetas, sejam eles "eruditos ou populares". O perfil "democrático" da Oficina, aberta não apenas a gravadores, mas também a aficionados e simpatizantes, é caracterizado pelo autor como reação ao autoritarismo do regime político vigente no Brasil desde 1964, quando do golpe militar. O texto comenta a colaboração "gratuita" dos membros associados, a destinação de recursos arrecadados à compra de material de processamento, impressão e expediente, além de enfatizar o interesse da Guaianases na potencialidade da técnica da gravura, sobretudo da litografia. A segunda parte da reportagem reúne depoimentos de artistas vinculados à Oficina, a exemplo de Delano, Gil Vicente, Liliane Dardot, Tamires Teixeira e José Alves de Moura, entre outros.
The Oficina Guaianases de Gravura dates back to the 1970s, when it was a workshop run by the artists João Câmara and Delano, in the Campo Grande neighborhood (on Guaianases Street) in Recife. From the very beginning, the founders’ intention was always to create a group that would promote the art of printmaking in the state of Pernambuco, a goal that was achieved in 1978. The following year, the Guaianases shop moved to the Mercado da Ribeira, in Olinda, where the group used the front of the building for exhibitions and put the workshop in the basement. In addition to the shows held at the Ribeira location, the members of the Oficina Guaianases de Gravura organized group exhibitions in a number of Brazilian cities.
For more information about the Clubes de Gravura in other Brazilian cities, see the article in the ICAA digital archive about Rio Grande do Sul, “Clubes de Gravura do RS: influências no país e permanência no Sul” (doc. no. 1110704). With regard to traditional printmaking, see the article by Sérvulo Esmeraldo, “Sobre a gravura popular e a Via-Sacra de Mestre Noza” (doc. no. 1110760).
João Câmara Filho (b. 1944) is a Brazilian artist who works in Olinda. He is a prolific painter in oil, and also works in lithography, in which he tends to produce prints in series on particular themes, such as Escenas de la vida brasileña (1976), a view of political life in Brazil (1930–1956), which consists of dozens of paintings and a hundred or so lithographs. Another of his series is Dez Casos de Amor e Uma Pintura de Câmara, (1977–1983). He works in a variety of media, including paint, prints, objects, montage, and a notebook. At the time this article was written, Câmara was showing his lithographs in many places, including the Museu de Arte Contemporânea do Paraná and in a “special salon” that he was offered at the VIII Mostra de Gravura de la Cidade de Curitiba, in that same state. He then started work on another thematic series, Duas cidades [Two Cities] (1987–2001), which was based on drawings and objects. His work has been the subject of essays written by the well-known critic Ferreira Gullar.
A Oficina Guaianases de Gravura tem origem na década de 1970, a partir de um ateliê coordenado pelos artistas João Câmara e Delano, no bairro de Campo Grande, na rua Guaianases, no Recife. O objetivo, desde então, era formar uma sociedade que promovesse a prática da gravura no estado de Pernambuco, o que se formaliza apenas em 1978. No ano seguinte, a Guaianases passa a funcionar no Mercado da Ribeira, em Olinda, utilizando o salão do edifício para realizar exposições e o subsolo para a oficina. Além das exposições na Ribeira, a Oficina Guaianases de Gravura realizou mostras coletivas de seus sócios em várias outras cidades brasileiras.
i- Clubes de Gravura