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  • ICAA Record ID
    1111304
    TITLE
    Camargo
    NOTES

    Guy Brett esreveu o artigo sob pseudônimo de Gerald Turner.

    BRETT, Guy. Camargo. Signals Newsbulletin, Londres: Signals Gallery, 1964.

    IMPRINT
    London, England : Signals Gallery, 1964
    DESCRIPTION
    3p.
    LANGUAGES
    English
    TYPE AND GENRE
    Journal article – Crítica de arte
    BIBLIOGRAPHIC CITATION

    Turner, Gerald [Brett, Guy] Camargo. Londres, Signals Newsbulletin, vol. 1, n. 5, dezembro de 1964, pp. 4-5

    NAME DESCRIPTORS
Editorial Categories [?]
Synopsis

Guy Brett analyzes the relief carvings on wood done by Sérgio [de] Camargo in the 1960s, and comments on the materials, light, and surface. He mentions the artist’s use of wooden cylinders in a geometric as well as an organic sense, relating them to the “gentleness” of Brasilia. Brett compares Camargo’s sculptural work with works by other notable Venezuelan artists such as Carlos Cruz-Díez, Jesús Soto, and Alejandro Otero, who in his opinion, “revitalize the surface (. . .) operating in the void” that exists “between painting and sculpture.” Brett notes that unlike their European counterparts, Latin American artists are more likely to use raw materials than found materials; he speculates that it might be because such materials are related to architecture, and mentions Brasilia once again. Brett then compares Camargo’s work to the work of Antoni Tàpies and Paul Cézanne, and says that the Brazilian artist takes a “positive, architectural approach.” On the other hand, Tàpies works in a “state of resignation.” Brett also notices that Camargo struggles like Picasso, who sees art as a way to externalize “one’s fear of the unknown.” Brett is concerned with why Camargo’s paintings, produced in an environment not unlike the one in which Cézanne worked—“through an intense involvement with nature,” allow “nature, when closely observed, to reveal the same watercolor structure found in Cézanne’s paintings.” The article includes a number of reproductions of Camargo’s paintings and Cézanne’s watercolors.    

Leia esta sinopse em português
Synopsis

Guy Brett entende a obra de Sergio Camargo como nova e experimental. O efeito da luz, ao incidir sobre os relevos de madeira compostos de cilindros sobre um plano paralelo à parede, desvela a estrutura complexa das obras. Brett vê esses relevos, criadores de tensão entre o geométrico e o orgânico, como um intercalar de contrários: vazio e pleno, liso e irregular. Para ele, Camargo trabalha no limite entre pintura e escultura, bem como o fazem outros artistas sul-americanos como Cruz-Diez, Jesús Soto e Alejandro Otero. Nota ainda que todos eles trabalham com materiais brutos e são ligados à arquitetura. Segundo Brett, a obra de Camargo é uma construção a partir da natureza, baseada em procedimentos e sensações sugeridos pelo modelo, que recriam os ritmos do crescimento natural transformando-o em módulos lógicos que criam padrões.

Revert to English synopsis
Annotations

This article about the work of Sérgio [de] Camargo (1930?90) was published in 1965 in Signals Newsbulletin, the London magazine. Brett used the pseudonym Gerald Turner to sign the articles he published in that important experimental forum devoted to art in the 1960s, writing mainly about Kinetic art and the exchange of values between European and Latin American artists. He met Camargo for the first time the previous year, 1964, in Paris. He took an interest in the Brazilian artist’s career, especially with regard to his transition from three-dimensional sculpture to his “relêvos brancos” (white reliefs), and the dialogue between observer/work that ensued (see “Sergio Camargo: Luz e Sombra” [doc. no. 1232285]).

 

In Brazil, the critic Ronaldo Brito analyzes what he calls Camargo’s “relêvos moleculares” (molecular reliefs) in an essay called “Order and the Madness of Order” [doc. no. 1110496].

 

Based in London, the critic Guy Brett (b. 1942) is also a curator and a lecturer on the international circuit. He cofounded a magazine (Newsbulletin of Signals) and a gallery in London together with Paul Keeler, also called Signals. He worked with Mira Schendel to present her solo exhibition at Signals in 1966. Brett has regularly published his essays, which are almost always based on radical or experimental ideas, in international art magazines, and he is the author of a number of monographs. His major contributions include his involvement with Kinetic art from its earliest days in Europe and Venezuela. His best-known books are: Kinetic Art: The Language of Movement (London: Studio Vista, 1968); Force Fields: Phases of the Kinetic (London: Hayward Gallery, 2000); Carnival of Perception: Selected Writings on Art (London: Institute of International Visual Arts, 2004); and in this specific context, Brasil experimental - arte/vida: proposições e paradoxos (org. Kátia Maciel) (Rio de Janeiro: Contra Capa Livraria, 2005).

 

For a broader view of Brett’s thoughts on Brazilian art, see “Uma cronologia de encontros, 1964-2005” [doc. no. 1111303]. The British critic has published a number of monographs about Brazilian artists. On the subject of Mira Schendel’s radical work, Brett wrote “Ativamente o vazio” [doc. no. 1111214] and Schendel” [doc. no. 111213]; on the subject of Lygia Clark’s innovations, “In Search of the Body” [doc. no. 1232526]; on his reading of the 1950s and 1960s in Brazil, “Un salto radical” [doc. no. 808389]; and finally, his testimony on the art of the 1970s in Brazil, gathered by Márcio Doctors, “Guy Brett: arte brasileira sem folclore” [doc. no. 1110958].

Leia este comentário crítico em português
Annotations

Este artigo, escrito pelo critico inglês Guy Brett sob o pseudônimo de Gerald Turner para a publicação Signals Newsbulletin, da galeria homônima de Londres, em 1964, marca o primeiro encontro de Brett com a arte brasileira. Ele discute a produção de Camargo da década de 1960 denominada por Ronaldo Brito "relevos moleculares". É interessante comparar este texto ao ensaio de Brito, pois este se opõe à leitura de Brett , que compreende a obra de Camargo dentro do contexto da optical art na América Latina. Para o crítico brasileiro, isso seria um erro de leitura da critica a partir de alguns efeitos ópticos da obra de Camargo. Apesar dos críticos compartilharem alguns comentários, como sobre o aspecto de tensão da obra entre o geométrico e o orgânico, divergem ainda quanto a elementos interpretativos fundamentais: para Brett, trata-se de "trabalho de parede"; Brito insere a obra de Camargo dentro da escultura contemporânea.

 

Ver também:

BRITO, Ronaldo. Camargo. São Paulo: Akagawa, 1990.

 

m- Internacionalização da cultura. Artista cidadão do mundo.

Revert to English annotations
Researcher
Equipe Brasil: Ana Cândida Avelar
Team
FAPESP, Sao Paulo, Brazil
Credit
Courtesy of the Archive of Guy Brett, London
Location
Instituto de Arte Contemporânea