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Synopsis

This is a news item about an exhibition of work by the artist Frans Krajcberg, held at the Museu de Arte Moderna do Rio de Janeiro (MAM-Rio) in 1992. It also covers other similar exhibitions held in connection with the international event Eco-92 - Conferência das Nações Unidas sobre Meio Ambiente e Desenvolvimento - RIO 92. The text provides a biographical and artistic profile of Frans Krajcberg, including his opinions on art and ideology, which have had a marked influence on his work. It also investigates other shows with similar themes that brought together artists as dissimilar as João Câmara, Margaret Mee, Robert Rauschenberg and Sol Lewitt, simultaneously, in a listing of current exhibitions.

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Synopsis

Reportagem sobre a exposição do artista Frans Krajcberg realizada no Museu de Arte Moderna do Rio de Janeiro em 1992, e outras ocorridas como parte dos eventos relacionados a Eco-92 - Conferência das Nações Unidas sobre Meio Ambiente e Desenvolvimento - RIO 92. O texto traça um perfil biográfico e artístico de Frans Krajcberg, mencionando suas opiniões sobre arte e ecologia, questões marcantes de seu trabalho. Aborda outras exposições sobre o mesmo tema, simultaneamente em cartaz, que reuniram artistas como João Câmara, Margaret Mee, Robert Rauschenberg e Sol Lewitt.

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Annotations

Frans Krajcberg (b. 1921), a Polish artist living in Brazil, began his work as an artist in the 1940s, moving through Expressionism and Abstract Art. But it was the works he created in the 1960s that stood out, marked by his involvement with nature and his defense of ecological causes. Art historians, including Vera Pedrosa, took an interest in the work he produced and his thinking starting in the 1970s.

 

Consider the irony entailed in the idea of “natureza morta” (“still life,” literally: “dead nature”) regarding the “deforestation” of the Amazon region criticized by Krajcberg in his sculptures. These were painted with material recovered from the slash-and-burn land clearance carried out in that vast region starting in the early 1970s with the opening of the Trans-Amazonian Highway and the related concession of areas for agriculture and livestock. The theme is apparent in the “Manifesto do Naturalismo Integral ou Manifesto do Rio Negro” (1978) [doc. no. 1111358 and doc. no. 805796], signed by Krajcberg along with the French critic Pierre Restany and the Yugoslav artist and entrepreneur Sepp Baendereck. The manifesto is a rallying call in defense of art that is “naturalistic, essentialist and fundamental.” It yearns for a return from thinking and perception to a condition of “original nature,” represented in this text by Rio Negro. Understood from that ecological perspective of earlier decades, to Krajcberg, metropolitan art could only be “natureza morta.”

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Annotations

Frans Krajcberg, artista polonês radicado no Brasil, inicia sua trajetória artística nos anos 1940, transitando pelo expressionismo e pela arte abstrata, mas é com seus trabalhos feitos a partir dos anos 1960 que sua obra ganha destaque, sendo marcada pelo envolvimento com a natureza e a defesa de causas ecológicas.

 

Ver também:

CANONGIA, Ligia. Frans Krajcberg. Galeria, 29, 1992.
PEDROSA, Vera. Entrevista com Krajcberg. GAM, 14, 1968.
ABREU, Ângela. Ao encontro da natureza. Arte Hoje, 25, jul 1979

 

e - Arte e meio ambiente

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Researcher
Carlos Moura
Team
FAPESP, Sao Paulo, Brazil
Location
Serviço de Biblioteca e Documentação ECA/USP