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  • ICAA Record ID
    1293883
    TITLE
    A Arte e as Coisas
    IMPRINT
    [s.l.] : [s.n.], [s.d.]
    LANGUAGES
    Portuguese
    TYPE AND GENRE
    Book/Pamphlet – Essays
    BIBLIOGRAPHIC CITATION

    Roels Jr., Reynaldo. “A Arte e as Coisas.” In: O Objeto no Cotidiano da Arte. Arte Construtiva: O Brasil como Projeto. INFOMAM, Rio de Janeiro: Museu do Arte Moderna do Rio de Janeiro, March/April. 1999. pp. 4-5.

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Synopsis

 

The Brazilian critic and curator Reynaldo Roels Jr. (1951-2009) was, at the time of this publication, the Curator of the Gilberto Chateaubriand Collection at MAM-RJ. This large survey exhibition, which was alternately titled Cotidiano/Arte: Objeto Anos 60/90 and O Cotidiano e a Arte: o Objeto, also traveled to the Itaú Cultural Institute in São Paulo. It opened at MAM-RJ on March 31, 1999. An art critic for Jornal do Brasil in the 1980s, Roels held other curatorial positions at MAM-RJ and also directed the Escola de Artes Visuais do Parque Lage during an important period of reevaluation of Brazilian cultural history and debates about the “return to painting.” This document includes another essay, by project curator Lisette Lagnado, which focuses on some objects from the 1990s and their relationship to time and daily ritual.

 

The exhibition demonstrates some of the lasting effects of the major ontological questions posed by the Constructive and Concrete artists of the mid-twentieth century. Though some artists of that generation – such as Hélio Oiticica – are represented, the exhibition focuses largely on those that followed – such as the group known as Arte Brasileira Contemporânea – extending the logic that defined earlier concerns: a phenomenological relationship to the object and art as social practice. While Roels links the sculptural works of Lygia Clark and Franz Weismann to the Cubist tradition of assemblage, it is clear that their critical emphasis on the viewer as activator of the work contained social implications that continued to reverberate for successive generations of artists in the Rio de Janeiro scene. Investigations of the body in space, for instance, are a theme of the works highlighted in Roels’ essay.

 

[For more by Reynaldo Roels Jr., see “Arte Construtiva: O Brasil como Projeto” (doc. no. 1293915) and the article “A arte do AI-5 hoje” (doc. no. 1110475) in the ICAA digital archive].

 

For complementary reading on artists in this exhibition, see “Barrio,” by Artur Barrio (doc. no. 1111068); “Wesley Duke Lee,” by Cacilda Teixeira da Costa (doc. no. 1111074); “"Malasartes" vai nascer, debatendo a situação do artista brasileiro,” by Carlos Zilio, Carlos Vergara, Rubens Gerchman and Waltercio Caldas (doc. no. 1110556); “Cildo Meireles,” by Ronaldo Brito and Eudoro Augusto Macieira de Sousa (doc. no. 1111069); “Antonio Manuel, the cock of the golden eggs,” by Décio Pignatari (doc. no. 1111097); “Apocalipopótese,” by Hélio Oiticica (doc. no. 1110682); “L'art bresilien dans les sables mouvants,” by Pierre Restany (doc. no. 1110508); “A arte abrange tudo. É uma experiência vital,” by Francisco Bittencourt and Antonio Manuel (doc. no. 1111094); “A arte experimental quer questionar a sensibilidade vigente,” by Francisco Bittencourt (doc. no. 1110612); “A idéia da G-4,” by Rubens Gerchman (doc. no. 1110583); “Todos atentos,” by Waldemar Cordeiro (doc. no. 1090623); “A arte e a hora do papelão,” by Daniel Mas and Carlos Augusto Vergara (doc. no. 1110549); “Carlos Augusto Vergara,” by Helio Oiticica (doc. no. 1110552); “Atensão,” by Carlos Zilio (doc. no. 1110551); “Fernanda Gomes,” by Mónica Amor (doc. no. 1281488); “Opinião provoca manifesto,” by Harry Laus (doc. no. 1110558); “Arte híbrida,” by Sérgio Romagnolo (1075117); “Aspectos do não-objetualismo no Brasil” (doc. no. 1111221) and “A nova dimensão do objeto (doc. no. 1111200) by Aracy Amaral; “Iconografia de massa,” by Mário Barata (doc. no. 1111087), “Lygia Clark,” by Mário Pedrosa and Ferreira Gullar (doc. no. 1111070); “O corpo como destino,” by Maria Alice Millet (doc. no. 1111065); “X-rated (duas ou três coisas qu’eu sei dela),” by Sérgio Bessa (doc. no. 1111062); and “O tridimensional na arte brasileira dos anos 80 e 90: genealogias, superações,” by Tadeu Chiarelli (doc. no. 1111352)].

 

Annotations

 

The Brazilian critic and curator Reynaldo Roels Jr. (1951-2009) was, at the time of this publication, the Curator of the Gilberto Chateaubriand Collection at MAM-RJ. This large survey exhibition, which was alternately titled Cotidiano/Arte: Objeto Anos 60/90 and O Cotidiano e a Arte: o Objeto, also traveled to the Itaú Cultural Institute in São Paulo. It opened at MAM-RJ on March 31, 1999. An art critic for Jornal do Brasil in the 1980s, Roels held other curatorial positions at MAM-RJ and also directed the Escola de Artes Visuais do Parque Lage during an important period of reevaluation of Brazilian cultural history and debates about the “return to painting.” This document includes another essay, by project curator Lisette Lagnado, which focuses on some objects from the 1990s and their relationship to time and daily ritual.

The exhibition demonstrates some of the lasting effects of the major ontological questions posed by the Constructive and Concrete artists of the mid-twentieth century. Though some artists of that generation – such as Hélio Oiticica – are represented, the exhibition focuses largely on those that followed – such as the group known as Arte Brasileira Contemporânea – extending the logic that defined earlier concerns: a phenomenological relationship to the object and art as social practice. While Roels links the sculptural works of Lygia Clark and Franz Weismann to the Cubist tradition of assemblage, it is clear that their critical emphasis on the viewer as activator of the work contained social implications that continued to reverberate for successive generations of artists in the Rio de Janeiro scene. Investigations of the body in space, for instance, are a theme of the works highlighted in Roels’ essay.

[For more by Reynaldo Roels Jr., see “Arte Construtiva: O Brasil como Projeto” (doc. no. 1293915) and the article “A arte do AI-5 hoje” (doc. no. 1110475) in the ICAA digital archive].

For complementary reading on artists in this exhibition, see “Barrio,” by Artur Barrio (doc. no. 1111068); “Wesley Duke Lee,” by Cacilda Teixeira da Costa (doc. no. 1111074); “"Malasartes" vai nascer, debatendo a situação do artista brasileiro,” by Carlos Zilio, Carlos Vergara, Rubens Gerchman and Waltercio Caldas (doc. no. 1110556); “Cildo Meireles,” by Ronaldo Brito and Eudoro Augusto Macieira de Sousa (doc. no. 1111069); “Antonio Manuel, the cock of the golden eggs,” by Décio Pignatari (doc. no. 1111097); “Apocalipopótese,” by Hélio Oiticica (doc. no. 1110682); “L'art bresilien dans les sables mouvants,” by Pierre Restany (doc. no. 1110508); “A arte abrange tudo. É uma experiência vital,” by Francisco Bittencourt and Antonio Manuel (doc. no. 1111094); “A arte experimental quer questionar a sensibilidade vigente,” by Francisco Bittencourt (doc. no. 1110612); “A idéia da G-4,” by Rubens Gerchman (doc. no. 1110583); “Todos atentos,” by Waldemar Cordeiro (doc. no. 1090623); “A arte e a hora do papelão,” by Daniel Mas and Carlos Augusto Vergara (doc. no. 1110549); “Carlos Augusto Vergara,” by Helio Oiticica (doc. no. 1110552); “Atensão,” by Carlos Zilio (doc. no. 1110551); “Fernanda Gomes,” by Mónica Amor (doc. no. 1281488); “Opinião provoca manifesto,” by Harry Laus (doc. no. 1110558); “Arte híbrida,” by Sérgio Romagnolo (1075117); “Aspectos do não-objetualismo no Brasil” (doc. no. 1111221) and “A nova dimensão do objeto (doc. no. 1111200) by Aracy Amaral; “Iconografia de massa,” by Mário Barata (doc. no. 1111087), “Lygia Clark,” by Mário Pedrosa and Ferreira Gullar (doc. no. 1111070); “O corpo como destino,” by Maria Alice Millet (doc. no. 1111065); “X-rated (duas ou três coisas qu’eu sei dela),” by Sérgio Bessa (doc. no. 1111062); and “O tridimensional na arte brasileira dos anos 80 e 90: genealogias, superações,” by Tadeu Chiarelli (doc. no. 1111352)].

 

 

Researcher
Julia Detchon; ICAA Team
Team
International Center for the Arts of the Americas, MFAH, Houston, USA
Location
MFAH Archives