This commentary on the work of Marcos [Coelho] Benjamim (b. 1952) places emphasis on the questions of memory, eroticism, and artisanal practice, all of which the critic deems characteristic of a certain strain of contemporary Brazilian art.
A draftsman and sculptor, Marcos Coelho Benjamim was born and raised in the state of Minas Gerais. His early work consisted of drawings and caricatures, but in the eighties, he began making large-format objects and sculptures. He is, indisputably, a major representative of art from this region of Brazil. His work combines pictorial memory with the international object-based practice characteristic of the “Geração 80.”
Frederico [de] Morais (b. 1936) is a major figure in Brazilian art criticism. Starting with his early work as a film critic in Belo Horizonte where he contributed to a number of the city newspapers, he has defended unconventional and experimental forms of expression associated with the avant-garde. In 1967, he moved to Rio de Janeiro, writing art criticism for the newspapers Diário de Notícias and O Globo. He was one of the most active “committed” critics of the sixties and seventies, supporting avant-garde movements and curating occasional experimental art exhibitions. Pursuant to the emergence of the “Geração 80,” he reformulated some of his political views and theories.
Texts by Morais on the “Geração 80” include “Leonilson: a Geração 80 ficou para tras,” [ICAA digital archive 1110961); on the “retour à l’ordre” in Brazil, see “Gosto deste cheiro de pintura” [I like the smell of paint] (1110992)]. Some of the countless texts on the “Geração 80” are found in the ICAA digital archive (see: “Dance a noite inteira mas dance direito” (1110945) y “Pintura dos anos 80: algumas observações críticas” (1110972).