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Elles: Mulheres Artistas Na Coleção Do Centro Pompidou

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Elles: Mulheres Artistas Na Coleção Do Centro Pompidou ISBN 978-85-7850-100-6 PRODUÇÃO 9 788578 501006 APOIO INSTITUCIONAL COORDENAÇÃO APOIO PATROCÍNIO REALIZAÇÃO POMPIDOU POMPIDOU CENTRE THE COLLECTION OF ARTISTS INTHE WOMEN WOMEN ARTISTS IN THE COLLECTION OF THE CENTRE POMPIDOU Coedição + arte3 Obra referente à exposição apresentada em: Paris, Centre Pompidou, de 27 de maio de 2009 a 9 de janeiro de 2011 Seattle, Seattle Art Museum, de 11 de outubro de 2012 a 13 de janeiro de 2013 Rio de Janeiro, Centro Cultural Banco do Brasil, de 23 de maio a 14 de julho de 2013 Belo Horizonte, Centro Cultural Banco do Brasil, de 19 de agosto a 20 de outubro de 2013 Sob a direção de Cécile Debray/Emma Lavigne Primeira edição em francês e inglês © Éditions du Centre Pompidou, Paris, 2009 Edição português/inglês © Centro Cultural Banco do Brasil, Rio de Janeiro e Belo Horizonte, arte3/BEI˜ Editora 2013 Capa/cover Janaina Tschäpe Mar de Sangue, 2004 ©Janaina Tschäpe PRODUÇÃO APOIO INSTITUCIONAL COORDENAÇÃO MINISTÉRIO DA CULTURA APRESENTA E BANCO DO BRASIL APRESENTA E PATROCINA WOMEN ARTISTS IN THE COLLECTION OF THE CENTRE POMPIDOU APOIO PATROCÍNIO REALIZAÇÃO AGRADECIMENTOS/ACKNOWLEDGMENTS O Centre Pompidou e as Aos artistas, herdeiros, Sherrie Levine curadoras da exposição, Cécile colecionadores e a todos os que Anna Maria Maiolino Debray e Emma Lavigne, contribuíram para o sucesso Annette Messager gostariam de agradecer desta exposição Marta Minujin The Centre Pompidou and The artists, successors, collectors Vera Molnar the exhibition curators Cécile and all the people who have Rivane Neuenschwander Debray and Emma Lavigne helped to ensure the success of ORLAN would like to thank this exhibition Rosângela Rennó Pipilotti Rist À Fundação Centro Pompidou, Jean e/and Geneviève Boghici, Martha Rosler a seu presidente Steven Florencia Chernajovsky, Cyril Carolee Schneemann Gutmann, à vice-presidente Chiron, Blandine Delahaye, Cindy Sherman Estrellita Brodsky e aos Emiliano Valdés/Proyectos Agnès Thurnauer colecionadores da Fundação, Ultravioleta, Joël Girard, Janaina Tschäpe bem como à Friends of Latin José Mário Brandão/Galeria Cybèle Varela America, pela cessão de diversas Graça Brandão (Lisboa/ Nil Yalter obras, particularmente a: Lisbon), Romaric Buel, Paulo The Centre Pompidou Herkenhoff, Hecilda Martins Especial agradecimento a Paula Foundation, President Steven e/and Sergio Fadel, Mhairi Pape/Projeto Lygia Pape Gutmann, Vice President Martino da/from Agence Special thanks to Paula Pape/ Estrellita Brodsky and the Centre Photographique de la Réunion Projeto Lygia Pape Pompidou Foundation collectors des Musées Nationaux – Grand as well as the Friends of Latin Palais, Alice Moscoso e/and Queremos, ainda, agradecer a America who have given works Christophe Wiesner, Antonio Marc Pottier pela coordenação and in particular: Alberto e/and Angela Gouveia internacional da exposição no Vieira, Fabio e/and Gabriela Brasil. Estrellita e/and Daniel Brodsky; Szwarcwald We would also like to thank The Estate of Francesca Marc Pottier as the international Woodman, Gail e/and Tony Agradecemos também coordinator for this exhibition in Ganz; Milly e/and Arne aos seguintes artistas pela Brazil. Glimcher; Leah Levy, Trustee, participação: Dwight e/and Jenifer Hackett; We would like to thank the Racquelin e/and Ignacio following artists for their Mendieta; Mary Sabbatino, participation in the exhibition: Lelong Gallery; Hugo Quinto, Marina Abramovi´c Catherine Petitgas, Vivian Eva Aeppli Ostrovsky, Hugo Quinto, Sonia Andrade Andrea e/and José Olympio Eleanor Antin Pereira, Anibal Jozami, Marlise Geneviève Asse Ilhesca. Valérie Belin Tania Bruguera À Society of Friends of the Sophie Calle Musée national d’art moderne, Rineke Dijkstra na pessoa do presidente Jacques VALIE EXPORT Boissonnas e da diretora Andrea Fraser Marie-Stéfane de Sercey Regina José Galindo Anna Bella Geiger The Society of Friends of the Nan Goldin Musée national d’art moderne; Dominique Gonzalez-Foerster President Jacques Boissonnas and Jenny Holzer Director Marie-Stéfane de Sercey Sanja Ivekovi´c Kathe Kollwitz and the Guerrilla Girls Barbara Kruger Sigalit Landau 4 SUMÁRIO 7 Centro Cultural Banco do Brasil 89 FACE A FACE COM A HISTÓRIA 9 Prefácio 97 ESPAÇOS DOMÉSTICOS Alain Seban e Alfred Pacquement Um teto todo seu Emma Lavigne 11 Introdução Cécile Debray e Emma Lavigne 105 MUSAS CONTRA O MUSEU 15 AS PIONEIRAS DA ABSTRAÇÃO 113 NARRAÇÕES Mulheres pioneiras Palavras em ação Cécile Debray Camille Morineau 27 RETRATOS E A QUESTÃO DE GÊNERO 124 BIBLIOGRAFIA 35 A SEGUNDA PARTE DO SURREALISMO 128 MULHERES ARTISTAS NA COLEÇÃO DO MUSÉE NATIONAL 47 ABSTRAÇÃO EXCÊNTRICA D’ART MODERNE Camille Morineau 135 A EXPOSIÇÃO NO CENTRO 59 AS CORES DO ABSTRACIONISMO CULTURAL BANCO DO BRASIL Imateriais RIO DE JANEIRO Quentin Bajac 147 OBRAS EXPOSTAS 71 PÂNICO GENITAL Atire à vontade 153 TEXTOS EM INGLÊS Quentin Bajac 213 CRONOLOGIA 81 O CORPO COMO ESPETÁCULO O corpo-slogan 242 FICHA TÉCNICA Emma Lavigne 5 O Ministério da Cultura, o Banco autodidatas e batalhadoras para que do Brasil e a BBDTVM apresentam, sua voz fosse ouvida. com o apoio da Brasilcap e do IRB- As dificuldades sociais e mate- -Brasil Re, Elles: Mulheres Artistas riais com que se confrontam ao in- na Coleção do Centro Pompidou, ex- gressar em carreiras artísticas no fi- posição com curadoria de Cécile nal do século 19 e depois tiveram Debray e Emma Lavigne que exibe um impacto conceitual em seu tra- um recorte da história da arte mo- balho. É possível verificar, a partir derna e contemporânea segundo o das próprias obras, o esforço de suas ponto de vista feminino. criadoras para se libertar das con- Pinturas, esculturas, desenhos, cepções tradicionais de “arte da mu- fotografias, vídeos e instalações ex- lher” e representações convencio- plicitam o espaço ocupado pelas nais do “sexo frágil”. Dispostas a mulheres no cenário criativo dos sé- construir imagens da figura femini- culos 20 e 21. São trabalhos que na pelas próprias mãos, elas foram expressam humor, sensualidade e capazes de redefinir o sentido do ambiguidade e abrangem movimen- que era ser mulher no século 20. tos-chave da arte moderna, como Ao trazer obras selecionadas en- cubismo, abstracionismo, dadaís- tre a maior coleção de arte contem- mo, surrealismo e minimalismo, porânea da Europa, o Centro Cultu- além de arte conceitual e crítica ins- ral Banco do Brasil convida o público titucional. a repensar o espaço ocupado pelas Embora sua presença tenha sido mulheres na cultura universal. É minimizada em relatos históricos, uma oportunidade para explorar dis- artistas mulheres estiveram envolvi- tintas visões e perspectivas a partir das em diversos movimentos cultu- do universo de cada criadora. rais. Muitas vezes deixadas de lado, marginalizadas, elas precisaram ser Centro Cultural Banco do Brasil 7 PREFÁCIO Alain Seban Presidente do Centre Pompidou Alfred Pacquement Diretor do Musée national d’art moderne Em 2009-2010, com a exposição mais justa a representação das artis- elles@centrepompidou, o Musèe tas mulheres, não era um mero arti- national d’arte moderna do Cen- fício. Na verdade, pretendia ser, ao tre Pompidou apresentava seu mesmo tempo, o sinal de uma toma- acervo feminino, chegando até a da de consciência e a simples tra- afastar completamente os artis- dução da participação fundamental tas homens do andar dedicado às das artistas mulheres na arte do sé- coleções contemporâneas. Essa culo 20 e, em particular, na criação expo-coleção, neologismo sugerido artística das últimas décadas. pelos curadores do museu, distin- Sabe-se que esse lugar foi con- guia-se de uma exposição na qual quistado com muita luta e que, ain- a seleção das obras é efetuada em da hoje, não faltam exemplos de um perfeita harmonia com a temática flagrante desequilíbrio. O projeto escolhida. A imposição de valer- era audacioso. Tratava-se de uma -se unicamente dos recursos do espécie de manifesto consagran- acervo permanente foi também do o espaço crescente das artistas a ocasião para explorar a própria mulheres nas coleções do museu e história desse patrimônio – o mais a vontade, plenamente consciente, importante da Europa em matéria de afirmá-lo ainda mais, bem como de arte moderna e contemporânea de registrar o possível desenvolvi- – e o lugar que soube reservar às mento de uma história da arte no artistas mulheres. feminino. Nunca um museu havia O evento foi amplamente sau- tentado fazê-lo antes e pode-se dado por seu caráter inédito e ino- acrescentar que muitos deles não vador. Suscitou também, como se poderiam conceber esse projeto, podia prever, muitas críticas e até seja porque o período histórico ao mesmo polêmicas. No entanto, a qual se consagram não o justifique, opção de ir além da simples lógica seja porque seus acervos não o per- da paridade, para inverter e tornar mitem. 9 À provocadora pergunta feita presentes, esta exposição terá um por Linda Nochlin em 1971 – “Por sentido todo especial. As equipes que não houve grandes artistas mu- do Centre Pompidou, a começar lheres?” –, pode-se hoje responder pelas duas curadoras do Musée que o mundo da criação artística national d’art moderne encarrega- mudou, que existe um número das do projeto, Cécile Debray e impressionante de “grandes artis- Emma Lavigne, empenharam-se tas mulheres”, a ponto de poder em conceber uma exposição ambi- se desenrolar uma história da arte ciosa e tão completa quanto possí- plena e inteira com elas. Uma his- vel, para ressaltar esse aspecto de tória que, apesar disso, nada tem maior importância da criação ar- de “feminino”, como durante mui- tística moderna e contemporânea, to tempo se quis confinar, por meio e o fizeram mobilizando o que há da caricatura, a prática das artistas de melhor em nosso acervo. Esta- mulheres. mos persuadidos de que o públi- O Centre Pompidou congratu- co brasileiro corresponderá a esta la-se pelo fato de que uma nova proposta e comparecerá em grande versão desse projeto seja apresen- número. tada agora nos Centros Culturais Banco do Brasil do Rio de Janei- ro e Belo Horizonte.
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