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Felipe Paranaguá Braga O Que Queima, a Parte Do Fogo E As Cinzas

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Felipe Paranaguá Braga O Que Queima, a Parte Do Fogo E As Cinzas Felipe Paranaguá Braga O que queima, a parte do fogo e as cinzas Uma análise sobre o incêndio do MAM Tese de Doutorado Tese apresentada como requisito parcial para obtenção do grau de Doutor pelo Programa de Pós-Graduação em Literatura, Cultura e Contemporaneidade da PUC-Rio. Orientador: Prof. Luiz Camillo Osorio Rio de Janeiro, fevereiro de 2021 Felipe Paranaguá Braga O que queima, a parte do fogo e as cinzas Uma análise sobre o incêndio do MAM Tese apresentada como requisito parcial para obtenção do grau de Doutor pelo Programa de Pós-Graduação em Literatura, Cultura e Contemporaneidade da PUC-Rio. Aprovada pela Comissão Examinadora abaixo. Prof. Luiz Camillo Osorio Orientador Departamento de Letras – PUC-Rio Prof. Frederico Oliveira Coelho Departamento de Letras - PUC-Rio Prof. Carlos Eduardo Félix da Costa Departamento de Artes e Design – PUC-Rio Profa. Michelle Farias Sommer UFRJ Prof. Ricardo Roclaw Basbaum UFF Rio de Janeiro, 24 de fevereiro de 2021 Todos os direitos reservados. É proibida a reprodução total ou parcial do trabalho sem autorização da universidade, da autora e do orientador. Felipe Paranaguá Braga Mestre em Linguagens Visuais pela Universidade Federal do Rio de Janeiro com a dissertação “Como começar um filme” e Bacharel em Comunicação Visual pela PUC-Rio. Ficha Catalográfica Braga, Felipe Paranaguá O que queima, a parte do fogo e as cinzas : uma análise sobre o incêndio do MAM / Felipe Paranaguá Braga ; orientador: Luiz Camillo Dolabella Portella Osorio de Almeida. – 2021. 400 f. ; 30 cm Tese (doutorado)–Pontifícia Universidade Católica do Rio de Janeiro, Departamento de Letras, 2021. Inclui bibliografia 1. Letras - Teses. 2. Arte moderna. 3. Arte contemporânea. 4. Vanguarda. 5. Arquivo. 6. Museu. I. Almeida, Luiz Camillo Dolabella Portella Osorio de. II. Pontifícia Universidade Católica do Rio de Janeiro. Departamento de Letras. III. Título. CDD: 800 À Lina, por me fazer acreditar no futuro. Ao meu pai, Marcelo, por me fazer imaginar o passado. Agradecimentos O presente trabalho foi realizado com apoio da Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Código de Financiamento 001. Ao CNPq e à PUC-Rio, pelos auxílios concedidos, sem os quais este trabalho não poderia ter sido realizado. Ao meu orientador Luiz Camillo Osorio, pelo estímulo e a interlocução fundamental. À Mariana Kaufman, por estar desde o início junto nesse barco, nas trocas intelectuais, nos cuidados com a Lina, e no apoio sempre. À minha mãe, Kitty, pelo carinho e generosidade sempre. À Julia Paranaguá, pela parceria na vida. Ao Ericson Pires (in memoriam), por ter botado lenha nessa fogueira acadêmica e incentivado meu ingresso na pós-graduação. Ao Vitor Paiva, pelas trocas e conversas sempre, e principalmente nesse final. Ao Daniel Castanheira, pelas conversas e espaços abertos. À Raissa de Góis, pela primeira leitura atenta das Cinzas. Ao Diego Matos, pela interlocução sobre o Cildo. Aos professores Marília Rothier Cardoso, Ana Kiffer, Karl Erik Scholhammer e Júlio Diniz, pelos instigantes debates em aula; e especialmente ao Fred Coelho, pelas aulas, textos e conversas fundamentais nesses últimos cinco anos. Aos professores que participaram da comissão examinadora. A todos os professores e funcionários do Departamento de Letras da PUC pelos ensinamentos e pela ajuda. Aos funcionários do arquivo do Museu de Arte Moderna do Rio, pela generosidade e apoio na pesquisa. À Julia Menna Barreto, por estar perto nesse final. À Lina, por mudar o eixo da Terra e me fazer acreditar no futuro. Aos amigos que estiveram juntos compartilhando o presente. Resumo Braga, Felipe Paranaguá; Osorio, Luiz Camillo. O que queima, a parte do fogo e as cinzas: uma análise sobre o incêndio do MAM. Rio de Janeiro, 2021. 400p. Tese de Doutorado - Departamento de Letras, Pontifícia Universidade Católica do Rio de Janeiro. A tese tem como tema uma reflexão ampla sobre o incêndio ocorrido em 1978 no Museu de Arte Moderna do Rio de Janeiro. Ela parte da premissa de que o incêndio que destruiu quase a totalidade do acervo poderia se configurar como um marco simbólico da ruptura do projeto moderno que teria o MAM como um de seus eixos. Ao longo do texto, discorre-se sobre o modelo de modernidade almejado pelo MAM, para então elaborar e analisar as possibilidades de fratura referentes a esse modelo. Na sua estrutura, a tese constrói uma rede de articulações em torno da situação de ruína que o incêndio materializa, passando por questões culturais e sociais caras ao Brasil e ao mundo na segunda metade da década de 1970. Para tal, optou-se por dividir a tese em três blocos: O que queima, a parte do fogo e as cinzas. O primeiro bloco elenca as questões referentes ao projeto moderno, a ideia de museu moderno enquanto construção de memória de futuro, e as condições de ruptura a esse projeto, situada a partir de autores como Octavio Paz, Artur Danto e Jean-François Lyotard. O segundo bloco discute projetos que refletem a mudança de perspectiva que estava em curso. Dentre eles, as propostas trazidas por Mario Pedrosa para a reconstrução do MAM, o museu pós-moderno de Frederico Morais, e o museu impresso das revistas Malasartes e A Parte do Fogo. Por fim, o terceiro bloco elabora as questões de um arquivo que, por ter se tornado ruína, precisaria ser reinventado. Nessa parte a ficção surge como estratégia conceitual para conduzir a narrativa e preencher algumas lacunas. Documentos reais são trazidos à tona por personagens como um curador-cego, um arquivista-distraído e um artista- arquivista, discutindo a mudança no regime de visualidade que configuraria a passagem do moderno ao contemporâneo. Seguindo essa deriva entre ficção e realidade, os artistas Cildo Meireles, Tunga e Artur Barrio têm suas obras analisadas a partir de aspectos que se descolam de um apelo retiniano. O texto, ao mesmo tempo que discute novos regimes de produção de imagem, estabelece um paralelo entre esses artistas e a história do Museu de Arte Moderna do Rio. Ao final, conclui-se que a mudança de perspectiva do moderno ao contemporâneo não poderia ser isolada por um único evento, no entanto, ao reforçar uma ruptura que estava em curso, o incêndio do MAM poderia ser considerado um marco simbólico dessa passagem. Palavras-chave Arte moderna, arte contemporânea, vanguarda, arquivo, experimental, museu Abstract Braga, Felipe Paranaguá; Osorio, Luiz Camillo (Advisor). What burns, the work of fire and the ashes: an analysis of the MAM fire. Rio de Janeiro, 2020. 400p. Tese de Doutorado - Departamento de Letras, Pontifícia Universidade Católica do Rio de Janeiro. The thesis has as its theme a broad reflection on the fire that occurred in 1978, at the Museum of Modern Art of Rio de Janeiro. It is based on the assumption that the fire, which destroyed almost its entire collection, could be a symbolic milestone of the rupture of the modern project that would have MAM as one of its bases. The modernity model sought by MAM is discussed throughout the text, in order to formulate and analyze the possibilities of fracture regarding this model. In its structure, the thesis builds a network of articulations around the condition of ruin that the fire materializes, addressing cultural and social issues that were dear to Brazil and the world in the second half of the 1970s. For this purpose, the thesis was divided into three blocks: What burns, the work of fire and the ashes. The first block lists the issues related to the modern project, the idea of a modern museum as a construction of memory of the future, and the conditions of this project’s rupture, based on authors such as Octavio Paz, Artur Danto and Jean-François Lyotard. The second block discusses projects that reflect the change in perspective that was underway. Among them, the proposals brought by Mario Pedrosa for MAM’s reconstruction, the postmodern museum of Frederico Morais, and the printed museum of the Malasartes and A Parte do Fogo magazines. Lastly, the third block raises the issues of an archive that, as it was ruined, would need to be reinvented. In this part, fiction emerges as a conceptual strategy to guide the narrative and fill in certain gaps. Real documents are brought to the fore by characters such as a blind curator, a distracted archivist and an archivist artist, discussing the change in the visuality regime that would shape the transition from modern to contemporary. Following this drift between fiction and reality, artists Cildo Meireles, Tunga and Artur Barrio have their works analyzed based on aspects that are detached from a retinal appeal. The text, while discussing new image production regimes, establishes a parallel between these artists and the history of the Museum of Modern Art of Rio. In the end, it is established that the change in perspective from modern to contemporary could not be isolated by a single event, however, by reinforcing an ongoing rupture, the MAM fire could be considered a symbolic milestone of this event. Keywords Modern art, contemporary art, avant-garde, archive, experimental, museum Sumário Introdução 14 O que queima (primeiro bloco) I. Feliz ano novo na cidade que se desumanizou 21 II. As horas 24 III. Ilhas de sociabilidade 31 IV. Museu moderno 38 V. Projetos de modernidade: MAM versus MoMA 40 VI. O MAM e as vanguardas 46 VII. Octavio Paz: o ocaso das vanguardas 55 VIII. Arthur Danto: após o fim da arte 60 IX. Frederico Morais: a crise da hora atual 63 X. Arte Agora I 70 XI. Arte Agora II 72 XII. Arte Agora III 73 XIII. Artur Barrio: projetos realizados (...) 77 A parte do
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