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Ações E Contatos Regionais Da Arte Concreta. Intervenções De Ações e contatos regionais da arte concreta. Este trabalho é parte da minha tese de doutorado intitulada Abs- tração entre a Argentina e o Brasil. Inscrição Regional e Interconexões da Arte Concreta: 1944-1960, orientada por Andréa Giunta, a quem agradeço as possibilidades oferecidas para desenvolver essas pesquisas tanto no Brasil como na Suíça. A viagem a Zurique foi realizada com uma bolsa outorgada pela Secretaría de Cultura de la Presidencia de la Nación. Com relação às pesquisas realizadas nessa cidade, quero agradecer a Jakob e Chantal Bill, por terem gentilmente me facilitado o acesso a seus arquivos, e a Regina Vogel, por sua valiosa colaboração. Também quero expressar minha gratidão para com Patrícia Artundo, Jorge Schwartz e Gênese Andrade, pelo apoio que me deram em minhas reiteradas viagens a São Paulo. Intervenções de MARIA AMÁLIA GARCÍA é professora da Faculdade de Filosofia e Letras da Universidade de Buenos Aires. marita.indd 196 01.10.08 18:03:28 m 1951 a produção do artista suíço Max Bill deu-se a conhecer no ambiente paulista, gerando impactos e repercussões no âmbito bra- sileiro e latino-americano. Nesse ano Bill não só ganhava o prêmio em escultura da I Bienal de São Paulo como também em março havia realizado sua primeira exposição retrospectiva no Museu de Arte de São Paulo (Masp). Efetivamente, os acontecimentos ocorridos na cidade de São Paulo em 1951 constituem um momento definitório para a inscrição da arte concreta no panorama regional. Buenos Aires também acompanhou esse processo, embora o “desembarque” billia- no no âmbito portenho tenha sido mais modesto: em 1951 aparecia a revista Nueva Visión, dirigida por Tomás Maldonado, que em seu primeiro número dedicava um tributo ao artista suíço. As relações entre Bill e alguns artistas, críticos e gestores argentinos e brasileiros geraram momentos de interlocução e espaços de intervenção. Bill encontrou na América do Sul possibilidades de diálogo e ação que resultavam impensáveis para sua situação no âmbito europeu do pós-guerra, no qual a arte concreta suíça (representada pelo grupo Allianz) teve escassa projeção. Em contraposição, deste lado do Atlântico o concretismo encontrou um forte impulso e Bill foi uma figura-chave nessa articulação. Este texto se propõe a abordar o impacto da produção de Bill em São Paulo em 1951 como episódio-chave para a inscrição da arte concreta no panorama artístico regional. em São Paulo MARIA AMÁLIA GARCÍA em 1951 Tradução de Maria Paula Gurgel Ribeiro marita.indd 197 01.10.08 18:03:28 do premiado pavilhão suíço na Trienal de 1 Pietro Maria Bardi, carta a Max A EXPOSIÇÃO NO MASP Bill, São Paulo, 30 de junho de Milão e da exposição Die gute Form, além 1949 (Arquivo Bill). das plantas para a Hochschule für Gestaltung 2 Idem, ibidem. Pietro Maria Bardi e Bill haviam se (HfG) de Ulm5. Para compreender a trans- 3 “No Museu de Arte. Exposição o sobre Max Bill”, in Diário da conhecido no 1 Congresso da Reconstru- cendência dessa exposição é preciso pensar Noite, São Paulo, 5 de abril ção, em Milão, em 1945, pouco antes que não só no impacto visual do conjunto das de 1950; “No Museu de Arte. Livro e Exposição sobre Max o italiano se envolvesse no projeto de Cha- obras mas também no projeto expositivo: Bill”, in Diário de São Paulo, São 1 Paulo, 5 de abril de 1950; “No teaubriand e se radicasse em São Paulo . Em embora Bill não estivesse presente para a Museu de Arte a Obra Completa 1949 Bardi, na direção do Masp, estendeu montagem, suas intenções estão documenta- de Max Bill”, in Diário de São Paulo, São Paulo, 21 de agosto ao artista suíço a proposta de exposição: “Je das. Bill já havia demonstrado ser um grande de 1949 (Arquivo Masp). voudrais bien avoir dans notre musée une projetista de espaços de exibição6. 4 “O Museu de Arte de São exposition de vos œuvres: architecture, art Essa mostra teve um impacto poderoso Paulo convida V. S. para visitar a Exposição de Obras de Max graphique, peinture, etc. Je voudrais une entre grupos de artistas e críticos no âmbito Bill que se abrirá no dia 1 de março às 15 horas na ocasião exposition complète, avec des dessins et regional, efeito que contrasta com a escassa da inauguração dos cursos do des photographies de façon à donner avec repercussão que encontrou entre os meios Instituto de Arte Contemporânea”, Convite. Arquivo Masp, São perfection l’impression de votre personna- de comunicação locais. Apareceram alguns Paulo. Essa pesquisa confronta do 2 lité” . A organização do projeto, que estaria breves anúncios no Diário de São Paulo ponto de vista documental a er- rônea datação da exposição em a cargo de Lina Bo, estava alinhada com as e na Folha da Manhã; do Rio de Janeiro, 1950. Além do convite (transcrito na nota anterior) ver: “Museu de inovações que, no âmbito tanto de critério Geraldo Ferraz foi o único crítico que dedi- Arte. Inauguração da Exposição expositivo como de desenho museográfico, cou uma análise minuciosa sobre as obras, de Max Bill”, in Diário de São Paulo, São Paulo, 1o de março de era desenvolvido pelo Masp. destacando também o silêncio do meio7. 1951, p. 8; “Inaugura-se Hoje, na Grande Sala de Exposição Embora as gestões tivessem começado De qualquer forma, foi a revista Hábitat, do Segundo Andar, a Exposição em meados de 1949, a correspondência órgão de difusão das propostas do Masp, do Arquiteto, Pintor e Escultor Suíço Max Bill”; “Está Aberta informa sobre as dificuldades com os se- a tribuna a partir da qual o casal Bo-Bardi no Museu de Arte a Exposição guros e os traslados e com as negociações apoiou a exposição. À falta de catálogo, no Dedicada a Max Bill”, in Diário de São Paulo, São Paulo, 3 de com outras instituições sul-americanas que número 2 de Hábitat, surgido na mesma março de 1951, p. 7; “Duas Grandes Exposições no Museu co-produziriam a exposição. Desde 1949 a época, publicavam-se fotografias de obras e de Arte”, in Folha da Manhã, imprensa paulista vinha anunciando a rea- o texto “Beleza Provinda de Função e Be- São Paulo, 15 de abril 1951, p. 8; ver também: “Constatations lização “em breve” da exposição de Bill3. leza como Função”, no qual Bill propunha Concernant la Participation de 8 Max Bill à la I Bienal de São Mas, pelo que se depreende da correspon- as linhas mestras de seu projeto . Esse texto Paulo”, Arquivo Masp. dência, a exposição foi marcada e depois é chave para abordar o conceito de forma 5 Max Bill, “Liste der gemäle und proposta em várias oportunidades, inaugu- no sistema billiano. Já desde o título Bill plastiken von Max Bill”, Arquivo o Masp. rando-se finalmente no dia 1 de março de expressava a inclusão recíproca do estético 6 Ver “Correspondência com 1951 junto com a abertura do Instituto de no prático. Para ele “não se trata mais de Masp”, Arquivo Bill; Karin Gimmi, Arte Contemporânea4. desenvolver a beleza somente partindo da “Max Bill: Artista de Exposições”, in 2G, no 29-30, Barcelona, A proposta de Bill estava amplamente função; nós concebemos a beleza como junho de 2004, pp. 30-43. desdobrada; ele era apresentado como um unida à função, se é que também ela é 7 Geraldo Ferraz, “Uma Página artista total com um espírito construtivo. uma função”9. Nesse sentido, depreende- Anterior (Max Bill, Pintor, Escultor e Arquiteto no Museu de Arte)”, in Essa exposição mostrava as várias facetas se que para Bill “forma” se define como O Jornal, Rio de Janeiro, 23 de maio de 1951. Reproduzido em: desse criador: pinturas, esculturas, obra qualidade e funcionalidade. A forma como Geraldo Ferraz, Retrospectiva. gráfica, cartazes, maquetes e fotos de arqui- beleza entendida como função se propunha Figuras, Raízes e Problemas da Arte Contemporânea, São Paulo, teturas e desenhos industriais exploravam como um modo aberto para refletir frente Cultrix-Edusp, 1975, pp. 174-7; “Museu de Arte”, in Diário de São um amplo panorama de interesses. Foram a um amplo horizonte objetal. O aspecto Paulo, São Paulo, 1o de março apresentadas mais de sessenta obras e trinta material era, para Bill, uma configuração de 1951, p. 8; “Duas Grandes Exposições no Museu de Arte”, fotografias e plantas arquitetônicas e dese- articuladora entre a função do objeto visual in Folha da Manhã, São Paulo, nhos. Embora houvesse algumas obras dos e sua beleza. 15 de abril 1951, p. 8. anos 30 como 15 Variations Sur un Même As obras de Bill que se exibiam no Masp 8 Max Bill, “Beleza Provinda de Função e Beleza como Théme (1935-38), a seleção pictórica e se apresentam como ativações sistemáti- Função”, in Hábitat, no 2, São Paulo, janeiro-março de 1951, escultórica privilegiava a produção de fins cas de problemas plásticos. A legalidade pp. 61-5. dos anos 40. Também foram apresentadas intrínseca à própria obra se propõe como 9 Idem, ibidem, p. 61. fotografias de sua casa em Zurique-Höngg, princípio organizador. As possibilidades de 198 REVISTA USP, São Paulo, n.79, p. 196-204, setembro/novembro 2008 marita.indd 198 01.10.08 18:03:29 dotar de rigor e exatidão o processo criativo assim como de torná-lo inteligível eram, sem dúvida, seus objetivos. Objetividade, verificabilidade e previsibilidade parecem ser problemas que rondam as obras de Bill. Ao se visualizar 15 Variations Sur un Même Thème (1935-38), Bunte Akzente (Acentos Multicoloridos, 1946) e Weisses Quadrat (Quadrado Branco, 1946) fica evidente como a série e a progressão organizam a proposta compositiva, tanto na definição de um conjunto como no arranjo da su- perfície.
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