Autoclave / Capítulo 1

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Autoclave / Capítulo 1 GABRIEL SECCHIN GABRIEL AUTOCLAVE autoclave s.f. (1871 cf. DV) 1 recipiente Gabriel Secchin, 2019. hermético destinado, entre outros fins, ao aquecimento de líquidos e à indução de reações químicas sob pressão, utilizando Esta publicação foi produzida para temperaturas elevadas 2 MED aparelho a ocasião da exposição individual que utiliza vapor de água sob pressão AUTOCLAVE, na Portas Vilaseca para esterilizar instrumentos • ETIM fr. Galeria, Rio de Janeiro - RJ em 2019. AUTOCLAVE autoclave ‘id.’; ver aut(o)- e -clave -clave el.comp. pospositivo, do lat. clavis,is This publication has been published ‘chave (mas como algo que fecha, encerra, on the occasion of the exhibition cerra)’, em poucas pal., como conclave AUTOCLAVE, arranged by the Portas (sXV), autoclave, enclave/encrave, estas Vilaseca Gallery in Rio de Janeiro - últimas do sXIX em diante; ver 2CLAV(I)- RJ in 2019. esterilizar v. (1563 GOrta Cad Ii.i.v) 1 t.d.e pron. tornar(-se) estéril, improdutivo (diz-se Design gráfico / Graphic Design: de solo, planta, árvore) 1.1 t.d. e pron. Leite Mattinal tornar(-se) infértil, impossibilitado de AUTOCLAVE procriar (diz-se de pessoa, animal); castrar, Revisão / Proofreading: emascular 2 t.d. livrar de germes <e. a água> <e. instrumentos cirúrgicos> 3 t.d. e Sandra Secchin pron. fig. tornar-(se) improfícuo; estagnar(- se) <o vício da bebida acabou por e.-lhe a Tradução / Translation: inteligência> <esterilizou-se a campanha Annette Dam pelo fim da violência>4 t.d. fig. tornar insípido, desinteressante (um assunto) • ETIM estéril + -izar, sob infl. do. fr. stériliser Impressão / Printers: (sXIV, raro até o sXVIII); ver esteril(i)-; Printi f.hist. 1563 estrelizar, 1563 estralizar, 1650 esterilizar • SIN/VAR esterilecer; ver Edição / Edition: tb. sinonímia de assolar • ANT fecundar, 200 fertilizar 2019 HOUAISS, Antônio. Dicionário Houaiss da Língua Portuguesa. Rio de Janeiro, Ed. Objetiva, 2004. AUTOCLAVE Em memória de Carlos Correia INTRODUÇÃO .......................................................................................... 8 INTRODUCTION .................................................................................... 10 CAPÍTULO 1 .............................................................................................. 13 CHAPTER 1 ................................................................................................. 34 BIOGRAFIAS DOS ARTISTAS ....................................................... 52 ARTISTS’ BIOGRAPHIES ................................................................. 53 Introdução AUTOCLAVE é o título de um projeto texto, os primeiros parágrafos 1Em seu livro Geographies of Disorientation (2017), Marcella S. di colaborativo, cujo resultado reflete oferecem ao espectador-leitor Friedberg escreve no capítulo "A metáfora espacial da Web": o diálogo entre os artistas Gabriel instrumentos de contextualização, Secchin e Victor Mattina. O período o mesmo se dá na montagem. O movimento através do ciberespaço e a associada sensação de de troca de aproximadamente um Apesar das telas de Secchin desorientação são descritos principalmente usando metáforas ano é, na verdade, a intensificação de explorarem individualmente espaciais; o ciberespaço é uma rede, uma aldeia global, podemos um processo mais longevo e contínuo caminhos distintos da linguagem navegar, surfar ou viajar em suas vias de informações até de mútua identificação, tanto pessoal pictórica, o conjunto do primeiro chegarmos a um safe port (porto seguro) ou home (lar), um ponto quanto profissional. Para a ocasião andar da galeria convida de partida ou destino; essas metáforas nunca são aleatórias e desta exposição individual de Secchin, para um jogo de associações seu uso contribui para a construção da realidade virtual: Mattina colaborou na elaboração conceituais e/ou intuitivas. textual e conceitual do projeto. Tal qual a autoclave, que Assim, a metáfora pode nos permitir evitar ou pelo menos Segundo Gabriel, a origem esteriliza e causa maus odores mitigar os problemas de desorientação que surgem quando do conceito da mostra deriva da nauseantes, os trabalhos de consultamos a hipermídia. Estes aparecem quando o usuário percepção de que a possibilidade de Gabriel Secchin atraem o olhar tem a sensação de estar perdido dentro do sistema; ele não desorientação, ao entrar em contato e evocam um humor nonsense é mais capaz de identificar sua posição dentro da estrutura com sua produção, não se restringe que, como efeito colateral, geral, refazer o caminho que o levou até esse ponto, discernir aos espectadores. Seu próprio devolvem imagens corrompidas, as possibilidades agora abertas, ou escolher um destino e desnorteamento, frente ao exercício obscuras e desconfortáveis. traçar um caminho em direção a um ponto que ele sabe existir. de pesquisa e costura de volumosos A dualidade texto- (Collard, 2006, p. 86) fios verbais e visuais, o levou a exposição está sintetizada em considerar, também, os efeitos uma instalação no terceiro andar. resultantes de uma desconcertante Percebe-se, por entre os três justaposição de imagens.1 andares da Portas Vilaseca Galeria, Paralelamente, Mattina que a produção de Secchin não estabelece que o texto não tem tem a incumbência de um discurso uma pretensão curatorial. Ao não fechado de pronta-assimilação se ater a menções específicas dos e, tampouco, de amenizar trabalhos que compõem a exposição, nossa existência conturbada. este livreto procura simular um desenho análogo ao movimento espiralado que o conjunto de obras de Secchin sugere. Enquanto no 10 11 Introduction AUTOCLAVE is the title of a of Secchin. The text, in its first few 1In her book Geographies of Disorientation (2017), Marcella S. di collaborative project, whose result paragraphs provides the spectator/ Friedberg writes on the chapter on "The spatial metaphor of the Web": reflects the dialog between the artists reader tools for contextualization. Gabriel Secchin and Victor Mattina. The same occurs in the set- Movement through cyberspace and the associated sense of The exchange period of approximately up. Despite Secchin’s canvases disorientation are primarily described using spatial metaphors; one year, is in fact, the intensification individually exploring distinct cyberspace is a network, a global village, we may navigate, surf, or of a long and continuous process of paths of pictorial language, the travel on its information highways until we reach a safe port or home, mutual empathy, both personally, as set displayed on the first floor a starting point or destination; these metaphors are never random well as professionally. Exclusively for of the gallery invites spectators and their use contributes to the construction of virtual reality: this individual exhibition by Secchin, to join a game of conceptual Mattina collaborated in the textual and/or intuitive associations. Thus, metaphor may allow us to avoid or at least to and conceptual creation of the project. Similar to the Autoclave, mitigate the disorientation issues that arise when we According to Gabriel, the which sterilizes and causes consult hypermedia. These appear when the user has origin of the concept of the exhibit nauseating odors, the works the feeling of being lost inside the system; he is no longer derives from the perception that the of Gabriel Secchin attract the able to identify his position within the overall structure, possibility of disorientation, upon glance of the spectator and retrace the path that has led him to this point, discern the coming into contact with his work, is evoke a nonsense humor, and possibilities now open to him, or choose a destination and not restricted to the spectator. His then as a side effect, reflect work out a path towards a point that he knows to exist. own bewilderment that resulted back as corrupted, obscure, (Collard, 2006, p. 86) from the exercise of researching and uncomfortable images. and mending of the voluminous This duality of text- verbal and visual threads, led him exhibition is synthesized in a to also take into consideration, the set-up on the third floor. It is resulting effects of a disconcerting noticeable, throughout the three juxtaposition of images.1 floors of the Portas Vilaseca Similarly, Mattina establishes Gallery that Secchin’s production that the text does not possess a does not aim at being a closed, of curatorial intention. By refraining immediate-assimilation speech, from adopting the specific citations of nor does it aim at appeasing the works that compose the exhibit, our troubled existence. this booklet seeks to simulate a design, analogous to the spiraling movement suggested by the works 12 13 GABRIEL SECCHIN & Capítulo 1 VICTOR MATTINA A palavra grega ἔσχατον (éskha- A página 815 de An Encyclo- ton) significa a última coisa que paedia of Plants, de John Claudius resta. O termo “escatologia” é Loudon, traz a seguinte descrição: derivado de ἔσχατοσ (ésxatos: “Sterculius era o deus do privado, último) e λογία (-logia: estudo). do esterco, do excremento. Um A escatologia é a doutrina cristã autor francês observou bem que sobre o que resta após o apo- os romanos, na loucura do paga- calipse e a segunda vinda de nismo, terminaram por deificar Jesus Cristo. O paraíso de Deus é os objetos mais indecentes e as prometido como a compensação, ações mais abjetas. Eles tinham os não apenas por um longo perío- deuses Sterculius (fezes), Crepitus do de espera, como também pela (flatulência), Priapus (ereção); e as fé duradoura dos seguidores. deusas Caca (lareiras e fogões), Per- Em português, o termo tunda (perda
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