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De Wesley Duke Lee Supervisor Título: The Birth Capsule [A Cápsula do Nascimento] de Wesley Duke Lee Supervisor: Marco Garaude Giannotti Proponente: Rafael Vogt Maia Rosa Universidade de São Paulo, Escola de Comunicações e Artes, Departamento de Artes plásticas Resumo: O projeto propõe um estudo do problema da teatralidade na obra de Wesley Duke Lee com base em uma revisão crítica de sua instalação “The Birth Capsule” [A Cápsula do Nascimento], produzida pelo artista em 1969, em Los Angeles, nos EUA. A obra passou por diversas etapas de desenvolvimento, dando continuidade a pesquisas com ambientes como “The Helicóptero” (1969), mas não chegou a ser aberta ao público e debatida criticamente. Entretanto, trata-se de um trabalho que representa um ponto privilegiado no experimentalismo do artista, no qual o mesmo suprimiu processos característicos como a combinação do pictórico com objetos ready made, e sintetiza seus embates com a própria instituição artística. O objetivo é contextualizar sua relevância em meio à produção de Duke Lee, especialmente no que se refere aos dilemas apresentados pela transição de um contexto moderno para o contemporâneo e à aproximação entre linguagens no âmbito das artes plásticas. A pesquisa se propõe a investigar os antecedentes do trabalho, suas consequências imediatas na década de 1970, bem como paralelos do mesmo com outras produções da época, notadamente, de Lygia Clark, buscando avaliar em que medida representa um ponto alto em meio as linhas de desenvolvimento do experimentalismo no Brasil, em particular no campo da estética instalacional. Partindo de um levantamento do embate de Duke Lee com o problema da especificidade dos meios tradicionais como a pintura e escultura, e seu diálogo continuado com o cinema, nesse contexto, tanto do ponto de vista plástico como narrativo, tendo como respaldo entrevistas já realizadas, visitas a acervos privados, e outras previstas ao longo do projeto, a pesquisa visa demonstrar de que modo o Duke Lee buscou uma experiência artística total e multidisciplinar que demanda uma ampla revisão para uma reintegração no contexto geral da historiografia da arte brasileira. The Birth Capsule [A Cápsula do Nascimento] (Rafael Vogt Maia Rosa, junho de 2016) - 1 Title: The Birth Capsule (1969) by Wesley Duke Lee Supervisor: Marco Giannotti Garaude Candidate: Rafael Vogt Maia Rosa University of São Paulo, School of Communication and Arts, Department of Fine Arts Summary: The project aims to study the problem of theatricality in the work of Wesley Duke Lee, based on a critical review of his installation "The Birth Capsule", produced by the artist in 1969, in Los Angeles, USA. The work went through several stages of development, continuing the research with environments such as "The Helicóptero" (1969), but was never open to the public or discussed critically. However, it is a piece that represents a high stage in the artist's experimentation, in which he suppressed characteristic processes such as the combination of pictorial resources with ready made objects, and synthesizes his clashes with the artistic institution. The goal is to contextualize its relevance amid the production Duke Lee, especially concerning his dilemmas with the transition from a modern context for a contemporary, as the approximation between languages within the visual arts. The research aims also to investigate the background of the work, its immediate consequences in the 1970s, as well as investigate its relations with other productions, notably Lygia Clark’s, seeking to understand to what extent it is a high point in the main lines of development of experimentation in Brazil, particularly in the field of installation. Departing from Duke Lee's issues with the specificity of traditional media such as painting and sculpture, and his continued dialogue with the movies, in this context, both from the formal and narrative point of view, with the support of interviews already conducted, visits to private collections, and other planned throughout the project, the research seeks to demonstrate how Duke Lee sought a complete and multidisciplinary artistic experience that demands a comprehensive review for reinstatement in the general context of the history of Brazilian art. The Birth Capsule [A Cápsula do Nascimento] (Rafael Vogt Maia Rosa, junho de 2016) - 2 1. Enunciado do problema Wesley Duke Lee (1931-2010) é geralmente identificado como um dos precursores da chamada Nova Figuração na arte brasileira. O olhar panorâmico sobre a diversidade de sua produção procura identificar, em suas obras da década de 1960, uma assimilação da pop art norte-americana em uma perspectiva engajada, ou seja, projetando-a de forma crítica em meio às particularidades da sociedade local.1 Em seu caso, por outro lado, essa inserção teria ocorrido de maneira diferenciada da de seus pares. Para o crítico Paulo Sergio Duarte, por exemplo, o artista “é responsável por conduzir para o meio da Nova Figuração valores pictóricos abandonados por toda aquela geração de artistas”, de uma maneira que: A política, quando presente na obra de Wesley, está sempre mediada por essa construção de uma obra de passagem, valorizando a conduta tradicional do oficio do pintor com as solicitações de uma conjuntura onde predominava a finalização rude de ícones da baixa cultura. (DUARTE, 1998, p. 49) As particularidades da atuação de Duke Lee, dada a diversidade de sua formação, bem como seu percurso biográfico bastante ligado aos EUA, tornam difícil um diagnóstico dessa recorrência peculiar a valores pictóricos tradicionais e suas ressonâncias políticas. Por outro lado, pode-se considerar que, além ser um dos principais agentes de disseminação do legado duchampiano e seus desdobramentos na obra de Robert Rauschenberg, Jasper Johns e Andy Warhol, entre outros, o artista foi ainda responsável por uma contribuição decisiva, no mesmo contexto da década de 1960, para o desenvolvimento da “arte ambiental” no Brasil, o que implicou investigações que questionaram justamente a manutenção da pintura como meio de expressão preferencial de investigação artística em seu processo.2 Em exposição realizada em 2009, no Centro Universitário Maria Antonia da Universidade de São Paulo, foi possível ampliar a visão do público sobre sua obra, apresentando a face “pedagógica” da atuação de Duke Lee, a partir de sua proximidade, entre 1967 a 1970, com os então jovens artistas Luiz Paulo Baravelli, Carlos Fajardo, Frederico 1 Cf. Cacilda Teixeira da Costa (Org.) Aproximações com o Espírito Pop. São Paulo, Museu de Arte Moderna, 2003, pp 16-29. 2 Cf. Marco Giannotti, Breve História da Pintura Contemporânea, São Paulo, Ed. Claridade, 2009: “A pintura contemporânea lida com uma serie de contradições: o desenho e a cor, a figura e a abstração, o futuro e o passado, o pessoal e o impessoal, a capacidade de se expressar plenamente, a liberdade, e os percalços inerentes a toda ação que pretende se superar a cada momento. Penso que as mais variadas técnicas de pintura estão sempre relacionadas a uma determinada época assim como uma experiência específica de vida. Contudo, um artista é antes de mais nada um ser que compartilha questões que transcendem a sua atividade.” The Birth Capsule [A Cápsula do Nascimento] (Rafael Vogt Maia Rosa, junho de 2016) - 3 Nasser e José Resende.3 O resultado da interação entre esses artistas, particularmente em retratos feitos “a duas mãos” por Duke Lee com cada um deles, mostrou-se ilustrativo não apenas de uma estética ou estilo de assimilação de tendências internacionais, nem de um engajamento peculiar nesse sentido.4 Diferentemente, os pressupostos metodológicos no ensino do desenho adotados pelo artista envolviam uma teatralidade, aí sim, bastante específica, que valorizava o processo e a experiência em relação aos resultados formais, e abarcava o cinema como uma máquina formal de grande interesse para o raciocínio plástico. (Imagem I) 3 João Bandeira e Rafael Vogt Maia Roa, A Zona: Duke Lee, Baravelli, Fajardo, Nasser, Resende, São Paulo, Centro Universitário Mariantonia USP, 2009, não paginado: (...) “Num contexto como esse, tanto os papeis de professor e aluno quanto a ideia de grupo são flexibilizados, assim como a concepção do que seja um curso de desenho, no caso, espécie de pretexto para que se detonasse um processo individual que poderia, inclusive, partir do contraponto à produção do próprio Wesley – cuja amplitude no campo bidimensional já estava posta na época, paralelamente às incursões que o fizeram um dos pioneiros da arte ambiental brasileira., conforme ressaltou Hélio Oiticica , em seu Esquema geral da nova objetividade, em 1967. Assim, embora haja afinidades formais entre muitas das obras apresentadas nesta exposição, a ênfase recaiu – com limites cronológicos definidos e atendo-se sobretudo a obras bidimensionais – na confirmação de uma atitude vital, nessas peças de algumas séries de Wesley, bem como em exemplos do aparecimento de identidades artísticas precoces, por terem logo estabelecido tendências variadas como desconstruções narrativas e aproximações entre desenho e montagem cinematográfica, uma prática anti- estilística de caráter anedótico, reflexões singulares sobre a questão do corpo e a serialização ou uma perspectiva de representação mais lírica ligada à arquitetura à iconografia urbana. Enfim, uma zona franca em que quase nada se pode sumarizar. 4 Cf. Yanet Aguilera e Cláudia Valladão de Mattos (orgs.), Entre Quadros e Esculturas: Wesley e os Fundadores da Escola Brasil:, São Paulo, Discurso Editorial, 1997. The Birth Capsule [A Cápsula do Nascimento] (Rafael Vogt Maia Rosa, junho de 2016) - 4 Mesmo que de um modo assistemático, evidenciou-se com a exposição, além de outros aspectos como uma ligação com o universo da fotografia e modos de pintar alternativos, uma “propensão nas artes visuais por um trabalho que se revele na mente do observador algo diferente daquilo que é empiricamente conhecido”, tal como proposto por Howard N. Fox.5 Veja-se o depoimento de José Resende a respeito: (...) acho que há um mal-entendido, nem tanto em relação ao Wesley, que era um desenhista de grande habilidade, mas ao processo dessa forma de experimentar o risco e a produção gráfica que dele resulta.
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