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León Ferrari and Mira Schendel Tangled Alphabets León Ferrari and Mira Schendel

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León Ferrari and Mira Schendel Tangled Alphabets León Ferrari and Mira Schendel pérez- oramas león ferrari and mira schendel tangled alphabets león ferrari and mira schendel león ferrari series of works on paper, developing a practice in which organic, tangled alphabets gestural forms can appear both as abstractions and as explora- tions of the codes of writing, whether legible or indecipherable. Deeply concerned with the ethical role of the artist, Ferrari later fused his avant-garde formal interests with a more political, con- frontational kind of art. Still fully active in Argentina’s contempo- León Ferrari and Mira Schendel are among the most significant rary-art scene, he lives in Buenos Aires and won the Leone d’oro Latin American artists of the twentieth century. Living respec- at the Venice Biennale of 2007. tively in Argentina and Brazil, both began to make art in the 1950s Born in Zurich in 1919, Schendel moved with her family to and hit their stride in the early 1960s, maturing during a period Italy while still an infant. In 1936 she entered a Milan university to when not only artists but philosophers and indeed a broad range study philosophy, but three years later, facing the threat of anti- of intellectuals were developing a fascination with language. Semitic persecution, she fled into exile, and once the war was Interested equally in speech and the written word, Ferrari and over she left Europe for Brazil. It was there that she began to make Schendel made language their subject matter. In this they may art, producing first ceramics, then painting, and, beginning in the seem to resemble the Conceptual artists, their contemporaries in 1960s, a volume of work based on the use of Japanese paper North America and Europe, but their work differs fundamentally but involving uncategorizable, often self-invented methods. Like from the generally accepted canon of Conceptual art in using Ferrari, Schendel was highly sensitive to the ethics of artmaking, language not as a transparent vehicle of ideas but as a material, and approached art as the most radical possible expression of an almost physical medium to shape and mold. the human condition. She continued to experiment with forms Ferrari was born in Argentina in 1920. He has worked in and materials until her death, in São Paulo in 1988. a wide range of art forms and mediums, from sculpture, paint- Written and conceived by Luis Pérez-Oramas, The Estrellita ing, drawing, and assemblage to film, collage, mail art, poetry, Brodsky Curator of Latin American Art at The Museum of Modern and sound. While living temporarily in Italy in the 1950s, he made Art, León Ferrari and Mira Schendel: Tangled Alphabets presents ceramic sculptures stylistically connected to the European new insights into these artists’ visual deconstructions of language abstraction of the time. On returning to Argentina, he produced and examines the connections and collisions among visual art, the sculptural works of metal wires and rods before beginning a word, and the social world. ISBN: 978-0-87070-750-6 MoMA león ferrari and mira schendel luis pérez-oramas león ferrari and mira schendel tangled alphabets with essays by andrea giunta and rodrigo naves The Museum of Modern Art New York Published on the occasion of the exhibition Tangled Alphabets: © 2009 The Museum of Modern Art, New York Contents León Ferrari and Mira Schendel, organized by Luis Pérez-Oramas, Copyright credits for certain illustrations are cited on p. 199. All rights The Estrellita Brodsky Curator of Latin American Art, The Museum reserved Foreword 7 of Modern Art, April 5 through June 15, 2009 Acknowledgments 8 Luis Pérez-Oramas’s essay was translated from the Spanish by The exhibition is made possible by Agnes Gund, The International Kristina Cordero. Andrea Giunta’s essay was translated from the León Ferrari and Mira Schendel: Tangled Alphabets 12 Council of The Museum of Modern Art, and Estrellita B. Brodsky. Spanish by Elise Nussbaum. Rodrigo Naves’s essay was translated Luis Pérez-Oramas from the Portuguese by Michael Reade. Mira Schendel’s writings in Generous support is provided by Beatriz and Andrés von Buch, The that essay were translated from the Portuguese by Clifford E. Landers. Léon Ferrari: A Language Rhapsody 46 Bruce T. Halle Family Foundation, and Fundación Cisneros/Colección Andrea Giunta Patricia Phelps de Cisneros with additional funding from Clarissa Distributed in the United States and Canada by D.A.P./Distributed Alcock Bronfman, Andrea and José Olympio da Veiga Pereira, Leopoldo Art Publishers, 155 Sixth Avenue, 2nd floor, New York, New York 10013 Mira Schendel: The World as Generosity 58 Rodés and Ainhoa Grandes, Mrs. Yvonne Dadoo de Lewis, Mr. and (www.artbook.com) Rodrigo Naves Mrs. Guillermo Cisneros, TEN Arquitectos/Enrique Norten, and Mr. and Distributed outside the United States and Canada (except Brazil) Mrs. Nicholas Griffin, Eva Luisa Griffin, and Tomás Orinoco Griffin. by Thames & Hudson Ltd, 181 High Holborn, London WC1V 7QX Plates 70 United Kingdom (www.thamesandhudson.com) Chronology 169 This publication has been prepared with the assistance and support Distributed in Brazil by Cosac Naify Selected Bibliography 184 of Mr. Charles Cosac and Mr. Michael Naify. Index of Plates 196 Library of Congress Control Number: 2009922634 Cosac Naify Publishing House acknowledge the cooperation received ISBN: 978-0-87070-750-6 Trustees of The Museum of Modern Art 200 from Mrs. Ada Schendel, Mr. André Millan, and Mr. Carlos Jereissati Filho, to whom they wish to express their gratitude. Front cover Left: León Ferrari. Torre de Babel (Tower of Babel; detail). 1964 3 1 Produced by the Department of Publications Stainless steel, bronze, and copper, 6' 6 /4" x 31 /2" (200 x 80 cm) The Museum of Modern Art, New York Lent by the American Fund for the Tate Gallery 2008. See plate 72 Right: Mira Schendel. Untitled (detail) from the series Objetos gráficos Edited by David Frankel (Graphic objects). 1973 Designed by Amanda Washburn Transfer type on thin Japanese paper between transparent acrylic 3 Production by Christina Grillo sheets, 22 x 22 x /8" (55.9 x 55.9 x 1 cm) Printed and bound by Conti Tipocolor, s.p.a., Florence, Italy Collection Patricia Phelps de Cisneros. See plate 93 This book is typeset in Chalet and Century Schoolbook. Back cover The paper is 170 gsm Luxosamt Offset León Ferrari, late 1960s; and Mira Schendel, São Paulo, 1980s Published by The Museum of Modern Art, 11 W. 53 Street, New York, Frontispiece New York 10019 (www.moma.org) and Cosac Naify, rua General Jardim, León Ferrari, Galeria Levi, Milan, 1962; and Mira Schendel with a 770, São Paulo, Brazil, 01223-010 (www.cosacnaify.com.br) Droguinha, São Paulo, 1980s Printed in Italy foreword 7 The Museum of Modern Art has a history of conceiving comparative their work together in New York and in Europe, we bring to bear on retrospectives, exhibitions exploring parallels and divergences among them an international perspective that transcends a purely national two or more artists. Following one of the original legacies of modernity, understanding and will no doubt crucially inflect our understanding of the understanding that symbolic forms only produce meaning through Western modern art. their differences, we have embraced this curatorial model from our open- We are enormously grateful to Ferrari and to the Schendel ing in 1929, with a show of Cézanne, Van Gogh, Seurat, and Gauguin, to estate, as well as to the collectors and institutions lending works for the recent Matisse Picasso of 2004. Tangled Alphabets: León Ferrari and the exhibition. A project this complex demands the collaboration of a Mira Schendel extends this curatorial and philosophical tradition. great number of people and we are grateful to the writers, curators, Tangled Alphabets focuses on two outstanding artists whose and other members of the Argentine and Brazilian art worlds who have work is too little known in North America and Europe. The first U.S. contributed to the exhibition’s materialization. The excellence and cre- retrospective to pair León Ferrari, from Argentina, and the late Mira ativity of the Museum’s own staff is crucial to the success of all our Schendel, who was based in Brazil, it provides a consistent analogical projects, and Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin survey of their contribution to contemporary art and, we feel, a ground- American Art, and Geaninne Gutiérrez-Guimarães, Curatorial Assistant breaking moment of awakening to the quality and significance of their in the Department of Drawings, have worked tirelessly on every detail work. The Museum’s commitment to Latin American art of course goes of this exhibition from inception to realization. We are deeply grateful back many years, and today more than ever we are committed to to Agnes Gund, The International Council of The Museum of Modern bringing attention to overlooked chapters of modern art history and to Art, Estrellita Brodsky, Beatriz and Andrés von Buch, The Bruce T. Halle shaping curatorial initiatives through an awareness of the complexity Family Foundation, Clarissa Alcock Bronfman, Andrea and José Olympio of our present world. da Veiga Pereira, Leopoldo Rodés and Ainhoa Grandes, Mrs. Yvonne Art is a history of diaspora, of the relocation, assimilation, and Dadoo de Lewis, Mr. and Mrs. Guillermo Cisneros, TEN Arquitectos/ transformation of forms, ideas, practices, and intellectual movements. Enrique Norten, and Mr. and Mrs. Nicholas Griffin, Eva Luisa Griffin, and Ferrari, the Argentine son of an Italian immigrant, and Schendel, a Tomás Orinoco Griffin for their enthusiasm and support for this exhibi- Swiss/Italian who emigrated to Brazil, have tirelessly addressed visual tion and its catalogue. We warmly thank Patricia Phelps de Cisneros art as capable of positing the most radical and demanding existential and the Fundación Cisneros for important funding of the exhibition, and questions.
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