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Love and Hate to Lygia Clark Zachęta – National Gallery of Art Magda Kardasz ‘I Am Crying for a Stability That Doesn’T Pl

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Love and Hate to Lygia Clark Zachęta – National Gallery of Art Magda Kardasz ‘I Am Crying for a Stability That Doesn’T Pl amor e ódio clark lygia and hateto love a lygia clark Amor e ódio à Lygia Clark / Love and Hate to Lygia Clark Zachęta – National Gallery of Art Magda Kardasz ‘I am crying for a stability that doesn’t pl. Małachowskiego 3 make sense anymore instead of accept- 00-916 Warsaw www.zacheta.art.pl ing the precarious with great joy as director: Hanna Wróblewska a concept of existence.’ Exhibition Lygia Clark, ‘On the Act’, reprinted in 13.12.2013–23.02.2014 Lygia Clark, Barcelona: Fundació Antoni curator: Magda Kardasz Tapies, 1998, p. 168 collaboration: Magdalena Komornicka, Julia Leopold trainees: Magdalena Gemra, Agata Skura, Łukasz Radziszewski educational programme: Stanisław Welbel and team exhibition production: Anna Muszyńska and team The exhibition presents young- generation artists from Brazil who in We thank Toby Maier for his advices in preparation of the exhibition their practices refer to the classics of Brazilian contemporary art — modern- Exhibition guide edited by Magda Kardasz ism in the first place — in the visual sourcebook of inspirations: Stefania Ambroziak (SA); arts and architecture. Concretism and Beata Bartosewicz (BB); Zuzanna Ciepielewska (ZC); Justyna Ciurzyńska (JC); Katarzyna Drapała (KD); Neo-concretism, the multidisciplinary Magdalena Gemra (MG); Julia Kąkolewska (JK); Tropicalismo movement, 1970s concep- Natalia Kuc (NK); Sonia Malawska (SM); Bartłomiej Mirowski (BM) and Anna Palacz (AP); tualism or modernist architecture have Emilia Przebierała (EP) and Zuzanna Jakubanis (ZJ); become showcases, as it were, of Brazil Marta Przasnek (MP); Katarzyna Sałbut (KSał); as well as a valuable contribution to Katarzyna Sobczak (KSob) and Maria Szczycińska (MS); Agata Starownik (AS); Gabriela Świtek (GŚ) the global cultural heritage. Young Bra- zilian artists are aware of the signifi- graphic design: Jakub Jezierski editorial coordination: Dorota Karaszewska cance of that legacy and in the works editing: Jolanta Pieńkos of many of them can be found more translation: Marcin Wawrzyńczak layout execution, image editing: Maciej Sikorzak or less direct references to the work of printed by Argraf, Warsaw Alfredo Volpi, Lygia Clark, Hélio Oiticica, ISBN 978 83 60713 92 1 Amilcar de Castro, Cildo Meireles, the designs of Lúcio Costa, Oscar Niemeyer, © Zachęta – Narodowa Galeria Sztuki, Warszawa 2013 Texts and graphic design are licensed under Lina Bo Bardi, Paulo Mendes da Rocha, Creative Commons (CC BY-SA 3.0). the impressive architectural layouts of Details of the licence are available on the site: Brasília and São Paulo’s Ibirapuera Park, http://creativecommons.org/licenses/by-sa/3.0/ or the iconic art museums of Rio de Janeiro and São Paulo. The Zachęta show features a large group of works that offer a commen- partner of the exhibition: Embassy of the Republic of Brazil in Warsaw tary on the modernist legacy, relating to it from the (utopia-verifying) per- spective of time or from the vantage partner of the gallery: point, so important for young people, of street or pop culture. Works of this kind are presented by Marcelo Cidade, sponsors of the opening reception: author of a piece that has lent the show its title: Amor e ódio a Lygia Clark / Love and Hate to Lygia Clark. media patronage: A small bronze sculpture resembling two merged brass knuckles, it can be read a symbolic image of aggression on pages 2–3 and 38–39: or, conversely, as a gesture of greet- Fabiano Rodrigues, Untitled, 2012, photograph, courtesy of the artist and Galeria Logo, São Paulo ing or welcoming. The works alludes 4 the young love and hate lygia clark 5 to the late phase of the iconic artist’s notice that they use as background the famous Penetrável series, Peters formative actions but also animated career when she focused on creating the kind of grey woven blankets used by installed a ramp at the entrance of the ‘portraits’ of architectural landmarks. the so called relational objects meant homeless people. The black and white Oiticica show and recorded sound while Next to the Rodrigues presenta- for human interaction. Cidade’s work triangular forms painted onto them performing evolutions. Bail 3 (to ‘bail’ tion we are showing a photographic is based on a tension between the kind comprise the titular inscription, which in skateboard slang means to fail or project by Mauro Restiffe: a selection of of participation that Clark postulated refers to the soft drink, elevated by to fall when trying a trick) documents images from his Oscar series. The artist, and the contemplation of what is Andy Warhol to the status of a pop- an action carried out in the space of known as an author of aesthetic analog a truly beautiful physical object. Many culture icon, but also to glue sniffing Galeria Pivô which is located in the black-and-white photographs blending other projects by Marcelo Cidade (cola means glue), an addiction particu- Niemeyer-designed Edifício Copan in the documentary with the artistic, pur- have been inspired by the history of larly widespread among homeless ado- downtown São Paulo, the world’s larg- sues themes such as politics, space, and Brazilian contemporary art and it is no lescents and in marginalized, impover- est residential building by floor area. architecture (history as a landscape). accident that his 2010 show at the Ga- ished communities. The project, which Tied by a piece of rope to a column po- His oeuvre includes many images of leria Vermelho in São Paulo was called can also be interpreted as a reminder sitioned in the centre of the space, Pe- modernist architecture, such as poetic Avant-garde Is Not Dead. One of his of Cildo Meireles’s 1970s interventions ters makes circles around it on a skate- visions of Niemeyer’s Museum of Art works, a sculpture titled Disappropria- on Coca-Cola bottles, is the most overt board until the column is destroyed. in Pampulha (the BH series) or Lina Bo tion, is a copy of a chair designed by instance of social criticism among the Is this a metaphor of the young fight- Bardi’s Glass House (Casa de Vidro) in Lina Bo Bardi, the legendary Brazilian featured works by Cidade. ing the old establishment, rejecting São Paulo. Among his best known pho- modernist architect, known also as Characteristic for the young artistic formulas left by the previous tographic series are those documenting a designer of furniture and innovative artist’s practice is the blending of generations? In Robespierre and an At- crucial moments in Brazilian history display units. Cidade recreates her elements borrowed from high-brow tempt to Resume a Revolution, Peters, taking place amid the futurist-utopian famous Frei Egídio chair using plywood culture or art history with allusions to dressed in a period costume, interprets architecture of the city of Brasília: the and concrete blocks, the kind of low- street life, subcultures or topical socio- the French radical amid quasi-revolu- 2003 swearing-in ceremony of President cost building materials commonly economic issues. Lo cambio de pesos em tionary slogans painted in red on the Luiz Inácio Lula da Silva, a man on used in the poorer neighbourhoods of formas / The Exchange of Pesos into walls of run-down spaces, performing whom many Brazilians pinned great Brazilian cities. A cheap copy, stripped Forms is another installation by Cidade strange, compulsive acts and pompous hopes for change (Empossamento), and of its utilitarian function, of a designer informed by the work of Lygia Clark: gestures that usually result in failure the 2012 funeral of the ‘pope’ of mod- object by a leftist designer, a kind of on a worn wooden table with a broken or actual falling (he rides a skateboard, ernist architecture, Oscar Niemeyer homage to an unfulfilled utopia, Disap- (sawn off?) leg have been arranged among other things). The video can (Oscar). The strangely alienating im- propriation is yet another ironic work figures reminiscent of Clark’s bichos, be interpreted as a metaphor of the ages capture the beginning and the end by the socially aware artist. Black Flag, variable-shape geometric sculptures fate typically shared by political and of an era and perhaps, also, of a utopia. a wall composition by Cidade, is also meant to be animated by the viewer. artistic revolutions (victory inevitably Virtually Present by Roberto the name of a US hardcore punk band. However, Cidade’s replicas are smaller followed by decline), or as a young Winter is a project that serves as The black shapes arranged on a white and made not of aluminium but of Ar- artist’s appeal for a return to socially a commentary on the late stage of background resemble the small flags, gentine peso banknotes folded origami- committed art. modernist urban planning and its po- or banderinhas, displayed throughout style and cement. Is this a commentary Fabiano Rodrigues gained renown litical aspects. Shot with a handheld Brazil as part of the festa junina fes- on the (potentially) unstable condition with his black-and-white photographs camera from a passing car, Winter’s tivals, which were a favourite motif of of the South American economies or an showing skateboarding evolutions and video shows the Cidade Administra- the famous Brazilian painter Alfredo allegory of the global crisis? We leave the body in movement in relationship tiva Presidente Tancredo Neves state Volpi. A homage to a master, Cidade’s the interpretation to the viewer. with architecture. We are presenting government complex in Belo Horizonte, installation is also a tribute to urban Guilherme Peters is a meta- a slideshow of these self-portraits, Minas Gerais. Located far from the city subculture, the ‘ornamental’ elements phorical skateboarder who sometimes which were taken against the back- centre, the complex was designed in cut out from the abrasive material adopts the position of a political and ground of some of the most iconic ex- the style of late Brazilian modernism by typically used to cover skateboards.
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