Adriana Varejao

I'm writing a dissertation chapter on Adriana Varejão.

[nobrashfestivity]

Phạm Hầu, Paysage dans une forêt / Landscape in a Forest, 1940-45, screen panels

[artebrasileira]

Adriana Varejão, Autorretratos coloniais, 1993

[zegalba]

Kiki Smith: Nuit (1992)

[artebrasileira]

Very Varejão

[artebrasileira]

A princípio, o que mais chamou a atenção de Adriana foi a prosaica história da Jarra Beethoven, que diz muito sobre o destino e a personalidade de Bordalo Pinheiro. Feita por encomenda de um violinista, a jarra tinha dimensões arrojadas: 2,30 m de altura. O tamanho descomunal do objeto acabou por assustar o comprador, que desistiu da peça. Essas eram "coisas" de Bordalo, conhecido por ultrapassar limites, nas artes e na política."

-- Lília Schwarcz, Pérola imperfeita

[artebrasileira]

Light and Colour (Goethe’s Theory) - the Morning after the Deluge - Moses Writing the Book of Genesis

ARTIST: Joseph Mallord William Turner 1775–1851

MEDIUM: Oil paint on canvas

DIMENSIONS Support: 787 × 787 mm

COLLECTION: Tate

[artebrasileira]

Suprematism

Kazimir Malevich, Black Circle, motive 1915, painted 1924, oil on canvas, 106.4 × 106.4 cm, State Russian Museum, St. Petersburg

(Source)

[artebrasileira]

(vía Bakery Counter, 1962 - Wayne Thiebaud - WikiArt.org)

[fanzinhapoeta]

Zhang Daqian (Chang Dai-chien, 1899-1983), 1965 · ink and colour on panel, 45 x 60 cm · private collection

Content from: https://theartwolf.com/masterworks/landscapes/zhang-daqian-early-snow/

[artebrasileira]

DISPLAY CAPTION

Oiticica suspended this work from the ceiling so that viewers would have to walk around it. He wanted us to become active participants in the work. Only by walking around it can you see the difference in colour and shapes on both sides. It is painted in two very similar colours, chosen for their reaction to light. Oiticica was influenced by the ordered abstraction of artists such as Piet Mondrian and Kazimir Malevich, whose work is also on display in this room. But Oiticica introduced elements of movement and change, emphasising the bodily experience of his work.

Gallery label, August 2019

Image and Text Source: https://www.tate.org.uk/art/artworks/oiticica-spatial-relief-red-rel-036-t12763

[fanzinhapoeta]

In 1968, as a result of the traumatized public space created in Brazil, [Lygia] Clark moved to Paris. From 1970-1975 she taught at the Sorbonne, returning to Rio in 1977. During this period she developed with her students collective body works that she referred to as Organic or Ephemeral Architecture ... She titled one of them Baba Antropofágica (translated in English as "Dribble"), meaning literally "Anthropophagic Drool" or "Cannibal Spit." For this work, participants placed in their mouths a small spool of colored thread that they unwound directly from their mouths onto another of the participants who lay stretched out on the ground. The body of the latter was gradually buried under a mottled web of regurgitations. This event was inspired by Clark's dream of an unknown material endlessly flowing from her mouth to create the loss of her own inner substance. The collective vomiting experienced by the group was described by her as the exchange among the participants of psychological content. She also mentions that this exchange was not pleasurable and that it was about the vomiting of livd experience, which was then swallowed by others.

- Simone Osthoff, "Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation for a Telematic Future"

Image from: https://portal.lygiaclark.org.br/acervo/@id/234

[fanzinhapoeta]

Hélio Oiticica, L'après-midi quase evening (1973)

Medium: Cibachrome prints pasted on paper

Dimensions: 11 9/16 × 17 11/16" (29.3 × 45 cm)

Credit: Gift of Patricia Phelps de Cisneros through the Latin American and Caribbean Fund

Image from MoMA

[artebrasileira]

Bernard Palissy

Source:

https://www.flickr.com/photos/44124324682@N01/41235441/

[artebrasileira]

If we look at [René Portocarrero's] paintings of the Flora series, for example, and even his recent drawings, like the one illustrating the cover of the Era edition of Paradiso, we see that the process of artificialization through substitution is operating in the same way: the visual signifier corresponding to the signified "hat" has been replaced by a motley cornucopia, a floral scaffolding fashioned on a boat; only in the drawing's graphic structure can this image occupy the place of the signifier of "hat."

-- Severo Sarduy, "Baroque and Neobaroque," trans. Christopher Winks

[artebrasileira]

Sfumato

sfu·ma·to| sfuˈmɑdoʊ | noun Art

the technique of allowing tones and colors to shade gradually into one another, producing softened outlines or hazy forms.

ORIGIN mid 19th century: Italian, literally ‘shaded off’, past participle of sfumare.

[fanzinhapoeta]

Early Spring, Guo Xi, 1072.

"A virtuous man takes delight in landscapes so that in a rustic retreat he may nourish his nature, amid the carefree play of streams and rocks, he may take delight, that he might constantly meet in the country fishermen, woodcutters, and hermits, and see the soaring of cranes and hear the crying of monkeys.  The din of the dusty world and the locked-in-ness of  human habitations are what human nature habitually abhors; on the contrary, haze, mist, and the haunting spirits of the mountains are what the human nature seeks, and yet can rarely find."

-- Guo Xi, "An Essay on Landscape Painting" (trans. S. Sakanishi)

For more on Northern Song painting, see Patricia Buckley Ebrey's A Visual Sourcebook of Chinese Civilization

[artebrasileira]

Adriana Varejão

Passagem de Macau a Vila Rica, 1992 óleo e gesso sobre tela 165 x 195 cm

[artebrasileira]

John White

drawing; print study | British Museum

A 'woman neighbour to the Picts'; wearing tunic, breasts bare, with curved sword and spear Pen and brown ink and watercolour over graphite