A mostra reúne 45 obras confeccionadas ao longo de quatro décadas de inspiração, compondo a coletânea Poesia Visual.
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A exposição reúne obras em diversas linguagens e suportes, como pinturas, desenhos, gravuras, instalação e poemas visuais, além de objetos e esculturas em grande dimensão para o espaço urbano. Dentre as esculturas algumas inéditas, realizadas a partir de maquetes dos anos 80 até agora nunca executadas em grande formato no qual foram concebidas.
Em seu percurso, destaca-se a passagem pelo concretismo e pela arte conceitual, nos anos 70, o que contribuiu fortemente com a incessante busca de uma linguagem singular, limpa, de vocabulário gráfico sintético. Seu trabalho sempre se diferenciou da arte produzida na Bahia, aproximando-se mais do Neoconcreto e da Poesia Visual na herança de Lygia Pape, Hélio Oiticica, entre outros.
Sua obra, tanto pictórica, quanto linguística, se impõe como um lugar de reflexão, solitário e à margem do cenário cultural brasileiro. Após ensaios figurativos, no início da década de 70, sua pesquisa plástica se direcionou para o concretismo e a arte conceitual. Como poeta, mantém contato com a poesia concreta e o poema/processo, produzindo poemas visuais. É um dos principais nomes da poesia visual e experimental no Brasil.
Desenhos em preto-e-branco, objetos e projetos de instalações, essencialmente cerebrais, calcados de modo primoroso de tratar questões práticas e conceituais, marcam a produção do artista na segunda metade da década de 70. Redescobre a cor nos anos 80, quando suas obras - sejam pinturas ou objetos e esculturas -, ganham uma dimensão lúdica.
É um escultor que trabalha com a cor e com o espaço e um pintor que medita sobre a forma, o traço e a cor no plano da tela.
A arte de Almandrade dialoga com certas referências da modernidade, transita entre o construtivo, a arte conceitual e a poesia visual, mantendo uma coerência com os diversos suportes até a palavra e reinventando novas leituras.
Como dizia Décio Pignatari “Almandrade capricha nas miniaturas de suas criaturas, cuja nudez implica mudez, límpido limpamento do olho artístico, já cansado da fantástica história da arte deste século interminável, deste milênio infinito.” (1995). Século que já é passado. A coerência e o rigor do artista em lidar com diferentes suportes, incluindo a palavra (poesia), fazem de Almandrade, um pensador que se utiliza desses suportes para produzir reflexões.
Que ninguém duvide: a economia de elementos e de dados não se dá por acaso, é uma opção estética, inteiramente coerente com sua tendência à síntese, ao traço essencial, ao quase vestígio. Um nada, cuja gênese reside na totalidade absoluta. Assim também é sua poesia.
The exhibition includes artworks in a diverse range of languages and medias, such as painting, drawings, engravings, installation and visual poems, besides objects and large open air sculptures. Some are recent, created after mockups from the 70’s or 80’, but never produced in large format before.
In his career, the transition through concretism and conceptual art is highlighted at the 70’s, which contributed strongly to the incessant search of a singular language, rid from synthetic vocab. His work was always different from the kind of art produced in Bahia (northeast of Brazil). Approaching the Neo-concrete and the visual poetry inherited from Lygia Pape, Hélio Oiticica and others with whom he was in contact at the time.
Both pictorial and linguistic his works stand as a place of reflection, solitary and at the margin of the Brazilian cultural scene. After figurative essays at the beginning of the 70’s, his plastic research turned to the concretism and conceptual art. As a poet, his field is concrete poetry, the poem/process, producing visual poems. He is one of the main names of the visual and experimental poetry in Brazil with several essays published.Black and white drawings, objects and installation projects, essentially cerebral, carefully paved in a primordial way of dealing with practical and conceptual issues, mark the artist’s output in the second half of the 70’s. He rediscovered color on the 80’s, when his works – paintings or sculptures -, gain a playful dimension, without losing coherence and the ability to entertain with intelligence.
He is a sculptor who works with color and space, and a painter that ponders about the forms, the trace and the color at the plain of the canvas.
Almandrade’s art dialogues with modernity, transits between the constructive, conceptual and the visual poetry, maintaining coherence with several medias using words to reinvent new readings.
As Décio Pignatari used to say “Almandrade puts much thought at the miniatures of his creatures, whose nudeness implies muteness, limpid cleansing of the artistic eye, already weary of the fantastic history of art of this endless century, of this infinite millennium.” (1995). A century that has already come to past.The coherence and the rigor of the artist in dealing with different medias, including the word (poetry), turns Almandrade as a thinker who uses these supports to produce reflections.
Let no one doubt: the frugality of elements and data are not by chance. It is an aesthetic choice, entirely consistant with his tendency to synthesis, to the essential trace, to the barely vestigial. A nil which genesis resides in the absolute totality. So is his poetry.
In his career, the transition through concretism and conceptual art is highlighted at the 70’s, which contributed strongly to the incessant search of a singular language, rid from synthetic vocab. His work was always different from the kind of art produced in Bahia (northeast of Brazil). Approaching the Neo-concrete and the visual poetry inherited from Lygia Pape, Hélio Oiticica and others with whom he was in contact at the time.
Both pictorial and linguistic his works stand as a place of reflection, solitary and at the margin of the Brazilian cultural scene. After figurative essays at the beginning of the 70’s, his plastic research turned to the concretism and conceptual art. As a poet, his field is concrete poetry, the poem/process, producing visual poems. He is one of the main names of the visual and experimental poetry in Brazil with several essays published.Black and white drawings, objects and installation projects, essentially cerebral, carefully paved in a primordial way of dealing with practical and conceptual issues, mark the artist’s output in the second half of the 70’s. He rediscovered color on the 80’s, when his works – paintings or sculptures -, gain a playful dimension, without losing coherence and the ability to entertain with intelligence.
He is a sculptor who works with color and space, and a painter that ponders about the forms, the trace and the color at the plain of the canvas.
Almandrade’s art dialogues with modernity, transits between the constructive, conceptual and the visual poetry, maintaining coherence with several medias using words to reinvent new readings.
As Décio Pignatari used to say “Almandrade puts much thought at the miniatures of his creatures, whose nudeness implies muteness, limpid cleansing of the artistic eye, already weary of the fantastic history of art of this endless century, of this infinite millennium.” (1995). A century that has already come to past.The coherence and the rigor of the artist in dealing with different medias, including the word (poetry), turns Almandrade as a thinker who uses these supports to produce reflections.
Let no one doubt: the frugality of elements and data are not by chance. It is an aesthetic choice, entirely consistant with his tendency to synthesis, to the essential trace, to the barely vestigial. A nil which genesis resides in the absolute totality. So is his poetry.
Gabinete de Arte k2o
SMDB Conjunto 31 Lote 1B - Lago Sul
Brasília – DF, CEP 71.680-310 Brasil
SMDB Conjunto 31 Lote 1B - Lago Sul
Brasília – DF, CEP 71.680-310 Brasil
RSVP: +55 61. 34681152 ramal 20
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