“A questão do destino das florestas tropicais e das pessoas que vivem nelas ou perto delas, em especial a Amazônia, atingiu proporções monumentais no Ocidente.
Trata-se de um assunto que cria uma aguda e complexa forma de tensão entre o “local” e o “global” no mundo de hoje e a influência, em todos os níveis, dos poderes políticos internacionais.
Há muitos anos , no entanto, diversos artistas têm se preocupado com questões ecológicas no Brasil e em como infectar o discurso da vanguarda internacional através de algum tipo de combinação artística/ativista.”
Entre eles, Franz Krajcberg.
(adaptado de Guy Brett, Brasil Experimental arte/vida: proposições e paradoxos, Rio de Janeiro, Contra Capa Livraria, 2005.
“The question of the destination of the tropical forests and the people who live in them or close to them, in special the Amazon, reached monumental ratios in Ocidente.
It is a subject that creates an acute and complex form of tension between “local” and “global” in the world today and the influence, in all the levels, of the political international power.
There are many years, however, that several artists have worried about ecological questions in Brazil and in how to infecte the speech of the international vanguard through some type of activist / artistic combination.”
Among them, Franz Krajcberg.
(adapted from Guy Brett, Brasil Experimental arte/vida: proposições e paradoxos, Rio de Janeiro, Contra Capa Livraria, 2005)
”(b Kozienice, 12 April 1921). Brazilian sculptor, printmaker, painter and photographer of Polish birth. He left Poland in 1943 to study in Minsk and Leningrad (now St Petersburg), followed by further study with Willi Baumeister in Stuttgart (1945-7). In 1948 he moved to Brazil, living in São Paulo and later in Paraná (1952-6) and Rio de Janeiro (1956-8). The Paraná jungle aroused an interest in nature that was first expressed in paintings and drawings of vegetable forms. After leaving Brazil for Ibiza (1963) he made reliefs in earth and stones, using nature as a raw material rather than merely as a subject. His subsequent engraved reliefs of leaves or sand furrows, and wooden sculptures of the Bahian coast mangrove trees or the Amazonian jungle, were as much an ecological as an aesthetic statement. He frequently used photography to draw attention to such issues as the scorched Brazilian forests, for example in his book Natura (Rio de Janeiro, 1987; text by A. Houaiss, P. Restany and J. M. Filho). From 1958 he divided his time between Brazil and France.”
THIS SUNDAY A GRAFFITI SCREAM BASED ON EDVARD MUNCH.
NESSE DOMINGO UM GRITO DE GRAFITE BASEADO EM EDVARD MUNCH.