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32340-Livro Fahlstom.pmd 1 14/8/2007, 05:34
Patrocinadores Master
Öyvind
Fahlström
Mapas
EXPOSIÇÃO MONOGRÁFICA
Öyvind
Fahlström
Mapas
EXPOSIÇÃO MONOGRÁFICA
Autores
Antonio Sérgio Bessa
Gabriel Pérez-Barreiro
1ª edição
Porto Alegre, 2007
11 Textos Institucionais
19 6ª Bienal do Mercosul
A Terceira Margem do Rio
Gabriel Pérez-Barreiro
27 Öyvind Fahlström
Mapas
Gabriel Pérez-Barreiro
42 Biografia do artista
43 Textos en español
67 Texts in English
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Gabriel Pérez-Barreiro
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Gabriel Pérez-Barreiro
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p.234. 4
“Serafim: Um grande
não livro,” In: Memórias
sentimentais de João O conceito de bricolagem foi introduzido por Lévi-Strauss, em The
Miramar/Serafim
Ponte Grande, Savage Mind (1962) – em um capítulo curiosamente intitulado A
vol. 4, Obras completas, Ciência do Concreto –, como uma espécie de pensamento em oposição
4a ed. (Rio de Janeiro:
Civilização Brasileira,
ao processo de pensamento especializado desenvolvido pelo
1972) pp.101–27. “engenheiro”: este trabalha “através de conceitos,” sustenta Lévi-
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4
Claude Lévi-Strauss, The
5 Savage Mind. (Chicago:
The University of Chicago
Press, 1966) p.20.
A história das artes na primeira metade do século XX é, muitas vezes, 5
Jacques Derrida, Writing
transmitida pela sucessão de movimentos de curta duração – cubismo, and Difference (Chicago:
The University of
futurismo, vorticismo, dadaísmo, surrealismo, e por aí afora. A Chicago Press, 1978)
própria velocidade que anima tal desfile é emblemática daquela época p.285.
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http://
www.zingmagazine.com/
zing6/bessa/kelley.html
9
Öyvind Fahlström: Die
Instalazionen.
Ostfildern: Cantz Verlag,
1995. p.19.
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Mayor empresa brasileña y mayor patrocinadora de arte y cultura en nuestro país, Petrobras
presta especial atención a una serie de acciones en el campo de las artes visuales. Es funda-
mental, en nuestra política de patrocinio, el estímulo a la difusión y acceso a la cultura.
Petrobras tiene como compromiso contribuir con el desarrollo de Brasil. Y un país que no
conoce su arte jamás será un país desarrollado.
Petrobras
Gerdau
Santander Cultural y la Fundación Bienal vienen caminando lado a lado con la percepción
de que promover cultura es, necesariamente, un esfuerzo colectivo y un proceso continuo
y creador de gran potencial para la evolución socioeconómica. La Bienal que realizamos en
Porto Alegre tiene fuerza propia, está incluida en el circuito mundial de las artes, genera
conocimiento y promueve una importante interlocución de tendencias a partir de las artes
visuales. Al participar en esta nueva edición, nos enorgullece ver nuestros esfuerzos
desempeñando un papel efectivo en la educación por el arte y en la democratización del
acceso a los bienes culturales por parte de toda la población. Por medio del arte, vamos al
encuentro de la sociedad del conocimiento a la que todos aspiramos.
Santander Cultural
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La selección de La Tercera Orilla del Río como metáfora central remite a la posibilidad de crear un
tercer lugar. Refleja, también, un enorme conjunto de cuidados curatoriales y gerenciales tomados
para favorecer la relación entre el visitante y cada uno de los trabajos expuestos. La obra de arte
y el pensamiento del artista son, de este modo, exaltados con el mínimo de intermediación.
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Agradeciendo a todos los que contribuyeron, directa o indirectamente, para esta realización,
anhelo pueda el público fruir todos sus significados.
Justo Werlang
Presidente de la 6ª Bienal del Mercosur
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En esta 6ª edición, la Bienal consolida sus acciones en tres principales direcciones. Primero,
se internacionaliza, asumiendo un concepto de mayor diálogo entre los países del Mercosur
y el resto del mundo, concepto de una bienal desde el Mercosur. Dada la globalización, las
personas se nutren, tanto de informaciones locales como internacionales, y los artistas
pueden auxiliar en el cuestionamiento de cómo estas constantes negociaciones entre cultu-
ras son enriquecedoras, y no necesariamente conflictivas.
Consolida también el énfasis que, desde su primera edición, la Bienal del Mercosur le da a
la educación. Al incorporar plenamente el proyecto pedagógico al proyecto curatorial, el
arte pasa a ser entendido a través de su potencial de educación y desarrollo personal,
constituyéndose en una contribución real para la construcción de una sociedad mejor y
más amplia. Las acciones pedagógicas de la 6ª Bienal del Mercosur se destacan por la
calidad de sus propuestas, y por la diversidad y el número de personas que alcanza.
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Valoro esta tradicional muestra de elevado nivel artístico, por ir al encuentro, de un modo
tan elocuente y concreto, de nuestras acciones en beneficio de la consolidación del Mercosur,
al cual considero mucho más que un bloque comercial e incluso más que un bloque
político. Lo considero una institución capaz de unir a los pueblos sudamericanos, cultural
y espiritualmente, de forma fraterna y solidaria y así rescatar el sueño de Simón Bolívar y
José de San Martín.
Nuestro gobierno aplaude ese esfuerzo conjunto y lo considera en armonía con las iniciativas
que venimos emprendiendo en el Ministerio de Cultura. Me gustaría, incluso, recordar
que durante nuestra administración, este ministerio ha adoptado una nueva directriz para
orientar sus acciones, que se ha basado en una concepción más amplia de lo que es “Cultura”,
considerándola en tres dimensiones: como producción simbólica, con foco en la valorización
de la diversidad de las expresiones y de los valores culturales; como ejercicio del derecho y
la ciudadanía, con iniciativas que tienen en vista la inclusión social por medio de actividades
culturales; y como hecho económico en la medida en que genera empleos, renta y fortalece
cadenas productivas. Estas dimensiones pasaron a ser objetivo de las acciones del Ministerio
de Cultura como los tres pilares fundamentales para el desarrollo de las nuevas políticas
culturales bajo responsabilidad de este Órgano.
Con la certeza del absoluto éxito que tendrá la Bienal del Mercosur, les envío efusivos
saludos a los miles de visitantes que seguramente la visitarán y a todos los que vienen
trabajando para hacer posible la realización de sus sucesivas ediciones.
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Me honra gobernar el Estado de Rio Grande do Sul en el momento en que la 6ª Bienal del
Mercosur da un importante paso más en dirección a la ruptura de los propios límites. Al
adoptar, para sí, la metáfora motivadora “Tercera Orilla del Río”, la Bienal imita el arte y se
vuelve, ella misma, creadora de nuevos paradigmas.
Crea nuevos paradigmas cuando invita como curador general al consagrado Gabriel Pérez-
Barreiro, cuando establece sus Itinerancias, cuando genera un proyecto pedagógico, cuando se
distribuye en varios espacios de la ciudad y principalmente, cuando hace todo esto con vistas a
ampliar la dialéctica silenciosa con el otro.
La Bienal del Mercosur nació así, internacional, y se internacionaliza cada vez más,
resistiéndose a las propias márgenes y a los propios marcos. Quiere encontrarse con el
mundo en la perspectiva del Mercosur y quiere ser vista por el mundo como Mercosur,
promoviendo nuevos contornos y nuevos diálogos que involucrarán artistas de dos decenas
de países y prometiendo superar el número de un millón de visitantes.
La generosidad del acto creador nos enriquecerá a todos. ¡Todos, por lo tanto, a la 6ª Bienal
del Mercosur!
Yeda Crusius
Gobernadora de Rio Grande do Sul
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Petrobras is the biggest Brazilian company sponsoring the country’s arts and culture and
has been giving special attention to a series of actions in the visual arts field. A pillar of our
sponsorship policy is to stimulate diffusion and access to culture.
Petrobras
Gerdau
Santander Cultural and Fundação Bienal share the realisation that promotion of culture
requires collective effort, a continuous process and creates great potential for socioeconomic
growth. The Biennial we are organising in Porto Alegre has its own energy, being included on
the global art circuit and stimulating important debate about trends from the basis of the
visual arts. In participating once again in this edition, we are proud to see our efforts playing
an important role in education through art and democratising access to cultural assets for the
whole population. Art will lead us to the society of knowledge towards which we all aspire.
Santander Cultural
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We believe that contemporary artistic ideas have the potential for transformation. The
paradox of this world is that we have so much to say to each other and, on the other hand,
what is most clear is the lack of dialogue and understanding, which is probably due to our
being unaccustomed to silence. The arts, and particularly the visual arts, have the power of
generating silence, enabling one to put oneself in the place of the other, through the eye of
the other, in an exercise of tolerance and broadening perspectives. Societies progress according
to their allowance for questioning, imagination and dreams.
The choice of the Third Bank of the River as a central metaphor refers to the possibility
of creating a third place. It also reflects the huge range of curatorial and administrative
care that has been taken to favour the relationship between the visitor and each of the
works on show, bringing the work of art and the artist’s thinking to the fore with the
minimum of intervention.
The education programme, focusing on the development of the creative ability of our
citizens, has been conceived as an integral part of the curatorial project. It is not only present
in the exhibition spaces, where several mechanisms have been created for public interaction,
but it has also taken the Biennial into school libraries and classrooms through the hands of
the thousands of teachers who have taken part in the symposiums and workshops, organised
within a 500-km radius of Porto Alegre. It has been implemented with the support of a
productive network of partnerships with public bodies and third-sector organizations.
The dedication of our directors and advisors who have voluntarily heeded the call to
prepare such a complex event is a sure indicator of society’s ability to organise itself into
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The passion and performance of the teams, both permanent and temporary, which have
thrown themselves into the materialisation of what at one time was dreams and uncertainty,
teaches us how strongly we can fight when the cause is good.
The 6th Mercosul Biennial is the result of the real efforts of innumerable people,
organisations, businesses and the governments of Brazil, the state of Rio Grande do Sul,
and the city of Porto Alegre, enabling the ideas of contemporary art to increasingly and
better approach our everyday lives, today and in the future.
With thanks to all those who have directly or indirectly contributed to this project, I hope
the public will be able to benefit from all its meanings.
Justo Werlang
President of the 6th Mercosur Biennial
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In this 6th edition, the Biennial is consolidating its actions in three main directions. Firstly,
it is becoming more international as it takes on greater dialogue between the Mercosur
countries and the rest of the world with the idea of a biennial from Mercosur. Globalisation
is leading to people being fed by both local and international information, and artists can
help by showing how the constant negotiations between cultures bring enrichment, and
not necessarily conflict.
This edition also consolidates the emphasis it has placed on education since its first edition.
By fully incorporating the education programme into the curatorial project, art becomes
understood through its potential for education and personal development, making a real
contribution to constructing a better and broader society. The 6th Mercosur Biennial’s
educational actions stand out for the quality of their proposals and for the wide range and
number of people they affect.
This group of initiatives has formed a new paradigm, pointing to ways in which the
Fundação Bienal do Mercosur can continue to improve its actions in the future, building
a better society together with its partners.
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I value this now-traditional exhibition, which reaches a high artistic standard, for so
eloquently and concretely meeting our actions in pursuit of the consolidation of Mercosul,
which I view as more than an economic, and even political, bloc. I believe the institution
can unite the peoples of South America culturally and spiritually, in fraternity and solidarity,
and thus recover the dream of Simón Bolívar and José de San Martin.
Our government applauds this joint effort and considers it to be attuned to the initiatives
we have been employing at the Ministry of Culture. I should furthermore like to recall that
during our administration this ministry has adopted new directives to guide its actions,
which are based on a broader concept of “Culture”, considering it in three dimensions: as
symbolic production, focused on valuing diversity of cultural values and expression; as an
exercise of citizens’ rights, with initiatives towards social inclusion through cultural activities;
and as an economic factor, in terms of its generation of employment and income and
strengthening the chains of production. These dimensions now guide the actions of the
Ministry of Culture as the cornerstones for the development of its new cultural policies.
Certain of the absolute success of the 6th Mercosul Biennial, I send my warm greetings to
the thousands of visitors who will certainly attend and to all those who have worked to
make its successive editions possible.
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It is an honour to be governor of the State of Rio Grande do Sul at a time when the 6th Mercosul
Biennial is taking one more important step towards breaking its own boundaries. In taking up
the driving metaphor of the “Third Bank of the River”, the Biennial is imitating art and is itself
becoming a creator of new paradigms.
The Mercosul Biennial was born international, and becomes increasingly more international,
rejecting its own boundaries and frameworks. It wishes to encounter the world from the
perspective of Mercosul and be seen from the world as Mercosul, setting up new outlines and
new dialogues involving artists from some twenty countries, and promises to exceed the
figure of one million visitors.
In the name of Rio Grande do Sul, I should like to acknowledge the work of the Fundação
Bienal do Mercosul, the support of the sponsors, the Rio Grande do Sul community, the
international institutions involved and extend a warm welcome to our exhibiting artists.
The generosity of the creative act will enrich us all. Let us all therefore visit the 6th
Mercosul Biennial!
Yeda Crusius
Governor of Rio Grande do Sul
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4
It would be difficult to assess how much of the
artistic and intellectual production of this period The concept of bricolage was introduced by Lévi-
the younger Fahlström was exposed to. We can Strauss in The Savage Mind (1962), in a chapter
only conjecture that, given the utopian nature of curiously entitled “The Science of the Concrete,”
his work, somehow the anarchic energy of Oswald as a kind of thinking that is in opposition to the
de Andrade’s antropofagia found its way into his specialized thought process developed by the
artistic development. Concretism’s debt to Oswald “engineer”: the latter works by “means of
de Andrade was acknowledged early on by the concepts,” Lévi-Strauss asserts, while the former
Noigandres poets in “Plano piloto para poesia con- works by “means of signs.” 4 Lévi-Strauss’s
creta” (Pilot Plan for Concrete Poetry, 1958), the distinction between the engineer and the bricoleur
manifesto that listed de Andrade as a “forerunner” is of fundamental importance to the
alongside Stéphane Mallarmé, Ezra Pound and understanding of concretism in Brazil and the
James Joyce. But the impact of antropofagia on ensuing polemics between the São Paulo camp
Brazilian culture did not truly materialize until and the neo-concrete group in Rio de Janeiro.
the mid-1960s, when de Andrade’s satirical play Inspired by the work of poets like João Cabral de
O Rei da vela (The Candle King) received its first Mello Neto, for instance, the group Noigandres
theatrical production by the Oficina group, and promoted from the very start an image of the
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Gabriel Pérez-Barreiro
Is Chief Curator of the 6th Mercosul Biennial and
Curator of Latin American Art at the Blanton
Museum of Art, University of Texas in Austin.
He holds a PhD in Art History and Theory from
the University of Essex, and MA in Art History
and Latin American Studies from the University
of Aberdeen. From 2000 to 2002, he was Director
of Visual Arts at The Americas Society in New
York, USA. Prior to that, he was the Exhibitions
and Programs Coordinator at the Casa de Améri-
ca in Madrid, Spain. From 1993 to 1998 he was
Founding Curator of the University of Essex
Collection of Latin American Art. He has
published and lectured widely on modern and
contemporary art from Latin America.
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Coluna No.1 (pão milagroso) / Columna No. 1 Modelo da África / Modelo de África / Africa
(pan milagroso) / Column No. 1 (Wonder Model, 1974
Bread), 1972 Serigrafia sobre papel / Serigrafía sobre papel /
Litografia sobre papel / Litografía sobre papel / Silkscreen on paper
Lithograph on paper 99,7 x 69,7 cm
71 x 58,9 cm The JPMorgan Chase Art Collection
The JPMorgan Chase Art Collection
Coluna No.3 (Chile F) / Columna No. 3
Esboço para o mapa do mundo parte I (Chile F) / Column No. 3 (Chile F), 1974
(Américas, Pacífico) / Esbozo para mapamundi Serigrafia sobre papel / Serigrafía sobre papel /
parte I (Américas, Pacífico) / Sketch for World Silkscreen on paper
99,5 x 69,5 cm
Map Part I (Americas, Pacific), 1972
The JPMorgan Chase Art Collection
Litografia sobre papel / Litografía sobre papel /
Lithograph on paper
86,4 x 101,6 cm
Coluna No.4 / Columna No. 4 / Column
The JPMorgan Chase Art Collection No. 4, 1974
Serigrafia sobre papel / Serigrafía sobre papel /
Coluna No.2 (Picasso 90) / Columna No. 2 Silkscreen on paper
75,9 x 56,4 cm
(Picasso 90) / Column No. 2 (Picasso 90),
The JPMorgan Chase Art Collection
1973
Serigrafia sobre papel / Serigrafía sobre papel /
Silkscreen on paper
76 x 55,9 cm
The JPMorgan Chase Art Collection
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