Noir ouvindo o Arranco...
Uma homenagem a Andrea Pit Bull.
Noir ouvindo deliciada o CD novo do Arranco de Varsovia. Acho que o CD realmente foi aprovado!
Beijos Andrea!!!!Manda agora o release pelo e-mail.
Escrito por Soraia de Oliveira às 23h05
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O Povo tem aclamado a exposicao...
Os jornais de Chicago estao aplaudindo de pe a exposicao Tropicalia. Leiam abaixo a resenha do principal jornal de Chicago, O Chicago Tribune:
Exhibit cedes power to audience
By Alan G. Artner
Tribune art critic
Published October 27, 2005
"Tropicalia: A Revolution in Brazilian Culture" is one of the more unusual exhibitions to appear at the Museum of Contemporary Art. Scarcely a piece in it prompts more than a cursory viewing. Yet all the pieces taken together provide an engaging experience that has as much to do with the nature of the pieces as the unconventional ways they are presented.
Guest curator Carlos Basualdo literally has bridged the gap between the MCA's main floor exhibition spaces with a raised structure of metal pipes that in the galleries becomes a network of cases, counters, ramps and even an observation tower. Some of the counters encourage viewer interaction with copies of original artworks; others function as vitrines for pieces that range from clothing to set and costume designs to architectural drawings and ephemera from the period.
A timeline tells us the period ran from 1966 to 1972, which in many countries including our own was an epoch of political, social and artistic upheaval. In Brazil the spirit of rebellion grew under a dictatorship, and artists sought to overthrow different forms of authority, including the ones coming from European cultural models and a long-established hegemony of painting and sculpture.
Have a taste?
Tropicalia artists thus emphasized projects striving toward a uniquely Brazilian art that combined many sources and attempted to engage viewers directly through more than the sense of sight. A key work in this regard was Helio Oiticica's 1967 installation, called "Tropicalia," which took its inspiration from the architecture of Brazilian shantytowns, proposing a maze with makeshift "buildings" that forced viewers to traverse passages of sand and stone. A re-creation of the work -- complete with plants and live parrots -- is in the exhibition. Visitors can pass through it like a funhouse, section by section, or observe it from above.
This prepares the way for several other pieces demanding audience participation. Best of the oldest pieces is Lygia Pape's 1968 "Wheel of Delights" (again seen in a re-creation) which has 16 bowls arranged in a circle and filled with colored liquids viewers are expected to taste. But there are several smaller pieces as well, such as Lygia Clarke's resensitizing gloves, goggles and masks that the visitor must try on and Ferreira Gullar's painted geometric sculptures that the spectator can rearrange. "Power to the people" was a North American phrase common to the period. Many pieces on view cede that power to their audience, just as artists were beginning to do the same in the United States.
The paintings, sculptures and graphics in the show are much less forward-looking, though some, such as the works of Carlos Zilio, combine politics with Pop Art depiction and today looks courageous in both their protest and streamlining. Always we have to remind ourselves that the pieces were created under repression and were not just involved with talk of revolution. Much North American protest art of the period looks hackneyed, whereas the work done by Tropicalia artists has a force that comes from issues involving life and death.
Fill in the blanks
It is notable that the most ingenious pieces involve audience participation, the only characteristic that cuts across the different styles on view. Often this sort of appeal to viewers seems forced and undercuts suspension of disbelief. But not here. Tropicalia's artists make it look natural and generous. And that sense of generosity, rather than youthful self-indulgence, is what one takes away.
Few people describe exhibitions as feel-good shows, but here, really, is one with the highest aspirations and spirits.
Escrito por Soraia de Oliveira às 10h44
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A primeira producao ninguem esquece....
Pois e, a exposicao da Tropicalia aqui no Museu de Arte Contemporanea esta um "suca", um sucesso. Inaugurou dia 22 de outubro e todos estao gostando muito. Junto com a exposicao tem uma serie de shows e debates que acontecerao ate janeiro quando ela termina.
Tenho exercido, gracas a Deus, minha profissao. Tenho sido uma das produtoras dos shows que estao acontecendo por aqui. Daniela Mercury fez um show dia 23 no Vic Theater e o local estava bem cheio. Peguei-a no aeroporto, levei-a para o teatro, ajudei e coordenei nos camarins. Uma experiencia unica e a primeira para mim, ja que desde que me formei em Producao Cultural pela Federal Fluminense em Niteroi-Rj (UFF), minha experiencia era mais na parte de Museu Educacao e nao em producao mesmo.
Sabado passado foi a vez do DJ Marlboro,ele e super profissonal e acessivel, gente muito boa, o produtor dele muito pe no chao e bem antenado com o mercado cultural como um todo. O show cativou a audiencia. Eu, alem de tambem dar assessoria no hotel e nos camamrins, fui a interprete dele quando ele explicou sobre o movimento Funk no Rio de Janeiro.
A noite rendeu e muito, muitos brasileiros fieis aos shows de Chicago compareceram em peso. Aproveitando que era final de semana de Halloween, muitas pessoas apareceram a carater, fantasiadas. Meu chefe, Peter Taub, disse que a frequencia poderia ser melhor mas, nao por causa do Funk, mas sim por causa que as pessoas ainda associam Museu com apresentacao sentada em cadeiras e nao para ir e dancar, por exemplo. Pois e, ate aqui o Funk invadiu, nao ha mais como. Todos desceram para o palco do teatro do museu e dancaram ate o final. Foi super interessante.
Trarei mais noticias do front da Tropicalia assim que puder.
Sabado que vem "Sao Paulo Underground" e Arto Lindsay.
Escrito por Soraia de Oliveira às 18h23
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