Wlademir Dias-Pino Structures, 1966 Wood, tubes and plastic

 

Gustavo Nóbrega, along with Galeria Superfície, of which he is the founder, is responsible for the creation, research and editing of the book Poema-Processo, published by Martins Fontes.

Nóbrega is an artist and comes from a family of gallery owners. This led him, from an early age, to have a close contact with art. His gaze, however, was always focused on artists who had a more poetic work or others who use the word in the image. He works on this aspect, sometimes in research, sometimes in the exhibitions he decides to mount at the gallery. It was like that with Leonílson, with Mira Schendel, and now, in the show he just presented and that we commented on on page 64 of issue 44, with Neide Sá.

This focus led him to undertake an important research on the artists who were part of the history of visual poetry in Brazil.

“One day I saw an article in an international magazine about the Poema-Processo. I found it fascinating. And I thought: 'how is it that Brazil doesn't know this?'. I went after it, and from there, one thing led to another. Wlademir Dias-Pino, Neide Sá (Learn more about the artist by clicking here). I discovered the world of the artists who participated in the different processes and established several conversations with them. This was the biggest source of research.”, says Nóbrega.


BETWEEN 1956 AND 1967, FROM CONCRETE POETRY TO POEM/PROCESS, WORK BY WLADEMIR DIAS-PINO, SÓLIDO, 1962. SERIGRAPHY, CUTS AND CREAS ON PAPER

The book maps to 1a National Exhibition of Concrete Art, inaugurated at the Museum of Modern Art of São Paulo, in 1956, with the participation of several painters, sculptors and poets. Today, renowned names such as Augusto de Campos, Décio Pignatari, Ferreira Gullar, Haroldo de Campos, Ronaldo Azevedo, Waldemar Cordeiro and Wlademir Dias-Pino.

In 1959, Ferreira Gullar signed the Neo Concrete Manifesto, together with Amílcar de Castro, Franz Weissmann, Lygia Clark, Lygia Pape, Reynaldo Jardim and Theon Spanudis. Some of them had founded the Front Group in Rio, and others the Rupture Group in Sao Paulo.

Shortly thereafter, in Natal, the Dés Group, whose manifesto entitled “For a Revolutionary, Formal and Thematic Poetry” was signed by Anchieta Fernandes, Dailor Varela, Fernando Pimenta, Jarbas Martins, João Charlier, Juliano Siqueira, Ribamar Gurgel and Moacy Cirne.

Based on the creative productions of these groups, the artists saw the need to differentiate poetry from poems. “Poetry was taken as an abstract concept, while the poem was seen in its tactile, material aspect, capable of being manipulated”, says Nóbrega in the book's presentation. The poem gained object status. Thus, poems were produced to be ripped, burned, tasted.

The Poema-Processo movement, in 1967, emerged parallel to Tropicália, at a time when any creative rupture collaborated with the idea of ​​rupture with the institutional communication of the dictatorship. Founded by Wlademir Dias-Pino, Neide Sá, Álvaro de Sá, among others, the group had more than 70 Brazilian artists and poets participating and even a Uruguayan, Clemente Padin, and an Argentine, Edgardo Antonio Vigo.

Wlademir Dias-Pino 1967

The group worked with the idea of ​​process, using language as a vehicle. From there, several versions were built which were added to different styles, which allowed a depersonalization of the work.

The book, which even has an original text by the critic Frederico Morais for the Jornal Diário de Minas, from 1957, when he was only 21 years old, entitled “Poetry in Visual Arts”, brings to light one of the Brazilian historical vanguards of contemporary art. .

(Poem-Processo: a semiological vanguard, 320 pages, WMF Martins Fontes, R$ 120)

1 comment

  1. Art is a powerful means of communication that can be used by the artist in many ways. I think the biggest challenge in the XNUMXst century is how to use this as an educational tool. On YouTube, unfortunately, I see few national channels using these media resources. In my opinion, there is a lack of ideas, because the initial investments are low, but with the right idea, it has a good long-term return. An example of a national channel that is one of the few that supports this idea is Nerdologia.

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