CKD - ​​Completely Knocked Down
On the left, Cartema by Aloísio Magalhães; right, work by Wolfgang Heike. Photo: Disclosure

By prioritizing spontaneous combinations of thinking about art, the exhibition CKD – Completely Knocked Down – Reef Bremen Connection, on display until December 11 at Aloisio Magalhães Museum of Modern Art (MAMAM), puts on the agenda experimental attitudes in the use of space. Curated by the young Francisco Valença Vaz and Rebekka Kronsteiner, the collaborative event between the two port cities features five Brazilian artists and four German artists. With the enigmatic title ckd, which in free translation means “completely dismantled”, the exhibition has most of the works executed directly inside the very packaging in which they were transported, which are transformed into art. “One of the concepts of the show”, explains Francisco Vaz, “was to bring pieces of something to Brazil, not a finished work”. The group prioritizes the joy of doing, and their first action upon arrival was to place the container that transported the materials at Marco Zero in Recife. Inside it they fitted a boat where they held their first work meeting. Francisco Vaz comments that from that moment on, “all decisions were taken together and we were all curators”.

Each artist received a wooden box representing the twentieth part of the shipping container. An intense and short-time process of carrying out the works potentiated a climate of cooperation, where waste and objects coexisted, generating propositions that underline the sensorial aspect of the materials. The public can follow everything up close and understand the concept of assembly or disassembly of the works of Paulo Bruscky, Marcio Almeida, Maria do Carmo Nino, Silvio Hansen and Francisco Valença Vaz, from Recife; and Christian Haake, Wolfgang Hainke, Tobias Heine and Rebekka Kronsteiner, from Bremen (Germany). The exhibition, scheduled for 2020, with 21 days to carry out the works, had its schedule changed due to the pandemic. The Germans stayed a week, did the work and returned with the arrival of Covid-19. The exhibition, which was resumed in 2021, has a presentation text signed by Moacir dos Anjos, which touches on the theme of impermanence.

What moves the collective, as heterogeneous as it is experimental, is the intersection between narratives and utopias. The works, in general, are hybrid and have a close relationship with the materials. Art in Vain, by Paulo Bruscky, a red carpet with the quoted phrase, placed between a doorframe, converges to the aesthetic space, illusively interpenetrating the internal/external. The installation, with an apparently simple language, is complex and opens up to other critical issues already contained in the artist's work. Almost all works have variable dimensions and are therefore easily adaptable to other spaces. After Recife, they all go to Bremen, as works or fragments of them, and become new experiments.

Among the Germans, Wolfgang Hainke, 76, stands out, with a lot to tell about his militancy in art, some of which he lived in the Fluxus group. One of his works suggests a kind of column that dialogues with the Cartemas (modular visual compositions, in this case made of ceramics) by designer Aloísio Magalhães, which occupies one of the walls of the BREAST. There is still a box that Hainke has worked on since 1991 and which he has just donated to the museum, with works by poet Emmett Williams (of Fluxus) and Richard Hamilton. The installation is completed with objects such as images of 11/XNUMX and the fall of the Berlin Wall, episodes in which he was present. Among the books is The Sertões, by Euclides da Cunha, with a translation by Bertholt Zilly – awarded in Germany and Brazil -, who taught Brazilian literature at the Free University of Berlin. Still on display is an oversized painting of a fish, restored by Hainke that has belonged to the Bremen municipality for nearly a hundred years.

A contemporary of his, the Brazilian Silvio Hansen, who worked in mail art, a political prisoner during the military dictatorship, worked for the exhibition, but died before it was realized. Some of his works denounce episodes of violence imposed on Brazilian democracy.

Today's art captures the violence produced by society, no matter the country. On the same star floor, by Marcio Almeida, belongs to the matrix of the artist's political works and displays target plates taken from a Shooting Club. The dramatic origin of this material activates the imagination of the spectator concerned with the brutality of cities. still his, Patuá Platz it is born within the architecture of its box, which supports a red hammock, a symbol of experimental leisure impregnated with territorial, political and love impermanences. The installation feeds on protective plants such as Espada de São Jorge and Rue. Within reach, he boasts the jureminha, an indigenous drink made from jurema, a hallucinogenic root.

Imagination is sometimes stronger than reality: the young Tobias Heine, even before traveling to Brazil, anticipated what he would find here. read The Hour of the Star, by Clarice Lispector, researched images of Recife and, when she arrived, made a video recording the journey between Olinda and Recife, which she projected in her living room. Heine learned about the magic of Candomblé, let himself be influenced by the colors of Exu and introduced them to his installation by placing white and black shirts on red and black chairs.

Work by Tobias Haine in “CKD – Completely Knocked Down”, at MAMAM. Photo: Roberta Guimaraes

Despite being the creator and curator of Completely Knocked Down, Francisco Vaz, who graduated from the University of Bremen and now lives in Vienna, did not know what to do when he arrived at the museum. Within his concept, he created at the last minute Tramontana, a mural made with recycled styrofoam boards, taken from the city post office. There were dozens of pieces that climbed the walls. “After it was fixed, I painted it with spray paint that contains acetone and shrinks the styrofoam.” The result of the work is minimalist gestures, almost a calligraphy written in yellow and black. “When these pieces go to Bremen, I want to throw them in a pool of acetone and shrink them down to a two-centimeter plate.”

Still in Recife, Maria do Carmo Nino compressed all that she could of her imagination into her box, transformed into a safe haven for her life references, a kind of memorial of her academic history. Linked to literature, “she graffitied” texts in different existential rhythms. On another line of thought, the enigmatic work of Rebekka Kronsteiner, only 25 years old, seems premonitory of the pandemic. Her inventory consists of images of surgical gloves and condoms printed on canvas, objects that prevent physical contact, on which she poured latex exported from Brazil, referring to the possible immobilities imposed on human beings. The work was carried out days before the lockdown be enacted in the country and, perhaps, will be the first to approach the subject, even if by chance.


CKD – Completely Knocked Down – Reef Bremen Connection
MOM | Rua da Aurora, 265 – Boa Vista, Recife – PE
WHEN: On view until December 11, 2021, from Tuesday to Saturday, from 12:17 to XNUMX:XNUMX
Free admission

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