Image: SEVENDE / C Gross / Publicity

With the mission of preserving and promoting the memory and contemporary artistic experience in the city of ITU and region, Fábrica de Arte Marcos Amaro – FAMA inaugurated two more exhibition rooms. In less than a year, a team led by the director of the Foundation, Raquel Fayad, and the curator and organizer, Ricardo Resende, put into place a serious initiative and important investment by the artist and entrepreneur Marcos Amaro.

In June 2018, FAMA began work by opening its first exhibition, entitled The Tridimensional in the Marcos Amaro collection: front, back, top, bottom, sides, volume, shape and color.

“From Aleijadinho, passing through Almeida Júnior to Adriana Varejão, Cildo Meireles, Iole de Freitas and Nelson Leirner, these are some of the names that make up the exhibition – which begins in the XNUMXth century and reaches contemporary times, allowing a journey through the History of Art Brazilian. The exhibition presents the collection in formation, which is interested in the sculptural act as an artistic category of the three-dimensional. In this configuration, the works go from the two-dimensional to the three-dimensional, between what would be a painting or a relief on the wall. An installation or a sculpture. Small, medium and large, with or without color: this is how the collection has been built over the last ten years”, says Resende.

The selected works bring an excerpt from the Marcos Amaro Art Collection to the FAMA sheds. In the gardens surrounding the factory under restoration, some of the sculptures from the collection were installed. At the same time, these will be part of an exhibition specially organized by the City Hall to be displayed on the city's avenues.

There are works by Emanoel Araújo, Gilberto Salvador, Marcos Amaro, Mestre Didi, Mário Cravo Júnior, José Resende, León Ferrari, Caciporé Torres, Sérgio Romagnolo and José Spaniol.

After months of visitation, partnerships with institutions in the region and the beginning of a relationship with schools, FAMA already has two more restored spaces
for display. The exhibition O Tempo e a Gravura no Espaço – Sala Negra presents the Guida e José Mindlin Collection of Engraving Matrices, recently acquired by
Marcos Amaro Foundation.

Organized by bibliophile José Mindlin (1914-2010), who had a passion for books, and his wife Guita (1916-2006), it is a unique collection. This collection of 450 matrices is the core of the exhibition, which brings together a selection of woodcuts that show the dramatic gesture of engravers such as Renina Katz (1925), Djanira (1914-1979), Mestre Noza (1897-SL1984), Oswaldo Goeldi (1895) -1961). More eerie works such as The Bird (2015-2018), by Laura Lima, co-authored by artist Zé Carlos Garcia, are followed by a sculpture made of black feathers that simulate a dead bird lying on the ground. Highly dramatic, ghostly, it seems to have come out of one of the matrices seen in the exhibition. The final texture of the feathers and their placement seem to bring a woodcut to life, now expanded in space. Nuno Ramos (1960) pays homage to Oswaldo Goeldi by engraving in low relief on a white marble “tombstone” an image of his woodcuts bathed in blackened oil, creating the shadows that characterize his engravings. Goeldi, like Nuno Ramos, is an artist who radiates a literary density, which can also be seen in Rodrigo Andrade's paintings, Wesley Duke Lee's engravings, Iberê Camargo's paintings, Siron Franco's and Tunga's installation.
Regardless of curatorial criteria or the choice of works, which are always the target of eminently aesthetic criticism, there is immense ethical and aesthetic value in making this collection available to the public.

Now, in addition to the architectural reforms and the completion of the technical reserve rooms, the planning and training of an educational institution capable of accompanying, listening, telling stories and systematizing the visitation experiences is in the pipeline.

In the opposite route to the closing of cultural spaces in the country as a whole and the prior censorship in the construction of projects, FAMA puts itself on the route of investing in culture and contemporary art, allowing young people and adults to be motivated to ask, think and reflect.

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