Exhibition "Iberê Camargo: Eclipses"

Sat02Marsun01setExhibition "Iberê Camargo: Eclipses"Paulo Pasta signs the curatorship of Eclipses at Fundação Iberê, in Porto AlegreIberê Foundation, Avenida Padre Cacique, 2000 – Bairro CristalTele, Porto Alegre RS


I knew Iberê Camargo in the early 1990s, on the occasion of a workshop with renowned artists at the São Paulo Cultural Center. Iberê was one of those artists. At that moment, he represented, for me, confirmation of the vocation, proof of the existence of painting, of the painter.

At the end of the 1970s, when I started going to college, there was a predominance of conceptual art. Also in this sense, Iberê represented an exception: he lived the life of painting itself, creating a symbiotic relationship between art and life.

Going against national/popular trends, he emerged as a kind of outsider, building a unique vision within Brazilian painting. His realism was an inner excavation, which reflected in his work a rare subjective and expressionist accent. Since then, I saw him as a kind of exile, seeking to create a “great painting” in Brazil, facing the discomfort of being a painter in a context lacking tradition (or, at least, the tradition he would like). .

Iberê thus sought to create a place of origin, where memory and autobiography could come together to found this kind of real homeland: that of painting. Focusing on the experience of painting and the painter, and far from any parochialism, his work revealed, through his obsessive work, the genesis of the individual himself, a true condensation of time itself.

To carry out this task on a pictorial level, Iberê used matter, almost an original clay, from which everything could emerge. Their colors would also not be dissociated from this matter, a place from which, in the words of Ferreira Gullar, they would emerge “like dirty gems from the night, plucked from chaos”.

I also think of Iberê's colors as being twilight. They would take us back to a primordial darkness, even because, in his practice, the painter darkened the colors, creating a kind of blackout. Only then, perhaps, could he finish a painting and recognize himself in it.

Possibly the best metaphor, for me, about Iberê's colors, is that of the eclipse. In addition to the nocturnal aspect of his works, the light created by him seems not to illuminate, not to warm, more or less like the suggestion of a sun that has been closed.

The word eclipse comes from the Greek, which means farewell, abandonment. The experience with Iberê's colors, for me, would follow this same poetic content. In them, in their sense of non-color, we are deserted from sunlight, despite all the reigning intensity.

Embracing failure and fate as intrinsic parts of life, his painting is a response to existential pain. His narrative still defies categories, leaving a lasting mark on the history of Brazilian art.

Paulo Pasta, curator

Exhibition | Iberê Camargo: Eclipses
From March 02nd to September 01st
Thursday to Sunday, from 14pm to 18pm (last entry)


March 2, 2024 14:00 pm - September 1, 2024 18:00 pm(GMT-03:00)


Iberê Foundation

Avenida Padre Cacique, 2000 – Bairro CristalTele, Porto Alegre RS

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