Exhibition "Narratives in Process: Artist's Books in the Itaú Cultural Collection"

Sat03February(Feb 3)14:00sun31Mars(Mar 31)18:00Exhibition "Narratives in Process: Artist's Books in the Itaú Cultural Collection"Exhibition of Artist Books in the Itaú Cultural Collection makes its first itinerary of the year at Fundação Iberê Iberê Foundation, Avenida Padre Cacique, 2000 – Bairro CristalTele, Porto Alegre RS


Narratives in Process: Artist Books in the Itaú Cultural Collection arrives in Porto Alegre after visiting seven cities in the country – the last one was at the Rio Art Museum (MAR), in Rio de Janeiro. In the capital of Rio Grande do Sul, it remains on display at Iberê Foundation from February 3 to March 31, 2024, and displays a history of more than 80 years of this type of production in the Brazilian scene. Felipe Scovino curated the exhibition where the works are distributed across five axes: Erases, Landscapes, Engraving Albums, A Blank Writing and Object Books.

Rasuras brings together pieces that are placed on the margins of a narrative obedient to pragmatism. It is the place of a writing that is born not to be understood, that is offered to the world with a certain degree of violence and gestures, like Em Balada (1995), by Nuno Ramos, whose projectile trail crosses the volume and turns into reading sign.

The books by Adriana Varejão, Artur Barrio and Fernanda Gomes, which partially make up the series As Potências do Orgânico (1994/95), and Tunga's book are indexes of bodies transmuted into books – there are viscera, bleeding, bruises, and in the In the case of Tunga, an erotic component.

Lais Myrrha can also be seen with the Cruzeiro do Sul Dossier (2017), which politically questions the Cruzeiro do Sul constellation inverted on the Brazilian flag; Aline Motta, with Escravos de Jó (2016), about a necropolitical Brazil, and Rosângela Rennó, with 2005-510117385-5 (2009), created with reproductions of stolen photos and later found and returned to the National Library, her place of origin.

In the Landscapes axis, artists' books can problematize the landscape as a sensorial labyrinth, as is the work of Jorge Macchi; the landscape as a score that soon turns into a drawing, as in Montez Magno and Sandra Cinto; highlight a wide range of social landscapes linked to fundamental issues for understanding Brazil as a plural society, as are the cases of Dalton Paula, Lenora Barros, Rosana Paulino and Eustáquio Neves.

Furthermore, highlight the relationship between cosmogonies and original peoples, in the case of Menegildo Paulino Kaxinawa. Furthermore, there is a production carried out in the last five years that focuses with a critical-social power on the Brazilian political landscape, as can be seen in the atmosphere of cynicism and nihilism that surrounds The Coloring Book, by Marilá Dardot, and The Year da Mentira, by Matheus Rocha Pitta.

Limited edition albums are concentrated in the Engraving Albums axis, composed of works by visual artists who played a decisive role in the transition from modern to contemporary in Brazil. It concentrates different analyses, which explore reflection on the dialogue between artistic production and the means of experimentation, with the book as a form and seriality as a means.

Carlos Scliar, Glauco Rodrigues and Glênio Bianchetti, who founded the iconic Grupo de Bagé, for example, are present in Gravuras Gaúchas (1952). O Meu e o Seu (1967), by Antonio Henrique Amaral, among others, has violence, sex and politics as recurring themes, with appearances of mouths, breasts and weapons, in the first case, and a nude tending to expressionism , in the second.

One of the series recently acquired by the Itaú Cultural Collection, present in this axis, is Aberto pela aduana, by Eustáquio Neves, a project selected by Rumos Itaú Cultural 2019-2020. Other recent acquisitions on display at the exhibition are Visual Notes, by Dalton Paula; Búfala and Senhora das Plantas, by Rosana Paulino; …Some, by Lenora de Barros; and Reproducer, by Rochelle Costi.

By Regina Silveira there is Anamorfas (1980), a subversion of perspective systems. The exhibition also has space for woodcuts: Pequena Bible by Raimundo Oliveira (1966), with text by Jorge Amado, and Das Baleias (1973), by Calasans Neto, accompanied by a poem by Vinicius de Moraes. Cordel literature is the reference for these works. In the exhibition, this literary genre is not only presented as an expression of Brazilian culture, but as a book and a narrative produced manually by the artist himself.

In the nucleus A blank writing, visitors will find in this space books that highlight the form, weight and structure of the work instead of the word, such as Brígida Baltar, with Devaneios/Utopias (2005), Débora Bolsoni, with Blocado: A Arte de Projetar (2016), and Waltercio Caldas, with Momento de Fronteira (1999) and Estudos sobre a Vontade (2000).

At the other extreme, O Livro Velázquez (1996) and Como Imprimir Sombras, both by Caldas, and Caixa de Retratos (2010), by Marcelo Silveira, the reader/visitor is left in a state of loss of references, as the language printed on the book is blurred, does not display accurately.

Finally, the Books-objects axis brings together and pays homage to the pioneers in Brazil of the so-called books-objects and their direct intersection with concrete poetry. There are three books written in partnership between Augusto de Campos and Júlio Plaza: Caixa Preta (1975), Muda Luz (1970) and Objetos (1969).

Exhibition | Narratives in Process: Artist Books in the Itaú Cultural Collection
From February 03th to March 31nd
Thursday to Sunday, from 14pm to 18pm
On Thursdays, entry is free; On other days, tickets cost between R$10 and R$30


February 3 (Saturday) 14:00 - March 31 (Sunday) 18:00(GMT-03:00)


Iberê Foundation

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