"Chooser" (1925) by Vicente do Rego Monteiro. Photo: Aloisio Magalhães Museum of Modern Art.

CConnection: Yesterday, Today and Tomorrow is the new series of lives promoted by Almeida and Dale Art Gallery starting this Tuesday, September 15 at 19pm. The gallery organizes three meetings, the first with Raúl Córdula, who will talk about Vicente do Rego Monteiro; leaving for a conversation with João Câmara; and ending with the Água Preta Art Plant (Pernambuco) in focus, in a chat with Ricardo Pessoa de Queiroz. Almeida e Dale's project aims to reflect on the art that exists outside the Rio-São Paulo axis. Your subtitle is Yesterday, today and Tomorrow, because a modern artist is always presented, a contemporary one, with a recognized career, and a new artist or proposal, which aims at the future. Conceived from the Brazilian states, this edition of the series brings guests active in Pernambuco.

Raul Córdula has lived in Olinda for 45 years. A visual artist, he participates in local artistic movements, in institutions such as Oficina Guaianases de Gravura, and in the Council of Culture of the City of Recife. In Connection, he comments on the work of Vicente do Rego Monteiro (1899-1970). Monteiro lived between Recife and Paris; His work took part in the Modern Art Week of 1922, although the artist was already in France. There he joined the Parisian art circuit and was part of the Galerie L'Effort Moderne. As a poet, he received the Apollinaire prize. His work mixes the Art Déco to indigenous art, with a monumental result.

"Chooser" (1925) by Vicente do Rego Monteiro. Photo: Aloisio Magalhães Museum of Modern Art.
“Archer” (1925) by Vicente do Rego Monteiro. Photo: Aloisio Magalhães Museum of Modern Art.

the art of João câmara – also a resident of Olinda – reached national prominence in the 1980s and is present in important private collections and national institutions. Through metaphors and fine irony, the artist questions power and social relations and, through dialogues between Brazilian political history, art and mythology, creates striking works, with a critical view of our society. In Câmara's latest retrospective, at the Afro Museum, critic and curator Tadeu Chiarelli wrote for his column: “Does João's work continue to bother many? Of course I do. It seems that for some, a production that insists on painting and, on top of that, on a painting with political and existential 'themes' – in the middle of the XNUMXst century! – should be banned from the universe of 'great' contemporary Brazilian art. Read mistake. Whether we like it or not, this type of painting seems to come back with force, and with the rancor of those who have been repressed for decades. It is in this sense that Câmara’s work can serve as a strong antidote to the deceptions of repression, as it shows that art is not just what you see, it is a little more” (read the text by Chiarelli on this link).

"A part of the land", by Lais Myhrra. Photo: Disclosure.
“A part of the land”, by Lais Myhrra, at Usina de Arte. Photo: Disclosure Art Plant.

Finally, the Art Plant ends the discussions being presented by directors Bruna and Ricardo Pessoa de Queiroz. The Usina is an artistic-cultural and socio-environmental project located in the municipality of Água Preta, 130km from Recife, on the land of the former Santa Therezinha sugar mill. The initiative has been transforming the lives of the neighboring population and has already resulted in a community radio station, a music school, a library and annual cultural festivals. The outdoor area is a botanical garden with more than 20 works by artists, among them: Lais Myhrra, José Spaniol, Paulo Meira, Flávio Cerqueira, Saint Clair Cemin, Frida Baranek and Arthur Lescher.

 

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