Feb 12, 2016

25 Years' CCSP's Exhibition Program

Centro Cultural São Paulo

Art Collection of the City

Exhibition Program
Before the implantation of the Exhibition Program, created by Sonia Salzstein[1] in 1990, the plastic art exhibitions at Centro Cultural São Paulo (CCSP) follow a cartographic design outlined by Gabriel Borba[2] in 1984, where the exhibitions took place inside a delimited spatial structure. Distributed into seven programs/rooms, such as follows: Gallery Room, dedicated to the tradition of painting, drawing, engraving, sculpting; Running Session, created to serve artists who have subscribed without any selection, for short periods of time, from three to five days; Lobby, reserved for periodical exhibitions with works belonging to the collection; Great Room, for invited artists with consolidated careers in the city's artistic circuit; New Expression Room, for artists who worked with experimental languages such as Xerox, video, happening, performance and so on; Mail Art Office, which began with Walter Zanini's donation, that hosted and exhibited mail art proposals; Space 7, intended to the exhibitions of SPCC's other sections, as well as from outside. Such exhibition program lasted for five years, until 1989. Starting in 1990, SPCC begins one of the longest institutional propositions in the Brazilian cultural environment, the CCSP’s Exhibition Program, an artistic prospection platform which around 500 artists who have been selected since 1990 have used. Aimed at celebrating this visual arts project intended to artists who are starting their careers and which is a reference in the plastic art circuit around the country, Visual Arts Trusteeship's flagship, Centro Cultural São Paulo presents the commemorative exhibition Retrospective: 25 Years' CCSP's Exhibition Program The exhibition is based on the Program's basic premise which privileges the dialogue among generations when exhibiting works by emerging (selected) artists next to reputable (invited) artists. The exhibition is made of a set of 43 works belonging to the City's Art Collection by selected and invited artists who have participated in the Program throughout its 25 years of existence and possess works in the collection. A panoramic style exhibition which underlines the inherent relationship existing between the Exhibition Program and the City's Art Collection. 1 Sonia Salzstein, SPCC's Plastic Art Division Director between 1989 and 1992. 2 Gabriel Borba, SPCC's Plastic Art Division Director between 1984 and 1985.

Starting in 1990, CCSP begins one of the longest institutional propositions in the Brazilian cultural environment.

No berço (In the crib) - work belonging to the collection - the enchantment created by the sparkle and transparency of the material dissipates when we see that, despite the delicacy, it is about, in fact, suffering and death.

CCSP's Exhibition Program is an artistic prospection platform which around 500 artists who have been selected since 1990 have used.

The diptych Deriva II (Drift II) is part of a series of black and white photographs where the artist explores the pictorial possibilities of the technical image.

In the series Deriva (Drift), Miguez has investigated since 1993, and photographed the landscapes of São Paulo North Shore, his journey around the area of Ubatuba where images of geographical features are captured.

The Program's basic premise which privileges the dialogue among generations when exhibiting works by emerging (selected) artists next to reputable (invited) artists.

Célia works with gestural curves and with big spots of paint which, with the help of a squeegee, are spread around the canvas without blending with the background, thus reaching a unique outcome in the Brazilian art.

In this work, the "Fusca" (Beetle) turns into paint but it almost disappears in the white areas which surround it.

The work belonging to the city's collection pays homage to the composer Nelson Cavaquinho, whose music was used by Nuno in several of his videos.

Type of self-portrait where the artist poses with the camera in front of the mirror. The excessive light coming from the flash creates a group of stars.

Called "pôster-poema" (poster-poem), this work presents in its artistic constitution a sense of individual search for identity, with an affirmative view of women's conditions in the contemporary society.

The project which took part in Treptower Park soviet memorial (Berlin, 1949) focuses in representing explosions which can be seen in the monument's embossed parts.

The embossed parts, made of concrete, narrate the (said) World War II's events by means of allegorical scenes presented from an ideal point of view.

The explosions, moments where the matter loses its shape, are introduced as points of abstraction in this narrative. They are, at the same time, formal studies of imaginative projection and inquiry, spaces for the lack of sense.

10 years of the Exhibition Program's Acquisition Award
When focusing on the contemporary production, São Paulo Cultural Center seeks to increase and constitute, in a more systematic way, an art collection establishing the award “Prêmio Aquisição do Programa de Exposições” (Exhibition Program's Acquisition Award) which started in 2002 and lasted until 2013.

In Vital Brasil (Vital Brazil), award winner in the 2003 Exhibition Program, the work's looks of renovation and precariousness change the space and make us think about certain instability of things.

The artist's work processes seem to always take them to deal with water, the liquid. It is a resource which, in general, drives, by principle and to the vague stance of the shape.

Járed's work is always upsetting, whether by literally changing the structure of the walls or by metaphorically sweeping the sky.

Award winner in the 2003 Exhibition Program, Kátia Prates is an artist who is always alert to when it comes to color and its expansions in the space.

The artist's work performs a previous investigation of the space in order to make a series of displacement operations with construction segments such as, for example, the step and the edge with lighting.

The series Biblioteca (Library), blow-ups of photographs based on the rescue of abandoned pictures and forgotten nooks in the Library of São Paulo Cultural Center.

It was carried out by the artist Marina Camargo (Maceió, 1980) during a research in situ in the institution's head quarters in 2008.

From a project scheme, the set of photographs which makes Jonathas de Andrade's work (Maceió, 1982) marks a moment in his artistic journey in 2010.

It highlights subjectivity traces of interpersonal relationships in the construction of a double bed which employs the combination of two single beds.

Credits: Story

Exhibition - 25 Years' CCSP's Exhibition Program
Curated: Divisão de Acervo, Documentação e Conservação e Curadoria de Artes Visuais
Text: Marcio Harum, Maria Adelaide Nascimento Pontes, texts from the book Coleção de Arte da Cidade: Banco Safra: 2005 from Maria Camila Duprat, Stella Teixeira de Barros
Photos: João Mussolin, Sossô Parma, Rômulo Fialdini
Google Cultural Institute Exhibition: Camila Romano, Eduardo Niero, Talita Malacrida, Luciana Nicolau

City Hall of São Paulo Fernando Haddad
Department of Culture Nabil Bonduki

Centro Cultural São Paulo | General Direction Pena Schmidt | Administrative Division Diogo Lima Oliveira and staff | Division of Curator and Programming Luciana Schwinden and staff | Division of Collection, Documentation and Conservation Eduardo Navarro Niero Filho and staff | Division Libraries Juliana Lazarim and staff | Division of Production and Support Events Luciana Mantovani and staff | Information and Communication Division Marcio Yonamine and staff | Division of Cultural and Educational Action Alexandre Araujo Bispo and staff | Project Technical Coordinator Priscilla Maranhão and staff

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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