100 Years of Athos

The exhibit 100 Years of Athos Bulcão celebrates the birth centenary of this renowned artist, known for the diversity of his work and undeniable historical and cultural relevance.

By Centro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

The exhibit provides a chronological overview of the trajectory of the artist in Brazil and abroad, since his initial inspiration by Portuguese tiles and his learning about your use of colors.

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Color Fantasy

In some ways, the carnivals inaugurate and enclose the extensive production period of imagery by Bulcão. In his paintings of the 40s until the beginning of 1960, there is a strange parade of almost schematic ways, configured in groups always lined up with fantasies, which refer more to the Venetian carnivals of old than the typically Carioca parties of the early twentieth century.

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

The beauty of art experience, where the sacred and the profane approach in the same aesthetic experience. This freedom allows thinking about new spaces and new garments for the liturgical practice.

Untitled, Carnival series (1962) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

With influences of the city of Rio de Janeiro and the many artistic manifestations, Athos created drawings and paintings with the theme Carnival.

Untitled (2000) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Liturgical vestment (2003) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

The Visitation, 1st version, The Life of Mary series (1970) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Daydreams in black and white

Athos gives names-narrative to some of his Photomontages, “Theeye of Moscow-Lively is the life aboard”, “the nightmare of Mrs.Vanderbilt”, “who knows, in New Orleans?” In others, the enigmaticnames: “the double”, “the prisoner”, “the abyss”. In all, they arenames of invitation for atrip, when we are caught inside of his photomovies,as Eisenstein teaches.

The prisioner (1952) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

It’s all fake

The idea came up at the last moment of the film 2001 - an Odyssey in Space, with the fetus. And they are fetuses, they are locked inside the uterus, and I imagine that it’s a question about the biological origin. (...) The intention is to make an object, play with anthropology, with the physical origin. I was in Paris, in 1971, at the Musée de l’homme, (...) I thought I’d do an exhibition of masks that look like made of foreign materials. The exhibition was called it’s all fake, a play on the question of the work of art. The artwork is an illusion. First, because it is no good for absolutely nothing, the fascinating side. Then, how can we tell when a work is true and when it is false?

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Byzantine mask (2000) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

And they are strangely beautiful, desirable. There is an association between the inform and the extreme sophistication of color than any other approach.

Nero (1995) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Mask (1986) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

The geometry of color

When getting away (always with many possibilities of reappearance) of his schematic figures, he experiences a certain floating geometry in large color spaces, in his masks masks, from 1970 onwards, transferred the polychrome fixtures for the screen, and that will follow for the rest of his life. He starts the definition of quadrangular camps released in a fund that is always dark, populated by organic shapes, often evocative in a cameo. At first, arranged at right angles, they also float,creating overlays and transparencies.

Wet Doormat 2 (2015) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

In the first layer, fields of color in abstract shapes with clearly defined contours.

Yellow Submarine (1991) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

On another, expanded in small spots in reticular forms, usually circular so some of them harbor an invented semi-alphabet, but which may be small crosses, stars...

Untitled (1966) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Study for silk scarves, Paris, France (1971) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

The expanded work: the reinvented form and modes of use

"From 1940 on, the tireless (though preferably muffler) Athos has been accumulating experience of metamorphosis in areas of differentiated expression: drawing and painting as a base, no doubt, but also, in a succession of phases, periods and proposals, photomontage, illustration of books and magazines, the scenography and the tiling and the creation of reliefs in room murals. Let us not forget his six years as professor at the University of Brasilia, and walking paths favoring the adventure and restlessness." (Roberto Pontual)

Módulo Magazine's cover (1955) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Like many other artists, he also sought other forms of livelihood and so became an illustrator of the Ministry of Education, where he made covers of catalogs, books and magazines.

Sketch for costume of the play Uncle Vanya, by Anton Chekhov, O Tablado's production (1955) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Designed the costumes of the play Uncle Vanya by Anton Tchecov, for the Tablado, directed by Geraldo Queiroz.

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Traces of Athos

The dialogue established in Traces of Athos is a conversation (inprogress) of the artists and curators with the “professor”. It bringsassumptions of the developments his inheritance, how it recirculatesand presents itself in the form of poetry under construction. The placeof Athos Bulcão is among the artists, punctuating his works andresponding with their forms. As it should be, an “infinite conversation”...

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

AUG 76 (2013) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Buildings/Mounts: the invention of a form of integrating art to architecture

... There is a “principle of composition” to be freely handled by workers. The result, to some extent, escapes my control. Whenever white tiles are not employed, I leave to the workers the free provision of one element, a single “letter of the alphabet” to perform a deed. (...) When, instead of a “letter” there are two, the layout of the design will be freely handled, too (...) Regarding the reliefs, there is the factor of “light and shadow”, the Panel always follows a prior study in a scale model.

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

Gallery - Athos BulcãoCentro Cultural Banco do Brasil Brasília

IDA [Instituto de Artes UNB 1999] (1999) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Labyrint [Headquarter TCU 1998] (1999) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Negatives and Positives [Brasilia Palace Hotel 1958] (1999) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Traiva [Instituto Rio Branco 1998] (1998) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Study for tile panel, Sarah Network of Rehabilitation Hospitals, São Luis - MA (1985) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Project for tile panel, Sambadrome (1998) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

Nativity [Igrejinha de N. S. de Fátima 1958] (1999) by Athos BulcãoCentro Cultural Banco do Brasil Brasília

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