Sem título (1984/1985) by Beatriz MilhazesMAM, Museu de Arte Moderna de São Paulo
REGINA TEIXEIRA DE BARROS
Every time curators accept the challenge of designing an exhibition featuring the works of a given collection, they plunge into a complex process. From their first contact with the collection to the Final selection of artworks they undergo a number of singular experiences, at which each step has fundamental importance for the final result.
lnitially, the curator must become familiar with the artworks. lt is only after pondering the results on this preliminary investigation that he/she will begin to come up with ideas of how to institute possible dialogues among these artworks.
Garrafas (1995/1996) by Emmanuel NassarMAM, Museu de Arte Moderna de São Paulo
Once having conceived the cameo, the curatorplunges into an in-depth research to establish the feasibility of implementing his/her ideas, both in terms of quality and number of artworks. lt is precisely at this stage of exhibition design, when he/she conducts a more accurate examination of artworks and becomes more intimate with the collection and when the curator identifies its valuesand shortcomings.
Now familiar with the works, the curator proceeds with the final selection of artwork to be shown. ln so doing, he/she must bear in mind that the challenge of presenting a new interpretation for the collection implies exposing issues brought about by the artworks themselves, while trying to bridge any existing gaps between them.
Os cem (1997/1998) by Marcelo ZocchioMAM, Museu de Arte Moderna de São Paulo
Contemporary cityscape is one of countless readings allowed by the MAM-SP collection. At this time it draws particular interest due to its capability of establishing a dialogue between the collection and the visiting exhibition of Anselm Kiefer's work.
The selected works do not feature city scenes clearly manifested in the form of architectural complexes, building façades, streets, or avenues.On the contrary, here the city scene only provides the starting point for the creative process.
Sem título (1988/1989) by Paulo PastaMAM, Museu de Arte Moderna de São Paulo
ln terms of art rendition, this is translated into the election of signs such as the reduction of the cityscape isolated into vertical lines or, as counterpoint, the idealized quest for a horizon; or yet into the choice of a certain architectural element color reference, or even the lack of color.
This setting also includes crowds, passersby, gatherings, and people in general. The human figure becomes visible and integrates the cityscape as the human voice gains status of instrument in a musical composition.
28 de abril a 10 de maio de 1998
(Rio de Janeiro, RJ, 1960)
Sem título, 1984
Acrílica sobre tela, 283 x 150,8 cm
Doação Rubem Breitman
(Rio de Janeiro, RJ, 1955)
Sem título, 1995
Monotipia, 56,9 x 76, I cm
(Capanema, PA, 1949)
Pigmento cm pó acondicionados cm garrafas de vidro, cortiça, arame, pregos e guache sobre madeira, 122 x 200 cm
(SM Paulo, SP, 1963)
Os cem, 1997
Acrílica sobre fotografia cm cores coladas sobre PVC, 148,3 x 198 em
(São Paulo, SP, 1966)
Têmpera e verniz sobre tela, 260 x 210 cm
Doação Paulo Figueiredo
(SM Paulo, SP, 1961)
Sem título, 1985
Óleo sobre tela, 230 x 199,7 cm
Doação Rubem Breitman
(Ariranha, SP, 1959)
Sem título, 1988/89
Óleo e cera sobre tela, 130 x 170 cm
Doação Marcantonio Vilaça