Artes Visuais: monografia de conclusão de curso (e outros materiais)

O que está aqui incorporado refere-se ao curso de Especialização lato sensu em Artes Visuais, feito de outubro de 2009 a dezembro de 2010, pelo SENAC-DF.

Aqui está a monografia (sei que não dá pra ver nada, mas deixei assim de propósito).

E este é o powerpoint preparado para o dia da defesa da mesma.


SENAC-DF 2009-2010: Especialização lato sensu em Artes Visuais//embedr.flickr.com/assets/client-code.js
SENAC-DF 2009-2010//embedr.flickr.com/assets/client-code.js


UPDATE set2017 – Resolvi acrescentar a este post outro vídeo: um “dever de casa” produzido durante um dos módulos do curso.

 

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2012: retrospectiva (fotos) / retrospective (pics)

Iracema Brochado, Carmen Fraga e Clube Internacional de Brasília

 

2012 - Coletiva do Clube Internacional de Brasilia mai2012 - coletiva "Janela das Emoções", LBV-DF (2)

mai2012 - coletiva "Janela das Emoções", LBV-DF (1) Ago2012 - Coletiva "Janela das Emoções", Câmara Federal (2)

Ago2012 - Coletiva "Janela das Emoções", Câmara Federal (1) 2012 - coletiva do 52º aniversário da RA Lago Sul, DF (2)

2012, coletiva do 52º aniversário da RA Lago Sul, DF (1)

evento: coletiva JANELA DAS EMOÇÕES, em agosto

ARTISTAS PARTICIPANTES (ordem alfabética):

Beatriz Cavalcante
Carmen Fraga
Iracema Brochado
Raquel Schmitt
Renata Prata
Solange Lannes

(LINK PARA O EVENTO, NO FACEBOOK)

Ago2012 - Coletiva "Janela das Emoções", Câmara Federal (1)//embedr.flickr.com/assets/client-code.js

Em anexo, transcrição de RELEASE redigido por mim – com adaptações -, publicado na mídia e no painel de entrada da exposição da Câmara:

UMA JANELA PARA A ARTE

Na arte estão […] visceralmente unidos os dois aspectos […]: o seu lado techné – do­mínio consciente e intencional de meios com o objetivo explícito de atingir um fim pré-determinado – e ao seu lado “magia” – impulso de reconciliação com uma totalidade, experienciada como radicalmente cindida. (DUARTE, Rodrigo A. P., Arte e Modernidade. Psicol. Cienc. Prof., Brasília, v. 14, n. 1-3, 1994. Disponível em http://pepsic.bvsalud.org/scielo.php?script=sci_arttext&pid=S1414-98931994000100003&lng=pt&nrm=iso. Acessos em 10 abr. 2012)

Os participantes desta mostra são pessoas de diferentes formações, embora tendo um ponto em comum: a ARTE. São diferentes talentos provenientes de diferentes lugares que se encontram na coletiva “JANELA DAS EMOÇÕES”.

Este grupo de artistas participantes vem trilhando, com sua experiência já acumulada, um caminho sólido e promissor através da utilização de diversos materiais, técnicas múltiplas e texturas diversificadas, variando entre o rigor acadêmico e o traço solto, mesclando o clássico e o contemporâneo.

Nestas “janelas” aparentemente tão distintas, sua proposta resulta, no entanto, no supremo objetivo do evento que os une: o amor à expressão artística. Paixão que, por sua vez, promove a integração entre a emoção da criação artística e a visão – ou, talvez, revisão – filosófica do mundo que nos cerca. Portanto, aqui, diferentes visões de mundo convergem em um ponto comum: o aparente parado­xo do emprego “racional” das técnicas artísticas que leva à “magia” (tal como na citação acima) da reflexão e consequente reconciliação com o mundo e o Universo.

the first day of the rest of one’s life

Introducing this piece of Brazilian psychedelia performed by the Mutantes, just a curiosity picked on this big old Web: practically NONE of the band’s members was the author of the song shown on the video below, but a 16-yr-old boy (his age then, in that year of 1968), Paulo Girãowhose official website can be found here – which had bumped into the recording studio one fine day, initially expecting Caetano Veloso to record it. Since Mr. Veloso was unavailable by that time, away in a tour, the band offered themselves to record the piece instead. The rest is History, in which a song had also changed the whole life of a young songwriter, now also a producer and teacher, having freshly released a book on his lifetime of experiences gathered in the 60’s/70’s Brazilian musical (and political, as well) scenario.

UPDATE: a translation attempt for the lyrics’ original Portuguese version follows – just for testing out my translation skills (comments are welcome) =)

[ORIGINAL VERSION]

Glória ao Rei dos Confins do Além
(Paulo Girão)

Meia-noite e dez
Bateu nos Confins do Além,
Na cidade que parou
Pra saudar o Rei,
Que da guerra retornava
(Contra o mundo ele lutava!)
Para preservar os Confins do Além.

“Vamos para a rua
Vamos ver o Rei passar
E o nosso Soberano homenagear.”

Acordaram os que dormiam,
Levantaram os que viviam
Nas alcovas, sós,
Em profundo amor.
Todos se reuniram
nas calçadas, nos telhados,
na avenida, enfim.
Eis que chega o Rei,
Atenção para o sinal, e em coro, assim:

“Glória! Glória!
Ao Rei e Senhor, que tanto nos quer bem!
Glória! Glória!
Ao Supremo Chefe dos Confins do Além!”

“Abaixo João!
Mais abaixo com José!
Viva o nosso Dom Maior, o Eterno Rei!
Viva o Sol! Viva a Verdade!
Viva eu! Viva a cidade!
E vivamos nós pra saudar o Rei.
Abaixo Maria!
Mais abaixo com Sofia!
Viva o nosso Dom Maior, o Eterno Rei!
Viva a Lua e a claridade!
Viva a eletricidade!
E vivamos nós pra saudar o Rei.”

Se vocês soubessem
toda a falsidade que havia ali…
Povo de coitados!
Mas, pra Majestade ouvir, cantavam assim:

“Glória! Glória!
Ao Rei e Senhor, que tanto nos quer bem!
Glória! Glória!
Ao Supremo Chefe dos Confins do Além!”

[ENGLISH VERSION]

Glory to The King of the Confines of Beyond
(Paulo Girão)

Midnight and ten
Had struck in the Confines of Beyond,
In the city that stopped
To greet the King,
from the war returned
(Against the World he’d fought!)
to safeguard the Confines of Beyond.

“Let us go to the streets
Let us go to see the King go by
And to honor our Sovereign.”

Agreed the sleeping, raised the living
from the alcoves, alone
In deep love.
Everyone gathered in the sidewalks,
On the roof tops, in the avenue.
Here comes the King
Attention to the sign, in an unison like this:

“Glory! Glory!
To the King and Lord that deeply wishes us well!
Glory! Glory!
To the Supreme Chief of the Confines of Beyond!”

“Down with John!
Lower with Joseph!
Long live our Greater Knight, the Eternal King!
Hooray to the Sun! Hooray to the Truth!
Hooray to myself! Hooray to the city!
And may us live to greet the King.
Down with Mary!
Lower with Sophie!
Long live our Greater Knight, the Eternal King!
Hooray to the Moon and brightness!
Hooray to Electricity!
And may us live to greet the King.”

If one just could know
all the falsehood that there was…
Poor people of wretches!
Yet, for His Majesty to listen, they all sang:

“Glory! Glory!
To the King and Lord that deeply wishes us well!
Glory! Glory!
To the Supreme Chief of the Confines of Beyond!”

the Uirapuru

While cyber-navigating I just had found an audio caption of a brazilian songbird’s chant (well, there are LOTS the Web away). The species, whose habitat is located in the Brazilian Amazon’s rainforests, is locally known as ‘Uirapuru’ (Cyphorhinus aradus), shown here in the photo.

This bird’s chant has a mythical meaning (originated within Brazilian native indian folk tales) to the Amazonian native, as listening to it is a quite rare experience: if one’s fortunate enough to have a listen they’re advised about grabbing this probably unique opportunity of their lives to make a wish. Thus, the Uirapuru chant is traditionally regarded in local folklore as an auspicious sign that brings good fortune and happiness.

Listening to the chant, and blissfully feeling its limpid beauty, perhaps should help to explain why it is so…

P.S.: although entries of both English and Portuguese versions are available on Wikipedia, unfortunately the English version is shorter than the Portuguese entry (which contains much more information about the species, either biological or cultural).

Rembrandt: an Art review

Opening this blog, I here re-publish a review originally posted on an old blog, now deactivated.

A Memorable Experience in Arts

Recently, in the year of 2002, the citizens of Brasilia (Brazil’s capital) had the opportunity to see, for the very first time in Brazil, an exhibition of Rembrandt Van Rijn’s etchings which compiled 83 works in total, of the Dutch-born artist (1603-1669).

The exhibition, entitled Rembrandt and The Art of Engraving (‘Rembrandt e A Arte da Gravura’) and performed at the Centro Cultural Banco do Brasil in Brasilia and also São Paulo, Rio de Janeiro and Recife, was organised by the Netherlands’ Rembrandt House Museum (established in Amsterdam) and gave Brazilian public a unique experience to look at a careful selection of the artist’s most significant works in terms of etching techniques. Although being remembered mainly by his paintings nowadays, Rembrandt was also one of the greatest engravers of his time – a time when Engraving, as a form of art, was as much valued as Painting.

The etching selection demonstrated how Rembrandt did innovate the techniques of such craft, by emphasizing the use of pictorial effects more that line drawing itself, on his engravings. The exhibition included a vast aspect of the subjects striven by the artist, from landscapes and allegories to portraits and nudes.

The exhibition has also shown Rembrandt’s influence on other artists both from his time and from recent times. Alongside to his own selection, an additional show has compiled 40 works collected from several influenced artists like Picasso, among others.

To sum up, this event should be considered as one of the most remarkable Art happenings of the year of 2002, in my memories. It surely has brought, not only for me but for every spectator, an immensely vivid experience of gazing at a compilation of Rembrandt’s true innovative geniality in the art of Etching and Engraving, which remains as one of the major references in Art History, of all times.

copyright © 2005, Iracema Brochado