Page 122 - ARTE!Brasileiros #37

ART VERSUS IGNORANCE ENGLISH VERSION

The difficulty, however, would be how to reconcile the will of usually try to coordinate their presence between the Frieze, in
a broad audience, one that is not used to contemporary art London, ARTBO, in Bogotá and FIAC - all of which take place
but is sought by Biennial Foundation, with a production that simultaneously at this time of the year. This year, FIAC in Paris
can be less accessible. Those who visit now can notice that was attended by galleries Luciana Brito, Mendes Wood DM,
the audience is not indifferent to the works. The complaints Fortes Vilaça and Luisa Strina.
have come from people with access to the media, who seem The programme Hors les Murs extends to the Tuileries Gardens,
to want to find in Biennial the same uncontroversial pieces of at the Champs Elysées, and features works by artists and
art common in fairs. designs by architects showing in the fair. Since the display
If so, the city would only have one type of production and the of the work, Favela (Shanty Town), in 2008, by Atelier Van
monotony would be the dominant issue. In its 1910 edition, the Lieshout, FIAC has sought to address philosophical questions
organiser of the Venice Biennale withdrew the only work of of contemporary society. Utopian or functional: What is a
Picasso’s out of the Spanish Pavilion with fears that his boldness home? What is its function? What are its ideal terms? How can
would shock the public. It was only in 1948 that Picasso could they be replaced in emergency situations? Jean Prouvé will
take part in the mother of all biennials. Three years later, in 1951, somehow try to answer the latter question with his research in
Picasso was present in the first edition of São Paulo’s Biennial. pre-fabricated architecture in the post-war period, in France,
The event was in its second edition and brought not only his which addresses the efforts for the reconstruction of rural
masterpiece, Guernica, but also a set of 74 works of the artist. schools that can be reproduced industrially. One example is
Boldness stands for São Paulo’s Biennial trademark; the two the Bouqueval School (1949).
newest issues of the event have merely presented something Urgencies and challenges of contemporary Europe are
that is a tradition – a preoccupation with the present time above also represented at the proposal of artist Thomas Kilpper,
all. If certain works question the role of the artist and that A Lighthouse for Lampedusa! 2016. Architect Jean Nouvel
of the curator in detriment of a more complex production, a presented Simple (2016). In his words, “Architecture’s proposal
comprehensive search for this meaning is necessary. Otherwise, is inhabitation. What we show here is the idea of he most
t
it would all be reduced to a simple search for what is art, immediate way to inhabit a space.”
something that can be based on personal taste only. In the year before last, the directorship of FIAC was attentive
to the possibility of having to move from the traditional Gran
1 | WHITE MUSEUM (2010/2016), ROSA BARBA. THE INSTALLATION PROJECTS LIGHT Palais, since the building, which opened in 1900, will have to
ONTO THE ENTRANCE RAMP OF THE BIENNIAL PAVILION WHOSE FRAMEWORK, USUAL IN undergo repairs. Today, however, this issue has been postponed
PHOTOGRAPHY AND FILM, BECOMES A PHYSICAL PRESENCE. FILM IS A RAW MATERIAL until 2020, allowing four years of stability for the operation.
FREQUENTLY USED IN THE WORK OF THE ITALIAN ARTIST. USING HER CAMERA, SHE The light of the Gran Palais shines on.
PRODUCES PIECES THAT INVESTIGATE THE RELATIONS BETWEEN MAN AND LANDSCAPE.
1 | A LIGHTHOUSE FOR LAMPEDUSA! (2016), THOMAS KILPPER. MADE OF BOAT WRECKS,
2 | DOIS PESOS, DUAS MEDIDAS (2016), LAIS MYRRHA THE WORK EXPOSED AT THE TUILERIES IS A LIGHTHOUSE DESIGNED TO GUIDE MIGRANTS
COMING TO THE ISLAND OF LAMPEDUSA.
PARIS FIAC 2016 | PAGES 44 TO 53
2 | DETAIL OF A LIGHTHOUSE FOR LAMPEDUSA! BY THOMAS KILPPER 2016.
FIAC GROWS STRONGER 3 | ON THE RIGHT, BOUQUEVAL SCHOOL (1949), JEAN PROUVÉ, THE SERIES OF FAMOUS

DEMOUNTABLE HOUSES THAT BECAME POPULAR IN FRANCE AFTER THE SECOND
IN ITS FIRST EDITION AFTER THE TERRORIST ATTACKS IN 2015, WORLD WAR DUE TO THE INCREASING NEED TO QUICKLY CREATE SHELTERS FOR A
FIAC BRINGS TOGETHER 189 GALLERIES AT THE GRAND PALAIS IN TRAUMATISED POPULATION
PARIS. THE EVENT WAS MARKED BY ITS SENSE OF EXCELLENCE AND 4 | ON THE NEXT PAGE, SIMPLE (2016), JEAN NOUVEL. CREATION OF FRENCH ARCHITECT,
ALIGNMENT WITH CONTEMPORARY ISSUES LIVING ICON OF FRENCH ARCHITECTURE AND WINNER OF THE PRITZKER PRIZE IN 2008

BY PATRICIA ROUSSEAUX PHOTOS HÉLIO CAMPOS MELLO 5 | BELOW, THE PANORAMIC DAILIES (2016), JULIEN TIBERI, PRESENTED BY SEMIOSIS,
PARIS. THE WORK, CREATED BY THE MARSEILLE ARTIST, IS A NEW VERSION OF THE
THE TRADITIONAL ART FAIR FIAC - Foire Internationale SMALL CERAMIC DANS UNE TACHE (2013)
d’Art Contemporain, in France has been held for more than 43
years in the city of Paris, an event that has always thrived at 6 | CHANGING ROOMS (2008), LEANDRO ERLICH. LARGE INSTALLATION THAT LED TO
keeping a high level of accuracy and excellence in the selection THE BOOTH OF LUCIANA BRITO GALERIA IN THIS EDITION OF FIAC. THE WORK IS A SET
of modern and contemporary art works, and which continues OF CHANGING ROOMS WHERE THE ABSENCE OF MIRRORS IN SOME OF CABINS MAKES
to grow. The programme has expanded and it now opens the THE VISITOR SWING BETWEEN OPTICAL ILLUSIONS AND REALITY, IN A PLAYFUL AND
sector On Site at the Petit Palais, with more than 40 exhibits and CRITICAL EXPERIENCE.
a series of parallel performances that took place in museums
and cultural institutions of the city. 7 | NOUS NE SOMMES PAS LES DERNIERS (1971), ZORAN MUSIC. THE PAINTER, DESIGNER
This year, even despite the fears of many tourists and citizens AND ENGRAVER WAS BORN IN 1909 IN BUKOVICA NEAR GORIZIA IN ITALY. HE BECAME
to get around freely in the city due to the tragic terrorist DEEPLY WOUNDED BY THE EVENTS OF THE WORLD WAR II AFTER HE WAS ARRESTED BY
attack last year, the fair was attended by 189 galleries, THE GESTAPO AND SENT TO DACHAU IN 1944-1945. THE FIRST WORKS AFTER HE WAS SET
of which 43 were international and 13 French houses that FREE INCLUDED WATERCOLORS AND GOUACHES OF VENICE AND PAINTINGS OF SIENA.
debuted in the event. “The French collectors are extremely HOWEVER, BETWEEN 1950 AND 1960, AFTER A MAJOR BREAKDOWN, HE RETURNED TO
knowledgeable and passionate, “says Berlin gallerist Mehdi THE THEMES OF 1940. HE DECISIVELY MADE HIS WAY BACK AS A FIGURATIVE ARTIST,
Chouackri, who has developed an affectionate relationship CREATING A PAINFUL MEDITATION ON THE HORROR OF DACHAU. ON THE OPENING DAY,
with the fair. Also participating in the event are countries such THE APPLICAT-PRAZAN GALLERY SOLD MORE THAN HALF OF THE FEATURED WORKS
as Poland, Hungary, Japan and Hong Kong. Brazilian galleries FOR THE AVERAGE PRICE OF 450 THOUSAND EUROS

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