Page 129 - ARTE!Brasileiros #37

EXHIBITION CURITIBA | PAGES 78 AND 79 the tempera would attract fungi. His most recent canvas are
softer paintings, in which the use of corrosive colours gives
CORROSIVE COLORS way to subdued translucent tones that predominate on the
canvas, revealing new aspects of Ivo’s paintings. Three of
UNDER THE “SKIN” OF these paintings have a discrete participation in this exhibition.
Curated by Scovino, the exhibition includes 118 works, including
A GEOMETRIC PAINTING 32 paintings, 42 watercolours and 44 objects, which punctuate
the artist’s trajectory in the last two decades. The exhibition
shows that Ivo’s art is the action of assembling the right
GONÇALO IVO’S LEARNED FROM IBERÊ CAMARGO AND MARIA colours necessary to express his creative force. Volume, in
LEONTINA, ILLUSTRIOUS REGULARS AT THE HOUSE OF HIS FATHER, some of his paintings, is achieved by using sandy materials
POET LÊDO IVO that are coloured prior to the application on the canvas. A
special preparation technique gives texture to thick layers of
paint that are sprinkled on the canvas resembling Pollock’s
BY LEONOR AMARANTE style. This technique gives the spectator a unique perception
of these paintings, different from other paintings in the show.
THE ART OF PAINTING IS IN CONSTANT MOVEMENT, The successive paint strokes reveal the quality of the material
like the tide. it comes and goes, nonetheless, it is always used by the artist. Gonçalo Ivo is a painter, but above all, he
present in all periods of art history. Some have survived the is a dedicated researcher of the matter that nourishes the
constant changes of the tide, despite drowning here and there skin of his paintings.
in the waves of minimalist sculptures, installations, urban
interventions, performances, suffocated by the tendencies 1 | FLORAÇÃO DA PRIMAVERA (2014), GONÇALO IVO, ÓIL ON CANVAS, 200 X 200 CM
of an art system. One of the heroes of resistance is painter
Gonçalo Ivo, from Rio de Janeiro, who at a certain point of Gonçalo Ivo: A Pele da Pintura
his career, moved from Brazil and settled in Paris, where Until February 26, 2017
he works with synthetic experiments fuelled with abstract Museu Oscar Niemeyer
geometrics, which result in art works with plenty of texture Rua Marechal Hermes, 999, Curitiba
and artistic matter. The title of the exhibition, A Pele da Pintura 55 41 33504400
(Painting’s Skin) - at the Museum Oscar Niemeyer in Curitiba,
given by curator Felipe Scovino, is perfectly fitting. The set of EXHIBITION SÃO PAULO | PAGES 80 TO 83
works on display provides indications of the types of surfaces
geometric shapes immediately leads the viewer to a perception THE CONVERGENCE
that cover the dense materiality of Ivo’s works. The use of
experiencing colours, which spread in multiple densities all OF ART, SPACE AND
linked to abstraction and, as a result, leads to the pleasure of
over the painting’s “skins”.
As in architecture, design, fashion, each object features a SUBJECT IN THE WORK
kind of “skin” that may be impermeable or porous, smooth
or rough, thick or thin, flat or rugged. Ivo’s painting is like a OF ANA MARIA TAVARES
snake, constantly changing its “skin”. All of his paintings are
colourful and show a certain level of rigidity and spontaneous
joy. This is especially evident in the paintings created under the EXHBITION BY BRAZILIAN ARTIST REARRANGES THE SPACE AT
influence of African geometric fabrics. Since the modernists, PINACOTECA DO ESTADO DE SÃO PAULO SPACE, CLOSING THE 100TH
this anthropophagic tendency of exploring the past is one of
the characteristics of artists who settle and work in Paris. As ANNIVERSARY CELEBRATIONS OF THE INSTITUTION
an artist and collector of African Art, Ivo was influenced by the
various geometric patterns of tribal fabrics, which emerge in BY MARIA HIRSZMAN
his paintings. His three-dimensional works are also embedded
with signs and symbols of African culture. Strictly speaking, TO CREATE A UNIQUE WORK of art that joins multiple works
Ivo drew inspiration from various sources, even from art and and 35 years of artistic reflection: this is the objective of the
patterns of the Middle Ages, he says. He has been directly Ana Maria Tavares’ anthology on display at Pinacoteca de
influenced by friends of his father, poet and art collector Ledo São Paulo. The anthology closes the celebration of the 110-
Ivo, who used to welcome at his home illustrious guests, such year anniversary of the museum, reaffirming the intent and
as as Maria Leontina, Iberê Camargo and Lygia Clark, among purpose of this institution to become a space for reflection
other artists. and dissemination of contemporary Brazilian art. As some
Some paintings reveal a balance between rigorous shapes, kind of intricate puzzle in which each piece takes on new
fusing colours and music - one of Ivo’s passions. When he meaning in the context in which it is inserted, the exhibition
started taking piano lessons, he brought references to music not only brings the artist’s most renowned works to establish
tabs in paintings, creating a harmonious dance between music, meaningful parallels between key moments of her career. It
shape and colour. As a painter, Ivo involves himself in the making also investigates and subverts the museum’s original space to
of the oil paints he uses on his canvas, an ancient craft, typical promote a more intense interaction with the public. “For us it
of an artist whose soul is embedded with colours. As Volpi, Ivo was important to close the celebrations with the exhibition of
uses tempera made with eggs, which he applies in many layers. one of the most important Brazilian artists of the last decades,
Differently from Ivo, Volpi used to apply more subtle and fine whose first solo show took place at the Pinacoteca”, explains
layers. Ivo’s technique cannot be applied in Brazil because the director of the museum, Tadeu Chiarelli.

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