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also reflect his ideas about the cultural looking for cheap trinkets in the Sahara area,
and artistic environment in a marketing the largest street commerce center in the BEAUTIFUL START,
structure. “An also broader structure, State of Rio. The notable interaction is not
which defines what contemporary art is, sought by Márcio Botner, Laura Lima and PERO NO MUCHO…
as opposed to information that comes from Ernesto Neto, a trio of artists and owners. marcio botner was never a child
a place that is not related to art as a product, It happens spontaneously, prodigy, but destiny naturally pushed
to be displayed within marketing contexts, The integration of poetics and situations him towards culture. “Art is an old thing
in turn, and therefore historically accepted”. generated by the collective is a kind of in my life. At 13, he thought he was going
In addition to the wooden sculptures, liturgy as a synthesis of the arts. Carrillon to be an actor. I studied theater, I went
Gatherings presents the Reforma series, also defends the exhibition as an “act of there to study Stanislavski until I debuted
with canvases made from wood dust, which experimenting with other intellectualities, in Brecht’s play The king and the beggar,
results from sanding the sculptures, acting other knowledge of the body, with the performed by just two actors.” Botner was
as “paint”. At the Fundação Iberê Camargo, intention of summoning a dramaturgy of the beggar who would become king, if he
Tostes added new works to the original objects, from the seas to the markets, from didn’t ruin everything as soon as he opened
exhibition, made on site, during two seasons heaven to hell.” Defending his choices, he his mouth. “In my first speech I got confused
in Porto Alegre, such as two woodcuts and quotes Adriana Varejão, who redid the and said the last sentence of the play, when
a series of engravings. Broadway Boogie-Woogie, by Mondrian, I would become king. I was paralyzed and
Tostes highlights that the search for especially for that date, a work developed we didn’t continue with the show, people
an idea of essence and simplicity runs with basic geometric shapes, such as were perplexed, although the majority were
throughout his work. In a text written for straight lines, squares and rectangles, and colleagues who also studied theater as well
the exhibition at Fundação Iberê Camargo, primary colors. Outside the gallery rooms, as relatives, some even cursed. The curtains
the artist states that he tries to “find beauty the artist from Rio de Janeiro, Cabelo, went were drawn and I, astonished, gave up on
in the simplest poetics possible”. This, beyond his devilish performances and, as my dream.”
he says, is evidenced in his relationship always, magnetized the public. Inside the A few years later Botner decided to take
with structures – in previous creations, building, other works worked in the stillness visual arts courses and delve deeper. One
an example of this is the “bone garden” of the environment, such as Maria Laet’s day, excited, he spoke to himself. “This is
that in 2010 he “planted” at the Museu da pieces, which play with various implications what I want to do with my life.” Excitedly,
Casa Brasileira, in an exhibition curated by of time, illusion, and quiet work in a hurry. he went to study at Parque Lage, where
Agnaldo Farias. There are experiences that work in the he stayed for many years and met several
Em Gatherings, their trunks supported perception of new spaces. Installed in the artists. “Arjan was there, he was older than
by canes are, again, structures, but “not middle of the street, the Flag, by Antonio me and there were other cool artists, Laura
so reliable”, unbalanced by the artist’s Dias, became a landmark of the event. The Lima is from that period, Ernesto Neto
own interventions, says Tostes, whether revolutionary red cloth swung free from the was no longer there, he was from a later
by cutting or by the attempt to reconstruct top of one of the buildings, floating over a generation.” During his stay in the Park,
“what is no longer there”, that is, the trees lively crowd. There is no shortage of stories Botner was developing the idea of creating
they came from. in this set of works. Gentil had only been an art space. “The desire was materialized
open for a short time when Antonio Dias in the meeting with Laura Lima and Ernesto
exhibition rio de janeiro [pages 66 and 69] entered the gallery to see the work of a young Neto. “Gentil started where my studio was,
man from Paraíba, just like him. “It was in the center of Rio de Janeiro, close to the
FORROBODÓ, Fabiano Gonper whose works enchanted Sahara, later we occupied the bottom floor
OR 20 YEARS FROM Antonio, we told him a little about the gallery and other buildings. Elsa joins us a while
A GENTIL CARIOCA project and it was to him that I sold the first later. At that time she had no idea what
it was like to be a gallerist, I have never
work of art in my life, there is a photo of him
In a carnival atmosphere, the gallery, from that day”, recalls Botner. worked in a gallery as an assistant, nor in
located in the center of rio, got artists, Another highlight is the backlight by museums.” So, many projects were born
guests and the people to dance Carlos Vergara with images of groups from the meeting of the three colleagues,
by leonor amarante of black people having fun in the streets who were betting on an almost youthful
dressed as indigenous chiefs. Bela Geiger desire. Márcio doesn’t know exactly, but
like few art galleries, A Gentil Carioca appears with a new work, under the title he imagines that each of them must have
transforms its special openings into a Unknown, which she will present next put in something around R$500. “In the
huge street party. Last Saturday, it was no month in Spain. O flying saucer, by Laura beginning I worked alone, I did everything
different: the exhibition Forrobodófilled the Lima, was also changed, but a concept and when lunch time arrived, I simply put a
neighborhood with performances, music remains alive, the balance of sculpture that sign on the table:I went for lunch, I’ll be right
and lots of dancing to celebrate 20 years of is established in fantasy, in the game of the back. We started dealing with a thousand
the iconic space in Rio, driven by madness multiplicity of its desires. Arjan Martins improvisations, always resolved between
and art. Occupying mansions from the expands his passion for the sea, not the the three of us.”
1920s, Gentil once again makes history by Atlantic of slave routes, but a universal sea, Many people don’t know that Botner
presenting a comprehensive group show of beauty and powerful, colorful waters, is an artist, and it is precisely this side,
with works by 60 artists, curated by Ulisses capable of creating foam shapes. This work according to him, that helps him lead the
Carrillon. “The idea was also to celebrate the has already been purchased by a foreign gallery, his way of thinking, not only in
aesthetic, erotic and political potential of the collector and, once the exhibition ends, it art but in life as a whole. “I love being a
streets.” The gallery does not consider itself will go to Europe. This large collective, as gallerist, an activist like you said, which
a closed space, it operates in an expanded important as it is noisy, brings together is more than simply launching the artist,
manner throughout the surrounding area several generations until it reaches the it’s actually working to think about the
and incorporates the anonymous population artists that Gentil represents and others social, political and artistic side of so many
that circulates around the center of Rio that gallery owners believe will still come. projects. I think this side of being an artist
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