De pedras a p\u00e1ssaros, dire\u00e7\u00f5es e sentidos O di\u00e1logo que se pode estabelecer entre as obras de Anna Helena Cazzani e Bel Barcellos n\u00e3o se reduz \u00e0 mera fei\u00e7\u00e3o. Dentre as espacialidades realizadas pelas artistas \u2013 sobre papel, tecido ou no espa\u00e7o circundante, por meio de borracha, tinta, grafite ou linha de bordar \u2013, podemos observar: abstra\u00e7\u00e3o e obliquidade, em Cazzani; figura\u00e7\u00e3o e perpendicularidade, em Barcellos; e em comum, nas duas, paralelismo. Portanto, se h\u00e1 similitudes em seus trabalhos, findamos por encontr\u00e1-las, justamente, nas diferen\u00e7as existentes entre eles.<\/p>\n Por certo, a linha presente no projeto po\u00e9tico de ambas nos indica dire\u00e7\u00f5es. Por\u00e9m, tamb\u00e9m, sentidos… Sentidos que viabilizam a convivialidade harmoniosa de po\u00e9ticas distintas, como \u00e9 o caso da rela\u00e7\u00e3o curatorial aqui almejada, em lugar de apresent\u00e1-las individualmente.<\/p>\n Vejam, experimentamos esteticamente dire\u00e7\u00f5es e sentidos que sugerem conex\u00f5es entre reinos: de pedras \u2013 pessoas e \u00e1rvores \u2013 a p\u00e1ssaros. Ou simplesmente, entre o cora\u00e7\u00e3o e a mente, por vieses (invis\u00edveis, at\u00e9). Em franca dualidade, num lapso, nossa frui\u00e7\u00e3o estrutura-se no ch\u00e3o; n\u2019outro, se lan\u00e7a ao c\u00e9u… num instante, se assegura na concretude da parede e, de repente, ultrapassa seu limite em fantasia ulterior…<\/p>\n Todavia, ab ovo<\/em>: linhas. Linhas cujas tramas se revelam capazes de fazerem formas prescindirem de tatilidade, \u00e0 maneira de Anna Helena; e sentimentos, de palavras, ao modo de Bel. Percebem? Na rela\u00e7\u00e3o entre as duas po\u00e9ticas, n\u00e3o s\u00e3o simples espacialidades constru\u00eddas e imaginadas que, em paralelo, se apresentam diante de nossos olhos. Mas sim, uma conversa de puls\u00f5es vivazes, feito altern\u00e2ncia do bin\u00f4mio virilidade\/feminilidade \u2013 qui\u00e7\u00e1, voca\u00e7\u00e3o de cada po\u00e9tica, respectiva e separadamente.<\/p>\n Atrav\u00e9s dessa ideia e inspirados nos versos de Mia Couto[1], podemos imaginar experi\u00eancias que registramos na alma, aprendendo a ser corpo enquanto iludem a morte na eternidade de l\u00e1pides fabulares, contidas nas propostas de Anna e Bel, segundo nossa fantasia po\u00e9tica. Assim, de modo metaf\u00f3rico e respectivo, aquelas reminisc\u00eancias repousariam: na trama solit\u00e1ria de ninhos ocos que jazem in natura<\/em>, na malha est\u00e9ril de cravos imantados e gravados em metal, no peso angular de pedras que empuxam e distendem tens\u00f5es inanes e negras; ou, de outro modo, na leveza et\u00e9rea de pontos que nos lan\u00e7am \u00e0 infinitude do revoar de p\u00e1ssaros; no pesponto equ\u00e2nime de telas que encenam equival\u00eancias conjugais; no bordado sereno da \u00e1rvore-mulher de ramos inf\u00e9rteis; na costura delicada de quimeras e ang\u00fastias personais<\/em> desenhadas sobre papel etc…<\/p>\n Entretanto, al\u00e9m das met\u00e1foras de finitude acima referidas, aquele suposto corpo se mostra igualmente interessado por outra ordem de liminaridade. Exercita-se numa simbiose de desenho e espa\u00e7o, para a qual o vazio \u00e9 sua express\u00e3o exata. Intervalo intr\u00ednseco \u00e0 frui\u00e7\u00e3o e, antes, \u00e0 concretude das obras. Referimo-nos \u00e0quelas que pendem do teto ao circunstancial ambiente da arquitetura. \u00c0quelas que, de maneiras distintas, flertam com a gravidade f\u00edsica e emocional, como s\u00e3o exemplos as pedras pendulares de Anna e os len\u00e7\u00f3is espectrais de Bel. E ainda, ao campo inst\u00e1vel presente na geometria artesanal de ambas: no caso desta, \u00e0 precis\u00e3o artesanal de recamos circulares; e daquela, \u00e0 exatid\u00e3o abismal de mat\u00e9ria escura no branco do papel.<\/p>\n Por entre as linhas de Cazzani e Barcellos, experienciamos uma harm\u00f4nica de beleza e lirismo, cuja frequ\u00eancia parece ressoar vacuidade. Vacuidade \u2013 aqui, bem entendido, n\u00e3o somente quanto a algo que \u00e9 “vazio”, mas sobretudo, na qualidade da interdepend\u00eancia necess\u00e1ria \u00e0 exist\u00eancia das coisas[2]. Reciprocidade pertinente ao conceito dessa curadoria que, a partir das obras das duas artistas aqui retratadas, tem por hip\u00f3tese expogr\u00e1fica, a ser concretizada nessa exposi\u00e7\u00e3o, um acordo po\u00e9tico, qual h\u00edbrido de densidade e leveza, concretude e imaterialidade.<\/p>\n Notas<\/p>\n [1] \u201c\u00c1rvore \/ cego de ser raiz \/im\u00f3vel de me ascender caule \/m\u00faltiplo de ser folha \/ aprendo a ser \u00e1rvore enquanto iludo a morte na folha tombada do tempo (Ra\u00edzes de orvalho e outros poemas)<\/p>\n [2] (Porque nada existe por si s\u00f3, mas por depend\u00eancia. Cada coisa isoladamente \u00e9, em \u00faltima inst\u00e2ncia, v\u00e3, incompleta. Assim, quando temos a aus\u00eancia dessa independ\u00eancia da exist\u00eancia, temos a experi\u00eancia da vacuidade)<\/p>\n<\/div> From stones to birds, directions and meanings<\/em> The dialogue that can be established between the works of Anna Helena Cazzani and Bel Barcellos goes beyond mere appearance. Amongst the spatialities produced by the artists \u2013 on paper, fabric or in the surrounding space, by means of rubber, paint, graffiti or embroidery thread \u2013 we can observe: abstraction and obliquity, in Cazzani; figuration and perpendicularity, in Barcellos; and in common, parallelism, in both. Therefore, if there are similarities between their works, we end up finding them, precisely, in the differences between them.<\/em><\/p>\n The thread that is present in both artists\u2019 poetical projects signals directions. But also, meanings\u2026 Meanings that enable the harmonious conviviality between distinct poetics, as is the case in the curatorial relation here desired, in place of presenting them individually.<\/em><\/p>\n Look, we aesthetically experience directions and meanings that suggest connections between kingdoms, from stones \u2013 people and trees \u2013 to birds. Or simply, between heart and mind, by biases (invisible, even). In sheer duality, in a lapse, our fruition structures itself on the ground; in another, sets flight\u2026 in an instant, assures itself in the concreteness of the wall, and, suddenly, trespasses its limit in ulterior fantasy.<\/em><\/p>\n Nevertheless, ab ovo: threads. Threads whose weaving reveal themselves capable of making shapes not need tactility, in the ways of Anna Helena; and feelings not need words, in the ways of Bel.<\/em><\/p>\n In reciprocal visitation, their oblique and cardinal threads weave architectures and even intangible scenes. Abstractly and figuratively, they relate reason and sensibility, in spatial geometric tessituras, polygonal even. Planimetric at times, they define distinct planes that project themselves upon space (material or mental), both in a purist way, through intervals and shapes, as in Cazzani, and in a dramatic way, by means of an imaginary rhetoric, as in Barcellos.<\/em><\/p>\n Do you realize? In the relation between the two poetics, it isn\u2019t simple constructed and imagined spatialities that, in parallel, show up before our eyes. Rather, a conversation of lively drives, like the alternance of the binomial virility\/femininity \u2013 perhaps, the vocation of each poetics, respectively and separately.<\/em><\/p>\n By means of this idea, and inspired by the verses of Mia Couto [1], we can imagine experiences that we register into our souls, learning to be body while deceiving death in the eternity of fabled tombstones, contained in the proposals of Anna and Bel, according to our poetic fantasy. Thus, in a respective and metaphorical sense, those reminiscences would rest: in the solitary weft of hollow nests that lay in natura, in the sterile mesh of magnetized nails, engraved in metal, in the angular weight of stones that push and distend black and inane tensions; or, in another way, in the ethereal lightness of points that launch us to the infinity of the flight of birds; in the unbiased topstitching of canvasses that stage conjugal equivalences; in the serene embroidery of the woman-tree of infertile branches; in the delicate sewing of chimeras and personal angsts drawn on paper etc\u2026<\/em><\/p>\n However, besides the metaphors of finitude mentioned above, that supposed body seems equally interested in another order of liminality. It manifests itself in a symbiosis of drawing and space, to which emptiness is its exact expression. An interval intrinsic to fruition, and foremost, to the concreteness of the works. We refer to those that hang from the ceiling into the circumstantial environment of architecture. Those that, in distinct manners, flirt with physical and emotional gravity, like Anna\u2019s pendular stones and Bel\u2019s spectral sheets. And still, to the unstable field that is present in the artisanal geometry of both: to the artisanal precision in the circular embroideries of Bel, and to the abysmal exactitude of the dark matter in Anna\u2019s white paper.<\/em><\/p>\n In between the threads of Cazzani and Barcellos, we experience a harmonic of beauty and lyricism, whose frequency seems to resonate vacuity. Vacuity here understood not only as something that is empty, but above all, as the quality of the interdependence that is necessary to the existence of things [2]. A reciprocity that is relevant to the concept of this curatorship that, by means of the works of these two artists, has as an exhibitory hypothesis, to be concluded at this exhibition, a poetical agreement, hybrid of density and lightness, concreteness and immateriality.<\/em><\/p>\n Footnotes<\/em><\/p>\n [1] \u201cTree \/ blind from being root \/immobile from rising as stem \/multiple from being leaf \/I learn to be tree while deceiving death in time\u2019s fallen leaf (Roots of dew and other poems)<\/em><\/p>\n [2] (Because nothing exists by itself, rather by dependency. Each thing is, when in isolation, vain, incomplete. Thus, when we have the absence of this independence from existence, we have the experience of vacuity)<\/em><\/p>\n<\/div> Sob nossos p\u00e9s | Beneath our feet<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-437","post","type-post","status-publish","format-standard","hentry","category-texts"],"_links":{"self":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/437","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/comments?post=437"}],"version-history":[{"count":9,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/437\/revisions"}],"predecessor-version":[{"id":845,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/posts\/437\/revisions\/845"}],"wp:attachment":[{"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/media?parent=437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/categories?post=437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/belbarcellos.com.br\/belbarcellos\/wp-json\/wp\/v2\/tags?post=437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSonia Salcedo del Castillo
\n2019
\n<\/strong><\/p>\n<\/div>
\nEm rec\u00edproca visita\u00e7\u00e3o, seus fios obl\u00edquos e cardinais tecem arquiteturas e cenas intang\u00edveis, at\u00e9. Abstrata e figurativamente, relacionam raz\u00e3o e sensibilidade, em tessituras espaciais geom\u00e9tricas, poligonais, inclusive. Planim\u00e9tricas, ainda, definem planos diversos que se projetam no espa\u00e7o (material ou mental), tanto de maneira purista, sob formas intervalares, segundo Cazzani; quanto dram\u00e1tica, por meio de ret\u00f3ricas imagin\u00e1rias, conforme Barcellos.<\/p>\n
\n
\nSonia Salcedo del Castillo<\/em>
\n2019<\/em>
\n<\/strong><\/p>\n<\/div>
\n