Mudanças entre as edições de "Todays Archeology"
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That was held in 1974 and exhibited for the first time at an exhibition prospects are not only data of note, but deserve renewed consideration. If the intention of the organizer of the exhibition of 1974 at the MAC, Walter Zanini, was a survey on the future of art, has agreed to exhibit the work of Scheurer. Not for the clairvoyance to predict directly the artist's importance in the Brazilian artistic context (which unfortunately is still virtually unknown), but because they knew symbolize Scheurer summarizes the procedure "archaeological" following the ruling until today. | That was held in 1974 and exhibited for the first time at an exhibition prospects are not only data of note, but deserve renewed consideration. If the intention of the organizer of the exhibition of 1974 at the MAC, Walter Zanini, was a survey on the future of art, has agreed to exhibit the work of Scheurer. Not for the clairvoyance to predict directly the artist's importance in the Brazilian artistic context (which unfortunately is still virtually unknown), but because they knew symbolize Scheurer summarizes the procedure "archaeological" following the ruling until today. | ||
| − | The title - | + | The title - today's archeologyy - and the artist's declaration, show that the procedure in question refers to the way the material vestiges are analyzed to study the past. However, the title itself suggests that it is not a mere representation of archeology of today, but today itself. This is not about how archeology is done in general, but an archaeological activity that is practiced on the present itself. Scheurer shows that through it we leave to see the reality of the present and we project on it a fantasy image and deceptively crystalline. The ruins of the present lost its historical values and are enhanced by a kind of projective value, they become mere artifacts of speculation for what they could be. |
Edição das 09h43min de 9 de setembro de 2010
Today's Archeology
Jean Scheurer
Durante o Congresso Internacional das Artes em 1959, onde a cidade de Brasília foi apresentada para profissionais de todo o mundo, o chanceler francês André Malraux comentou ao arquiteto Oscar Niemeyer que a cidade era um dos exemplares de arquitetura mais importantes desde as colunas gregas. E adicionou: não conseguia deixar de pensar que lindas ruínas Brasília seria no futuro.
Quinze anos depois, na carta que enviou ao Museu de Arte Contemporânea da Universidade de São Paulo (MAC) junto com a obra Today’s Archeology, Jean Scheurer explica claramente que “demonstrar o lado efêmero de nossa civilização é também uma reflexão sobre o homem por meio de suas construções, objetos e dejetos”.
Que tenha sido realizada em 1974 e exposta pela primeira vez em uma exposição prospetiva são dados não só dignos de nota, mas que merecem redobrada consideração. Se a intenção do organizador da mostra de 1974 no MAC, Walter Zanini, era uma sondagem no futuro da arte, acertou ao expor a obra de Scheurer. Não pela clarividência em prever diretamente a importância do artista no contexto artístico brasileiro (onde lamentavelmente segue sendo praticamente desconhecido), mas sim porque Scheurer soube simbolizar sinteticamente o procedimento “arqueológico” que segue dominante até os dias de hoje.
O título — arqueologia de hoje— e as declarações do artista, apontam que o procedimento em questão refere-se à maneira como os vestígios materiais são analisados para estudar o passado. No entanto, o título da obra aponta que ela não é uma simples figuração da arqueologia hoje, mas sim de hoje. Isto é, não trata do modo como se faz arqueologia em geral, mas de uma atividade de arqueologia que se pratica sobre o próprio presente. Scheurer mostra que por meio dela deixa-se de ver a realidade do presente e projeta-se sobre ela uma imagem fantasiosa e enganosamente cristalina. As ruínas do presente perdem os seus valores históricos e são potencializadas por uma espécie de valor projetivo, tornam-se meros artefatos especulativos para aquilo que poderiam vir a ser.
Today's Archeology
Jean Scheurer
During the International Congress of Arts in 1959, where the city of Brasília was presented to professionals around the world, the french chancellor André Malraux commented to the architect Oscar Niemeyer that the city was one of the examples of architecture most important since the Greek columns. And he added: could not stop to think how beautiful Brasilia's ruins would be in the future.
Fifteen years later, in a letter that he sent to the Museum of Contemporary Art of the University of São Paulo (MAC) along the art work 'Today's Archeology', Jean Scheurer explains clearly that 'demonstrate the ephemeral side of our civilization is also a reflection on the man through its buildings, objects and wastes'.
That was held in 1974 and exhibited for the first time at an exhibition prospects are not only data of note, but deserve renewed consideration. If the intention of the organizer of the exhibition of 1974 at the MAC, Walter Zanini, was a survey on the future of art, has agreed to exhibit the work of Scheurer. Not for the clairvoyance to predict directly the artist's importance in the Brazilian artistic context (which unfortunately is still virtually unknown), but because they knew symbolize Scheurer summarizes the procedure "archaeological" following the ruling until today.
The title - today's archeologyy - and the artist's declaration, show that the procedure in question refers to the way the material vestiges are analyzed to study the past. However, the title itself suggests that it is not a mere representation of archeology of today, but today itself. This is not about how archeology is done in general, but an archaeological activity that is practiced on the present itself. Scheurer shows that through it we leave to see the reality of the present and we project on it a fantasy image and deceptively crystalline. The ruins of the present lost its historical values and are enhanced by a kind of projective value, they become mere artifacts of speculation for what they could be.
