artists & participants
MAM Receives and Displays Works on Loan from Eduardo Brandão and Jan Fjeld
The exhibit marks the entry of works in the Museum’s collection. Collectors donate three works by José Leonilson. A site specific by Guto Lacaz for the Wall Project opens the same day.
The Museum of Modern Art of São Paulo – MAM – opens the exhibit “Sem Título, 2006. Comodato Eduardo Brandão e Jan Fjeld” on Wednesday, July 26, at 7:30 p.m.. The exhibit is of 145 works, out of a total of approximately 270 from the collection of the Paulistano Eduardo Brandão and the Norwegian Jan Fjeld. Initiated in the ‘80s, the collection now enters the museum on loan.
Curator Andrés Martín Hernández (MAM-SP executive coordinator) and researcher Carolina Soares are displaying the show in the Grande Sala, with photographs, engravings, paintings, books by artists, paintings, designs, and video. This loan, the largest the museum has ever received, strengthens MAM’s interest in filling historical gaps and in making its collection more visible.
The exhibit in the Grande Sala is sponsored by Banco Real ABN Amro, Itaú, and Votorantim, while Projeto Parede (Wall Project) has the sponsorship of Credit Suisse.
Like the loan, the Wall exhibit is formed by small anthologies, vibrant niches of contemporary Brazilian art. Tatiana Ferraz’s museography, with the design of a long wall in zigzag, enhances both the exhibition of the works on the wall and the tridimentionals scattered in the niches, where some artists are well represented, two of whom are José Leonilson (1957-1993) and Geraldo de Barros (1923-1998). Further below are the names of the artists in the exhibit and in the loan.
Five modules marked by variations of gray may suggest a guide to the collection: (1) infected images, (2) the signs of the zodiac and the senses, (3) evocations and reminiscences, (4) books by artists, and (5) life as a map. The map as the body. The body as the tracing of a game. The divisions gather works that have affinities in poetic and/or technical approaches.
The force of the exhibit is guaranteed by the overall quality of the works and the poetic peculiarities – because the affective relationship between the collectors and the artists is part of the formation of the collection. Works of all of the artists represented in the loan are also on display in the exhibit.
By means of wall texts, curators Andrés Martín Hernández and Carolina Soares stress that the exhibit as much as the examples from the loan have a poetic relation in the root of their formation. Artists ceded works to the collectors as if they formed diaries of relationships.
According to the curators, the name of the exhibit is hinged to artistic terminology. Customarily, when an artist does not want to give a name to his work, he places “untitled.” Or if he thinks the work is enough in itself and does not need a name, or if he desists from the effort of showing the way to understanding what he produced, he simply does not name it. The work speaks for itself. The curators wish to create this parallel: there is no title that can sufficiently address this loan. It reaffirms that clippings about the loan will gathered and presented at future shows..
Some of the loan’s works shall be shown in the “Artphotography in Brazil” exhibit consisting of a selection of the Museum of Modern Art of São Paulo collection from September 21, 2006 to January 7, 2007, at the Instituto Valenciano de Arte Moderno, in Spain. Negotiations for the loan commenced last year and were intermediated by MAM director Tadeu Chiarelli.
This the largest loan to MAM has a term of three years, which may be revalidated for a longer period of time. MAM also has loans of works by Farnese de Andrade, Carlos Fajardo (the sculpture in the Sculpture Garden), Ana Maria Tavares, Sérvulo Esmeraldo, and of the French artist Louise Bourgeois (“Aranha,” on permanent display outside the museum). The MAM collection is formed by acquisitions and donations, the first of which was in 1967 by Carlo Tamagni.
Eduardo Brandão, 49, who has a gallery in the city, is a photographer. Jan Fjeld, 46, is a journalist and has been in Brazil for 24 years.
Artists in the exhibit and in the loan Adriano Pedrosa, Angelo Venosa, Alex Cerveny, Amílcar Packer, Ana Maria Tavares, Beatriz Milhazes, Caetano de Almeida, Caíto, Carlito Contini, Courtney Smith, Cris Bierrenbach, Cristina Guerra, Daniel Acosta, Daniel Senise, Dora Longo Bahia, Dudi Maia Rosa, Edgard de Souza, Edilaine Cunha, Edouard Fraipont, Eliana Bordin, Éster Grinspum, Flávia Ribeiro, Florian Raiss, Geraldo de Barros, Iran do Espírito Santo, Keila Alaver, Laura Vinci, Leda Catunda, Lenora de Barros, Leonilson, Luiz Zerbini, Luzia Simons, Marcelo Arruda, Marcelo do Campo, Marcelo Zocchio, Marcius Galan, Mario Ramiro, Mônica Nador, Nicolás Robbio, Nelson Felix, Odires Mlászho, Paula Trope, Paulo D’Alessandro, Paulo Portela Filho, Rafael Assef, Regina Silveira, Ricardo Carioba, Rochelle Costi, Rodrigo Cunha, Rogério Canella, Rosana Monnerat, Rosângela Rennó, Sandra Cinto, Sergio Romagnolo, Tunga, Valdirlei Dias Nunes, and Vânia Mignone.
only in german
Sem título, 2006. Comodato Eduardo Brandao e Jan Fjeld
mit Adriano Pedrosa, Angelo Venosa, Alex Cerveny, Amilcar Packer, Ana Maria Tavares, Beatriz Milhazes, Caetano de Almeida, Caito, Carlito Contini, Courtney Smith, Cris Bierrenbach, Cristina Guerra, Daniel Acosta, Daniel Senise, Dora Longo Bahia, Dudi Maia Rosa, Edgard de Souza, Edilaine Cunha, Edouard Fraipont, Eliana Bordin, Ester Grinspum, Flavia Ribeiro, Florian Raiss, Geraldo de Barros, Iran do Espirito Santo, Keila Alaver, Laura Vinci, Leda Catunda, Lenora de Barros, Jose Leonilson, Luiz Zerbini, Luzia Simons, Marcelo Arruda, Marcelo do Campo, Marcelo Zocchio, Marcius Galan, Mario Ramiro, Monica Nador, Nicolas Robbio, Nelson Felix, Odires Mlaszho, Paula Trope, Paulo D´Alessandro, Paulo Portela Filho, Rafael Assef, Regina Silveira, Ricardo Carioba, Rochelle Costi, Rodrigo Cunha, Rogerio Canella, Rosana Monnerat, Rosangela Renno, Sandra Cinto, Sergio Romagnolo, Tunga, Valdirlei Dias Nunes, Vania Mignone