Tipos Malditos

tipos laicos, castiços, intuitivos, leigos, nativos, autênticos, tontos, rústicos, improvisados, rudes, toscos, pitorescos, precários, vulgares.

perfil

Arnaldo Antunes

Máquinas de escrever

Marcel Broodthaers

This is not a work of art

Musée d’art moderne, Département des aigles, Section XIX siècle. (Museum of Modern Art, Eagle Department)

This is actually a fictional institution, a monumental work of conceptual art in itself - at the time it opened (1968), Brussels had no Museum of Modern Art. (And this endeavor was a jab at the lack as well.)

His “museum” was open from 1968–1972, in various locations; 1969 in Antwerp, 1970–1972 Düsseldorf and the second half of 1972 in Kassel, with new sections at each opening - “Section XVII”, “The Cinematic Section”, “The Section of Figures”. The Department of Eagles opened in 1968, and was filled with…all sorts of stuff, featuring eagles - sculptures, stuffed specimens, lighters, buttons, picture books…and before every display case was stuck the label “Ceci n’est pas une oeuvre d’art” - This is not a work of art.

In 1972 Marcel Broodthaers exhibited Musée d'Art Moderne, Département des Aigles, Section des Figures (Der Adler vom Oligozan bis Heute). This installation housed over 300 representations of eagles from art history and popular culture classified in a pseudo-museological manner—undermining both the mythology of the eagle and the power of the museum. The artifacts were accompanied by numbered labels declaring, "This is not a work of art," in English, French, and German.

 

Pentagram Papers II

face to face

Fabio Morais e Marilá Dardot

Lá em Casa (Rayuela)
Tapete de nylon 10mm
285 x 190 cm
3 exemplares

 

obras da série Lá em Casa na Bienal de São Paulo

Tinteiros

Garrafas

Roger Chartier

O filósofo Pitágoras

 O retrato é a primeira forma manifesta da presença do autor no livro. Tais representações do autor exibido em sua atividade de escrever, em miniaturas do fim do séc XIV ao XV. 

“Uma tal imagem rompe com as antigas convenções de representação da escrita, tanto a que identifica a escuta de um texto ditado e copiado (por exemplo, na iconografia tradicional dos evangelistas e dos pais da Igreja, retratados como escribas da palavra divina) quanto aquela que a pensa como simples continuação de uma obra já existente (como no caso da prática escolástica da glosa e do comentário)". (Roger Chartier, 1994, p. 53).