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the diversity and even contradictions established in the collection being built. In addition to this resource, projects were also conducted to obtain financial support for the purchase of works, as was the case for obtaining two Marcantonio Vilaça da Funarte Awards. 10 A third method of enriching the collection was the donation of individuals, such as André Venzon, Delson Luiz Martini, Gilberto Habib, Renato Rosa and Roberto Schmitt-Prym, or companies such as Itaú Unibanco S/A and Wolens Empreendimentos. As a result of its history, the collection is quite heterogeneous, considering the possibilities, interests, and circumstances of each moment. As a result of its exhibitions, the collection highlights the personal and professional roles of its curators. Gaudêncio Fidelis, first director of MACRS, is responsible for the original core of the collection, showing an openness to prominent names in national contemporary art, as listed in the Brazilian Contemporary Art Cycle: a set of ten individual exhibits held by the State Institute of Visual Arts, IEAVi, in which Carlos Fajardo and Nuno Ramos participated, in 1992; Ângelo Venosa, Vera Chaves, Dudi Maia Rosa, Carlos Vergara and Jac Leirner, in 1993; and Marco Gianotti, Karin Lambrecht and Iole de Freitas, in 1994. Under this project, large exhibitions were held, bringing to the state what was being consecrated in the centre of the country. Still under the curatorship of Gaudêncio Fidelis, the exhibit O olhar contemporâneo: descentramento e posição (The Contemporary Look: decentralization and position) was held, bringing together 57 young artists dedicated to contemporary art, including Elaine Tedesco, Frantz, Gelson Radaelli, Lenir de Miranda, Lia Menna Barreto, Maria Lucia Cattani, Milton Kurtz, Patrício Farias, Romanita Disconzi and Vera Chaves Barcellos. These two exhibitions mark the origin of a collection based in very ambitious objectives, with the encouragement that, in addition to these, other artists also donated works to the institution as it was inaugurated. In this course, during which individual and collective exhibits constituted the primary strategy for the formation of the collection, its curatorships guided its constitution. In this, the museum enjoyed the participation of several critics, artists and researchers, of which the following stand out: Ana Albani de Carvalho, Ana Zavadil, André Venzon, Bianca Knaak, Blanca Brites, Bruna Fetter, Benhur Bortolotto, Cris Rocha, Eder Chiodetto, Eduardo Veras, Flavio Gonçalves, Graziela Salvatori, Henrique Menezes, José Francisco Alves, Katia Canton, Kika Levy, Laura Castilho, Marilice Corona, Milton Couto, Neiva Bohns, Nilza Haertel, Paula Ramos, Paulo Gomes, Sandra Rey, Walter Karwatzki, Vera Chaves, Marcelo Gobato and Bernardo José de Souza, the final two being primarily responsible for the video art collection. In the constitution and cataloging of this collection, we can observe the first moment documented by Ana Albani de Carvalho in research carried out for the exhibit A medida do gesto. At this point, she identified: 230 registered works, with the following specifications: a) more than 80% had been made - and dated by the artists, their authors between the late 1980s and the early 1990s; b) almost all belonged to artists from the state of Rio Grande do Sul, active in the period mentioned, the late 1980s and 1990s; c) an expressive amount of two- dimensional graphic paintings (drawing and engraving) followed by three-dimensional works, mostly objects. The protagonism of photography and installation, remarkable in the artistic production of the 1990s, especially from the second half of the decade, are not evident in the MACRS collection. (CARVALHO, 2012, p. 17) From 2011, the date of the previous survey, there is an intense period of expansion and diversification of the collection, today comprising 1,813 works by 921 artists. When cataloging was complete and looking at the totality of this collection, some data and trends can be highlighted. Despite the predominance of male artists (476), there is an important female presence (423) and an almost total absence of black (11), indigenous (2) or transgender (3) artists. In relation to the works, there is a preponderance of certain artistic categories, in this order: graphic works such as photography (469) and printmaking (422) are most numerous in the collection, followed by painting (236), drawing (167) and sculpture (126). Within the three-dimensional works, in addition to sculpture, we have objects (46) and installations (38). Among more recent categories, video is highly represented (82), followed by artist’s books (30), performance documents (13) and digital art (14). Although most of the works are from more traditional categories, it can be said most of the various contemporary artistic trends are represented in this collection. The works are distributed by date of completion as follows: 1970s/80s, (213) 1990s (258), and 2000s (1,125), in which the first two decades account for less than the following decade and, from 2000 onwards, over two decades, there is impressive increase in numbers. This distribution demonstrates how the collection predominantly hosts the most recent production and how it has expanded and diversified over recent years. Regarding artists, it can be observed they are primarily from Rio Grande do Sul (463), however some other states are also well represented, such as São Paulo (112), Rio de Janeiro (27), Minas Gerais (22), Pará (14) and Santa Catarina (12), while it also includes some foreign artists (59). The large number of artists from Rio Grande do Sul demonstrates the Museum is aimed at preserving and giving visibility specifically to local production and also demonstrates its plurality. Dialogues with the national circuit, present in the origins of the Museum remain, however the origins of the artists have diversified. Additionally, a few international artists appear, with an emphasis on South American artists, including León Ferrari, Marta Minujin and Gonzalo Mezza, possibly a result of the relationship with the Mercosul Biennial. The works of certain artists, such as Luiz Carlos Felizardo (80), Marta Loguércio (46), Xico Stockinger (18), Maria Tomaselli (22) and Teresa Poester (14), represent a significant part of the collection. In addition to the fact most works were donated by the artists (1,370), their generous donations also demonstrate the importance of MACRS to them. 11 Approaching the works, the challenge was to find the primary axes of this set, considering the possibilities of creating a profile and understanding its place in the complex panorama of contemporary art and the museums which host it. A bold, difficult and to some extent impossible task if considered a final or unique answer. Thus, what I propose is to launch this Catalogue through an exhibition which should be seen as a possible reading, an experimental exercise of understanding, expanding meaning without creating categories or stereotypes. To develop this curatorship, I looked closely at the collection as a whole, having the opportunity to discover gems, works and artists I did not know. I am sure this catalog will be a decisive source of information for future exhibitions. From this whole, I selected certain artists with works characterized by their representativeness and their innovative contribution, seeking to understand local dialogues with the national and international scene. Some particularly important names are not included because they do not have significant works in the Museum’s collection, pointing to the need for future policies to consolidate the collection, filling these gaps. In my choices, I also included the spaces of the two galleries at the Casa de Cultura Mario Quintana, where the exhibit launching this Catalogue is held. In the near future, at MACRS headquarters in the 4 th District, a new exhibit may be considered to show more of this large, important and diverse collection. Many readings and evaluations can and should still be done. Considering this exhibit aims to increase the visibility of the collection, highlighting aspects of its constitution, I selected artists in four large groups: first, works from the 1970s and 1980s, which, as seen above, is the time when, slowly and gradually, contemporary art was established in Rio Grande do Sul; second, the 1990s, when this production began to consolidate in the local environment, with the support of new institutions; third, the years after 2000, a time when these practices became hegemonic and quantitatively strong, spreading and diversifying in the artistic panorama; and fourth, video art productions, which do not observe chronological criteria. In the first group are Carlos Pasquetti, Carlos Vergara, Carlos Fajardo, Cildo Meireles, Frantz, Karin Lambrecht, Luiz Carlos Felizardo, Maria Lidia Magliani, Milton Kurtz, Romanita Disconzi and Vera Chaves Barcellos. The limited number of works from this period highlights a need for the expansion of the collection, to properly document the beginning of contemporary art in the state and it’s national and international dialogues, disseminating and studying this recent history. In the second group are Ângelo Venosa, Felix Bressan, Irineu Garcia, Lia Menna Barreto, Lenir de Miranda, Maria Lucia Cattani, Nuno Ramos and 288
Patrício Farias. Noteworthy is that the majority of these artists continued intense production into the 2000s; it can be observed however, that the collection has few works to represent this important period, when contemporary art sought to impose itself in the local art scene, during a time of difficult reception. The third group corresponds to a more complex period, where the collection opens on multiple fronts. I highlight the work of Alfredo Nicolaiewsky, Andressa Cantergiani, André Severo and Maria Helena Bernades (Archive Areal), Bruno Borne, Carla Borba, Clóvis Dariano, Denise Gadelha, Eduardo Haesbaert, Eduardo Kac, Elaine Tedesco, Élle de Bernardini, Gisela Waetge, Gelson Radaelli, Gil Vicente, Gonzalo Mezza, Helio Fervenza, Ío (Laura Cattani and Munir Klamt), Jorge Menna Barreto, León Ferrari, Lucia Koch, Maristela Salvatori, Nelson Leirner, Paulo Nazareth, Rafael Pagatini, Regina Silveira, Rodrigo Braga, Rommulo Vieira Conceição, Romy Pocztaruk, Rochelle Costi, Rosângela Rennó, Sandra Rey, Sandro Ka, Teresa Poester, Téti Waldraff, Túlio Pinto, Xadalu Tupã Jekupé, Yuri Firmeza and Walmor Corrêa. The fact this period is more representative within the collection demonstrates the consolidation of contemporary art and its strength within the local panorama. The fourth group, occupying a room specially dedicated to video art production, enjoys the participation of Alberto Semeler, Alex Topini, Ana Norogrando, Claudia Paim, Dirnei Prates, Luis Roque, Isabel Ramil, Marina Camargo, Marion Velasco, Nelton Pellenz, Paulo Bruscky and Shirley Paes Leme. This production, almost all from the 2000s, demonstrates how this new artistic modality has strengthened locally in recent times, showing maturity, power and diversity. After making this difficult selection and aware of its limitations, I sought to break the temporal organization of the groups, establishing dynamics to interconnect works based on the dialogues established between them. This is a proposal to view the wide and diverse collection of the Museum of Contemporary Art in Rio Grande do Sul through a lens highlighting the fundamental aspects of the collection’s profile, works which significantly changed perspectives in artistic production through strategies, resources, material, form or content. These works break with the prevailing modernist visualities, creating cracks in the local art system, in its conservative tendencies. When suggesting proximity between the works presented, the viewer is challenged to discover relationships and to create their own path to enjoyment, thinking about works in the context of their time of production, their boldness, the novelties they introduced. Hopefully they will then seek more information about the works and artists of this collection; the internet is at our fingertips to bring us closer to knowledge and to enrich our lives. Within the exhibition, as well as the collection, one can observe the presence of new artistic categories such as installations; these create spaces of physical interaction with spectators, allowing them to circulate around and within works. Some works, while not considered installations in the strictest sense of the term, change the perception of environments, expanding them in various ways. In this search for new relationships, they update three-dimensional practices with visual and sensory interferences involving the space and its visitors. Records of these performances, generally photographic or video, preserve the memory of these activities/events, ephemeral and fluid, providing a last vestige of the radicality of performance moments. Artist’s books are represented in the exhibition as witness to their important place in the collection of this institution, in addition to productions involving digital technologies marking the emergence of these practices in the local artistic milieu. There is also the archive, a set of documents very significant in the understanding of contemporary art. It draws attention to the ways in which some works dialogue with the landscape, establishing different possibilities in thinking about our relationship with our surroundings, whether in the approach to natural or urban visualities. These new approaches leave the contemplative character of the landscape tradition to offer more poetic and thoughtprovoking views of a scene, proposing fragmentations, distortions and other approaches, as if the artist directed our gaze through unknown places in our own surroundings. Certain works investigate non-hegemonic universes, such as the feminine, the black, the indigenous or the marginal, seeking to establish in the art system criticism and debate about gender, ethnicities and conflicting social relations. The body is a strong presence, placing repressed aspects of sexuality on the agenda. The relationship of all these issues has a place in the collection as a whole. It can be noted, in some cases, that strangeness is what captures the viewer’s attention, generating questions, either by incorporating unconventional objects and materials or signals of mass culture, or just by creating unusual relationships between objects we are exposed to on a daily basis. Sensory and experiential issues are a strong trend within the collection, representing the weight of this approach in contemporary artistic practice in Rio Grande do Sul. The variety of languages and approaches present in this exhibition expresses the complexity and diversity of contemporary artistic production present in the MACRS collection. The works selected for this exhibition highlight some of the aspects of it’s profile, which, due to its pluralist and inclusive policy, are both problematic and rich for more specific analysis and study. I attempted to highlight the ways in which they break with the modernist visuality, until recently dominant, creating fissures in the ecosystem of local art and acting as entrances to the contemporary in this very conservative panorama. Each of them, in their strategies, in their material, formal or content resources, marks some change in perspective in artistic production. As a whole, the exhibition is an invitation to reflection and, to accept this invitation, it is necessary to be open to the new experiences it brings us. 1 I have been studying art systems since 1983 and in 1990, developed this concept for my doctorate thesis, available at: https://www.ufrgs.br/ artereflexoes/site/publicações/tese/ 2 Enlightenment explanations seeking to explain the process in an evolutionary way are closed, partial views of the western world. 3 Carlos Asp, Carlos Pasquetti, Clóvis Dariano, Mara Álvares, Telmo Lanes and Vera Chaves Barcellos were part of this group. 4 Composed of Mário Röhnelt, Milton Kurtz, Júlio Viega e Paulo Haeser. 5 Vera Chaves, Telmo Lanes, Mário Röhnelt, Milton Kurtz, Júlio Viega, Paulo Haeser, Carlos Wladimirsky, Karin Lambrecht, Ana Torrano, Simone Michelin Basso, Regina Coeli and Heloisa Schneiders da Silva participated in the centre. 6 Amongst those young people: Dione Veiga Vieira, Élida Tessler, Fernando Limberger, Lia Menna Barreto, Luiza Meyer, and Maria Lúcia Cattani. 7 According to Nei Vargas da Rosa, in his doctoral research on contemporary art collectors in Brazil (still unpublished), approximately 21% of the interviewees started their collections in the 1980s. 8 acervomacrs.com 9 Caroline Ferreira, Luiz Felipe Schulte, Quevedo, Nina Sanmartin, Malena Mendes, Mirele Pacheco and Kailã Isaias. 10 This award is intended specifically for the acquisition of works for museological institutions. MACRS twice received resources from this fund, first in 2010/12 and second in 2013/14. 11 This numerical data is derived from the current general catalogue of MACRS works, compiled by the research group responsible for curating the exhibit 47% Female Artists of the MACRS Collection (Cristina Barros, Marina Roncato, Mel Ferrari and Nina Sanmartin) along with Caroline Ferreira. References • A MEDIDA DO GESTO. Ana Albani de Carvalho (coordenação e curadoria). Catálogo da exposição. Porto Alegre: MACRS, 2012. • ARAÚJO, Ana Lúcia. A Geração 80: um panorama e o caso de Porto Alegre. In: Revista Porto Arte, Porto Alegre, v. 10, n. 19, p. 33-59, nov. 1999. • BRITES, Blanca; CATTANI, Icleia; BULHÕES, Maria Amelia; GOMES, Paulo. 100 anos de Artes Plásticas no Instituto de Artes da UFRGS. Porto Alegre: EDUFRGS, 2012. • BULHÕES, Maria Amelia. Arte contemporânea no Brasil. Belo Horizonte: C/ Arte, 2019. 289
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CATÁLOGO DO ACERVO DO MUSEU DE ART
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O Rio Grande do Sul é um estado qu
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SUMÁRIO ARTE CONTEMPORÂNEA RS Ver
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conhecer a história, a diversidade
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sobre a arte contemporânea e seus
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Para ser o Museu de Arte Contempor
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Para o desenvolvimento destas anál
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processo de abertura política. Um
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importantes mostras nacionais e int
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24 foi sede das exposições Uma An
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Este é um processo democrático e
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alguns artistas com obras que se ca
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Percebe-se, em alguns casos, o estr
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ACERVO DE OBRAS 33
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ABELARDO ZALUAR Niterói, RJ, Brasi
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ADEVALDO MARAJÓ Adevaldo Rodrigues
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ALEX TOPINI Rio de Janeiro, RJ, Bra
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ALEXANDRE ARIOLI Caxias do Sul, RS,
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ALFREDO NICOLAIEWSKY Porto Alegre,
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AMÉLIA BRANDELLI Rio Grande, RS, B
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ANA JÚLIA VILELA Belo Horizonte, M
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ANANDA KUHN Porto Alegre, RS, Brasi
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ANDRÉ VENZON, IGOR SPEROTTO Porto
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ANDREY ROSSI Porto Ferreira, SP, Br
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ANTÔNIO AUGUSTO BUENO Porto Alegre
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ANTÔNIO DE PAULA, CARLA BARTH, CAR
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ARNALDO BATTAGLINI São Paulo, SP,
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BEATRIZ BALEN SUSIN Caxias do Sul,
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BEBETO ALVES Luis Alberto Nunes Alv
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BOZÓ BACAMARTE Recife, PE, Brasil,
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CACAIO PRAETZEL Cachoeira do Sul, R
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CARLA BARTH Porto Alegre, RS, Brasi
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CARLOS PETRUCCI Pelotas, RS, Brasil
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CASSIANO PEREIRA NUNES São Paulo,
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CLARA ÁLLYEGRA Porto Alegre, RS, B
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CLAUDIA PAIM Porto Alegre, RS, Bras
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CLERI CARDOSO Santo Antônio do Sud
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DANIEL ACOSTA Rio Grande, RS, Brasi
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DANIELLE FONSECA Belém, PA, Brasil
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DENISE WICHMANN Arroio do Meio, RS,
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DIONE VEIGA VIEIRA Porto Alegre, RS
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EDA LANI Carazinho, RS, Brasil, 194
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EDITH DERDYK São Paulo, SP, Brasil
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EDUARDO NASI Porto Alegre, RS, Bras
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ELAINE TEDESCO Porto Alegre, RS, Br
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ELIDA TESSLER Porto Alegre, RS, Bra
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ENA LAUTERT, LETÍCIA REMIÃO Lajea
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ESTHER BIANCO Porto Alegre, RS, Bra
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FABIANA SASI Ilhéus, BA, Brasil, 1
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FELIPE SENATORE São Paulo, SP, Bra
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FERNANDO ALBALUSTRO Ijuí, RS, Bras
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FRANCIS PICABIA Paris, França, 187
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FRANCISCO STOCKINGER Francisco Alex
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FREDY VIEIRA Porto Alegre, RS, Bras
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GABI OLIVEIRA S.l., s.d. Sem títul
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GELSON RADAELLI Nova Bréscia, RS,
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GILBERTO HABIB DE OLIVEIRA São Pau
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GLAUCIS DE MORAIS Lajeado, RS, Bras
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GUILHERME MOOJEN Passo Fundo, RS, B
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HARLY COUTO Pelotas, RS, Brasil, 19
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HELOÍSA CROCCO Porto Alegre, RS, B
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HERMELINDO FIAMINGHI São Paulo, SP
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IBERÊ CAMARGO Restinga Seca, RS, B
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IOLANDA GOLLO Caxias do Sul, RS, Br
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ISRAEL SEVERO Porto Alegre, RS, Bra
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J. ERDMENGER S.l., s.d. Sem título
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JANE CAINELLI Bento Gonçalves, RS,
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JOÃO LUIZ ROTH Santa Maria, RS, Br
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JORGE MENNA BARRETO Araçatuba, SP,
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JULIANA CHAGAS São Paulo, SP, Bras
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KADÃO Ricardo Chaves Porto Alegre,
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KIKA COSTA Porto Alegre, RS, Brasil
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LACY ADAMY Guaporé, RS, Brasil, 19
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LEDA CATUNDA Sao Paulo, SP, Brasil,
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LEONARDO FANZELAU Porto Alegre, RS,
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LETÍCIA BORTOLINI S.l., s.d. Sem t
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LIDIA LISBÔA Guaíra, PR, Brasil,
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LIZANDRA CAON Lagoa Vermelha, RS, B
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LUCAS STREY Porto Alegre, RS, Brasi
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LUCIANO MONTANHA Canoas, RS, Brasil
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LUIZ CARLOS FELIZARDO Porto Alegre,
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LULI HUNT Lucia Carneiro Hunt São
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MABEL FONTANA Quilmes, Argentina, 1
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MARCELO MONTEIRO Porto Alegre, RS,
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MARCOS SARI Porto Alegre, RS, Brasi
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MARIA LUCIA CATTANI Garibaldi, RS,
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MARIA TOMASELLI Innsbruck, Áustria
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MARIANE ROTTER Ijuí, RS, Brasil, 1
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MÁRIO FONTANIVE Porto Alegre, RS,
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MARISA HYPOLITO São Paulo, SP, Bra
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MARTA LOGUERCIO Bagé, RS, Brasil,
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MAURA DE ANDRADE Guarulhos, SP, Bra
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MILTON KURTZ Santa Maria, RS, Brasi
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NARA AMÉLIA Nara Amélia Melo da S
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NELSON ROSA Curitiba, PR, Brasil, 1
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NILZA HAERTEL Porto Alegre, RS, Bra
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ODETE DE ALMEIDA Goiânia, GO, Bras
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PABLO FERRETTI Porto Alegre, RS, Br
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PAULA CARDOSO Porto Alegre, RS, Bra
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PAULO DIAS Porto Alegre, RS, Brasil
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PIETRINA CHECCACCI Taranto, Itália
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RAFAEL ROSSO BERLEZI Santa Maria, R
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RAUL KREBS Porto Alegre, RS, Brasil
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RENAN SANTOS Porto Alegre, RS, Bras
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RICHARD JOHN Bom Princípio, RS, Br
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ROCHELE ZANDAVALLI Garibaldi, RS, B
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ROGÉRIO MEDEIROS Porto Alegre, RS,
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RONALDO DE MIRANDA Niterói, RJ, Br
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RUBEM GRILLO Pouso Alegre, MG, Bras
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Page 239 and 240: SANDRO KA Porto Alegre, RS, Brasil,
Page 241 and 242: SÉRGIO MACEDO Além-Paraíba, MG,
Page 243 and 244: SILVIO OPPENHEIM São Paulo, SP, Br
Page 245 and 246: SONIA MOELLER Porto Alegre, RS, Bra
Page 247 and 248: TADAO ANDO Minato-ku, Japão, 1941
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Page 251 and 252: TÉTI WALDRAFF Teresa Dorotea Waldr
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Page 255 and 256: UBIRATÃ BRAGA Porto Alegre, RS, Br
Page 257 and 258: VAGNER DOTTO Caçapava do Sul, RS,
Page 259 and 260: VERA WILDNER Porto Alegre, RS, Bras
Page 261 and 262: VIVIANE PASQUAL Caxias do Sul, RS,
Page 263 and 264: WALDENY ELIAS Nova Bassano, RS, Bra
Page 265 and 266: WILSON CAVALCANTI Pelotas, RS, Bras
Page 267 and 268: XADALU TUPÃ JEKUPÉ Dione Martins
Page 269 and 270: YAACOV AGAM Rishon LeZion, Israel,
Page 271 and 272: ZETTI NEUHAUS Passo Fundo, RS, Bras
Page 273 and 274: EXPOSIÇÃO ARTE CONTEMPORÂNEA RS
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Page 282 and 283: Rio Grande do Sul has a Museum of C
Page 284 and 285: at some point, be seen by the publi
Page 286 and 287: ange of qualified professionals to
Page 290 and 291: • CANCLINI, Néstor García. A so
Page 292 and 293: El Rio Grande do Sul tiene un Museo
Page 294 and 295: oficialmente, el Estado del Rio Gra
Page 296 and 297: El Rio Grande do Sul entró en este
Page 298 and 299: ica colección documental para inve
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Page 303 and 304: ARTE CONTEMPORANEA RS Projeto e Rea
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