09. March – 24. March 2006
Aloysio Zaluar - Zeichnungen & Filme von 1950 - 2005
The Visual Anthropology's Design
In the contemporaneous social sciences, the visual anthropology
acquired many forms and aims. Almost inexhaustible, it has significantly
extended its field of action, intermediating visual arts and social sciences.
Using the technological reality of Internet, it turned to be far accessible to
public curiosity and to the research of experts. The images captured in the
reality of visual culture intersect the blank of the page in our design project.
Our generic title, The Visual Anthropology's Design, is an approach
over these emerging questions. We live in the visual chaos of a poor
megalopolis like Rio de Janeiro. Attentively we developed a generic
experimental trace that goes from usual conventional graphics to an intrusive
color that seduces us by its instantaneous transfiguration. This is how we
syntonize the world. Crossing the city from side to side, we traverse the
Cultural frontiers that divide the symbols from different ways of life.
The aim of this Project is to show in the Cultural Center BRASILEA, in
Basel, Switzerland, our new drawings. We worked over real facts, but
maintaining a distance from the cultural official marketing. A long road
following the peripheral guide of our old professor from Swiss origin, the
great painter Oswaldo Goeldi, who today became famous because of the
several books focusing his eccentric modernity never truly situated during his
life time (he died in 1962).
This is our posture, in the margins of the institutional culture as seen by
our perception: in the very borderline between the unknown and the common
place. This is the Project, its reason and content: to bring to Europe our
peripheral vision outside the apotheosis of the globalized infomation society.
The living, vibrating and unexpected psychosocial trails figuration impresses
those who visit us in Brazil: a social and a cultural phenomenon beyond the
ocean, beyond the racial, religious and ideological frontiers from the past.
We look for inserting ourselves in this large indefinable possibility. In
the diversity of the peripheral cultural expressions found in all the territory of
Brazil. Rich and surprisingly, this expressive reality passes by the
programmed flux of the tourism and by the official view that tries to
domesticate it. Our living script guide is this one: to be an acrobat in the
popular Brazilian circus. This ocean of immigrants which included Swiss
people who arrived at this country in the XIX century. They became part as
well of the contemporaneous cultural mixed pot organized by the new forms
We don't let anything escape, even our most deep secret desires,
impregnated by Freudian and Jungian symbols; aware but unconscious, we let
to flow our freedom dreams of creativity without fear from parochial ravishing
feelings. We only live the social and cultural enigmas, and we pass the
labyrinths that divide us from the civilized flux of the great urban centers from
the First World.
We live in a peripheral sub world where we find the strength to survive
and the happiness to achieve our audiovisual creative experiences. We
brought to the media and to the public sphere the existence of the "Clovis"'
(carnival figure that uses a colored frightful mask) which was mixed with the
Africaiis' "Eguns" (Dead spirits from African rituals). We put the fire stamped
in the pales of the newspapers with the physical presence of the big balloons
and their ancient fire - Marco Polo brought them to Europe from China --
which freely float in the aerial space of an insane city. We understand these
pl-icnotaieiioiis and the official repression over popular manifestations, which
are transposed to painting and now to our new drawings.
We live in Latin America of the Macunaima (from the 50's ahead), the
hero without any personality. We present the "Descoberta da América"
(America's Discover) in the 70's in the popular and democratic Chile, before
Allende's fall. We live the shamanic experience from our native ancestors and
we survive as people integrated to the sophisticated and privileged urban life
of the South Zone of Rio de Janeiro. Without losing contact with the marginal
identity of the Latin America Continent, we find partners who motivate us to
go ahead. This is the route that we wish to follow in this exposition in Basel.
Nowadays the masquerade people are all characters in the media
universe. The unexpected beauty of their fantasies and of their sometimes
aggressive performances is much discussed here. As the "Clovis", the fire
balloons were also the theme for documentaries and many books. They now
belong to the daily news with all sort of psychosocial artifact of control.
However, as we missed the specialized testimony from the art critics, we want
to surpass it with direct intervention in the Internet. That's how we learn to
deal with the compromised dialectics of the cultural highbrow marketing.
We are what we actually live and without misleading intentions we are
mobilized to do our important task in Switzerland: to show the other side of
the artistic scene in Rio de Janeiro. It was truly Mr. Onorio Mansutti who have
persuaded us to invest in the social design of the peripheral aesthetics. We turn
the past pages of the paintings, collages and digital recordings and
photographs as seen in our last expositions "Meta Lua de Compasso:
Brincadeira Carioca" (Cultural center Laurinda Lobo - Rio, 1999) and "Meia
Lua de Compasso: Malta Ilustrada" (Solar Grandjean de Moiitigny, PUC, Rio,
2003). We jump inside the work supporting a strong emotion and a great
expectancy for this encounter with the European public, being carried by the
malicious "capoeiragem carioca", our permanent source of knowledge and
Details and titles of the series of drawings
1 st Part: Black & White graphics. Transferences and the Real Imaginary
2 nd Part: Graphic collages and daily transpositions
3 rd Part: Aquarelles, color and the Fantastic Imaginary
4 th Part: Graphic interferences over reproductions of few basic themes of our work.