09. March – 24. March 2006

Aloysio Zaluar - Zeichnungen & Filme von 1950 - 2005

The Visual Anthropology's Design

 

Aloysio Zaluar

 

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

of representation.

 

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

international diplomacy.

 

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.

Artists