{"id":2165,"date":"2018-04-11T10:10:07","date_gmt":"2018-04-11T10:10:07","guid":{"rendered":"http:\/\/arte351.pt\/art\/?p=2165"},"modified":"2018-05-17T21:45:47","modified_gmt":"2018-05-17T21:45:47","slug":"emanoel-araujo-no-masp","status":"publish","type":"post","link":"https:\/\/arte351.pt\/art\/2018\/04\/11\/emanoel-araujo-no-masp\/","title":{"rendered":"EMANOEL ARA\u00daJO NO MASP"},"content":{"rendered":"

O MASP, Avenida Paulista, S\u00e3o Paulo, SP, inaugurou sua terceira exposi\u00e7\u00e3o de 2018, ano dedicado \u00e0s hist\u00f3rias afro-atl\u00e2nticas. \u201cEmanoel Ara\u00fajo, a ancestralidade dos s\u00edmbolos: \u00c1frica-Brasil\u201d apresenta 70 obras de Emanoel Ara\u00fajo, um dos nomes mais expressivos do cen\u00e1rio art\u00edstico brasileiro, respons\u00e1vel por promover a arte e a cultura negras no pa\u00eds. Al\u00e9m de artista, Ara\u00fajo \u00e9 tamb\u00e9m curador e gestor cultural, tendo sido diretor da Pinacoteca do Estado de S\u00e3o Paulo e fundador do Museu Afro Brasil, que atualmente dirige. A mostra ocupa a galeria do segundo subsolo do Museu, local onde o artista realizou sua primeira individual no MASP, em 1981, que, na \u00e9poca, tamb\u00e9m ocupou o V\u00e3o Livre com esculturas de grandes dimens\u00f5es.<\/h3>\n

Entre as 70 obras presentes, 40 delas s\u00e3o esculturas e xilogravuras e 30 s\u00e3o cartazes, evidenciando sua aproxima\u00e7\u00e3o com t\u00e9cnicas que v\u00e3o al\u00e9m das artes pl\u00e1sticas, como a tipografia e a diagrama\u00e7\u00e3o. Na mostra, os trabalhos oferecem um panorama dos diferentes per\u00edodos da carreira do artista, sem apresentarem, no entanto, um recorte cronol\u00f3gico ou retrospectivo.<\/p>\n

A mostra, assim, d\u00e1 destaque a um vi\u00e9s pouco explorado da trajet\u00f3ria de Emanoel Ara\u00fajo, a tem\u00e1tica afro-brasileira, afastando-se das interpreta\u00e7\u00f5es que comumente associaram sua obra ao abstracionismo geom\u00e9trico e ao construtivismo brasileiro. A tem\u00e1tica afro-brasileira, assim, \u00e9 evidente no uso de simbologias das religi\u00f5es de matriz africana, em esculturas que aludem a orix\u00e1s do candombl\u00e9, por exemplo; na representa\u00e7\u00e3o de rela\u00e7\u00f5es afro-atl\u00e2nticas, principalmente relacionadas ao tr\u00e1fico de africanos escravizados, como na s\u00e9rie de navios negreiros; e na constru\u00e7\u00e3o de composi\u00e7\u00f5es geom\u00e9tricas com formas e paleta de cores inspiradas em padronagens de tecidos tradicionais africanos, a exemplo de suas gravuras.<\/p>\n

No espa\u00e7o expositivo, os diferentes conjuntos de obras est\u00e3o dispostos em quatro n\u00facleos: geometrias; m\u00e1scaras; orix\u00e1s; e navios.<\/p>\n

Muitas das xilogravuras de Ara\u00fajo s\u00e3o composi\u00e7\u00f5es abstratas e geom\u00e9tricas, impressas em cores saturadas e contrastantes, baseadas nas cores do pan-africanismo: o preto, o vermelho e o verde. \u00c9 o caso das gravuras da s\u00e9rie \u201cSu\u00edte Afr\u00edquia\u201d, de 1977, que marca um momento de virada na obra do artista, a partir de sua participa\u00e7\u00e3o no 2\u00ba Festival Mundial de Arte e Cultura Negra e Africana (FESTAC), realizado no mesmo ano, em Lagos, na Nig\u00e9ria. Imerso na realidade e viv\u00eancias africanas, Araujo expandiu suas refer\u00eancias formais e tem\u00e1ticas da cultura africana, bem como seus desdobramentos nas rela\u00e7\u00f5es com a cultura brasileira.<\/p>\n

Justapostas \u00e0s xilogravuras, est\u00e3o esculturas de m\u00e1scaras, que aludem aos objetos ritual\u00edsticos de religi\u00f5es de matriz africana. As formas e cores das composi\u00e7\u00f5es comumente fazem refer\u00eancia a determinados orix\u00e1s. \u00c9 o caso de associa\u00e7\u00e3o a Exu, em uma m\u00e1scara em preto e vermelho; ou a Oxal\u00e1, em uma composi\u00e7\u00e3o de cor branca.<\/p>\n

A partir dos anos 2000, Ara\u00fajo passa a desenvolver de maneira mais direta a tem\u00e1tica dos orix\u00e1s em esculturas verticais de parede, de formato tot\u00eamico. A men\u00e7\u00e3o aos orix\u00e1s aparece no t\u00edtulo de cada trabalho, junto com s\u00edmbolos pr\u00f3prios da cosmologia do candombl\u00e9, representados por cristais, mi\u00e7angas, pregos, ferramentas de orix\u00e1s, correntes de metal, fragmentos de madeira de lei e a\u00e7o. A obra \u201cOgum\u201d (2007), por exemplo, \u00e9 formada por diversos objetos de metal, como correntes e um cutelo, que fazem refer\u00eancia \u00e0 entidade da metalurgia e da tecnologia; j\u00e1 \u201cOx\u00f3ssi\u201d (2007), um arco e uma flecha de metal, ins\u00edgnias do orix\u00e1 que d\u00e1 t\u00edtulo ao trabalho.<\/p>\n

Por fim, o n\u00facleo de navios negreiros exibe uma sele\u00e7\u00e3o de esculturas de parede, nas cores preta e vermelha, com pregos cravejados e correntes de ferro, fazendo alus\u00e3o \u00e0s embarca\u00e7\u00f5es que trouxeram for\u00e7adamente africanos para serem escravizados nas Am\u00e9ricas e no Caribe. Com essa s\u00e9rie, Ara\u00fajo exp\u00f5e a viol\u00eancia e a perversidade dessa rede afro-atl\u00e2ntica de tr\u00e1fico humano, chamando a aten\u00e7\u00e3o para o papel perverso do Brasil nesse processo, ao receber o maior n\u00famero de africanos escravizados \u2013 40% do fluxo migrat\u00f3rio, estima-se, desembarcou no pa\u00eds -, al\u00e9m de ter sido a \u00faltima na\u00e7\u00e3o das Am\u00e9ricas a abolir a escravid\u00e3o, com a assinatura da Lei \u00c1urea, em 13 de maio de 1888, e que, em 2018 completa 130 anos.<\/p>\n

\u00c0 ocasi\u00e3o da exposi\u00e7\u00e3o, o MASP lan\u00e7ar\u00e1 um cat\u00e1logo de 168 p\u00e1ginas, com reprodu\u00e7\u00e3o dos trabalhos expostos na mostra, texto do curador, Tom\u00e1s Toledo, que tamb\u00e9m organiza a publica\u00e7\u00e3o, e republica\u00e7\u00e3o de textos de Clarival do Prado Valladares e George Nelson Preston e de uma entrevista com Emanoel Ara\u00fajo feita por Adriano Pedrosa.<\/p>\n

A exposi\u00e7\u00e3o \u201cEmanoel Ara\u00fajo, a ancestralidade dos s\u00edmbolos: \u00c1frica-Brasil\u201d integra o ciclo de 2018 do MASP em torno das hist\u00f3rias afro-atl\u00e2nticas. O programa est\u00e1 inserido em um projeto mais amplo de exposi\u00e7\u00f5es, palestras, oficinas, semin\u00e1rios e atividades do Museu, que atenta para hist\u00f3rias plurais, que v\u00e3o al\u00e9m das narrativas tradicionais, tais como Hist\u00f3rias da loucura (iniciada em 2015), Hist\u00f3rias da inf\u00e2ncia (em 2016) e Hist\u00f3rias da sexualidade (em 2017). A programa\u00e7\u00e3o inclui ainda uma s\u00e9rie de mostras monogr\u00e1ficas de Aleijadinho, Maria Auxiliadora, Melvin Edwards, Rubem Valentim, S\u00f4nia Gomes, Pedro Figari e Lucia Laguna.<\/p>\n

\u201cEmanoel Ara\u00fajo, a ancestralidade dos s\u00edmbolos: \u00c1frica-Brasil\u201d tem curadoria de Tom\u00e1s Toledo, curador do MASP. O escrit\u00f3rio de arquitetura METRO Arquitetos Associados assina a expografia da mostra.<\/p>\n

At\u00e9 03 de junho.<\/h4>\n

\"avatar_renato_rosa\"<\/a><\/em><\/h5>\n
Coluna – Renato Rosa<\/b><\/a><\/em><\/h5>\n
\n
Renato Rosa, brasileiro, S\u00e3o Gabriel, RS, Brasil, 1946. Marchand, pesquisador, editor do jornal cultural O PARALELO do site www.bolsadearte.com\/oparalelo<\/a>, co-autor do \u201cDicion\u00e1rio de Artes Pl\u00e1sticas no Rio Grande do Sul\u201d, (2\u00aa edi\u00e7\u00e3o, 2000, esgotada) Editora da Universidade\/UFRGS.<\/h5>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

O MASP, Avenida Paulista, S\u00e3o Paulo, SP, inaugurou sua terceira exposi\u00e7\u00e3o de 2018, ano dedicado \u00e0s hist\u00f3rias afro-atl\u00e2nticas. \u201cEmanoel Ara\u00fajo, a ancestralidade dos s\u00edmbolos: \u00c1frica-Brasil\u201d apresenta 70 obras de Emanoel […]<\/p>\n","protected":false},"author":34415,"featured_media":2166,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"_uf_show_specific_survey":0,"_uf_disable_surveys":false,"footnotes":""},"categories":[7],"tags":[],"class_list":["post-2165","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-colunistas"],"yoast_head":"\nEMANOEL ARA\u00daJO NO MASP - Arte351 - Art Magazine Portugal<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/arte351.pt\/art\/2018\/04\/11\/emanoel-araujo-no-masp\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"EMANOEL ARA\u00daJO NO MASP - 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