Papeis: caminhos do visivel (Papers: paths to the visible)

Papeis: caminhos do visivel (Papers: paths to the visible), 2010

Casa Galeria

Papeis: caminhos do visivel

Papers: paths to the visible

 

My commentary

Between 2008 and 2009, I was interested, as before, in reading Haykais. I dismissed, this time, the effort to approach kanji , and I read in English, enchanted by a "... magical moment when words took on meaning beyond meaning," in the words of Jackie Hardy in Haiku Poetry, Ancient and Modern.

I repeated the experiment with strokes without neglecting titles.


Given the delicate visibility of most of these drawings, chosen with others from the same company, curator Carmen Aranha called the set Papeis: caminhos do visivel (Papers: Paths of the Visible).


Under the guidance of curators Carmem Aranha and Loly Demercian at the Exhibition at Casa Galeria, it was proposed a workshop with Paulo Caruso and me, focusing on the difference and similarity between visual and graphic arts.

Gabriel Borba

 

 

Conjunto da Obra

Limiar do Visível (Threshold of the visible)

O Estado das Coisa (indicação direta III), 1979

colagem, 65.00 X 46.00 X 0.00

Works, Series and Collections: O Estado das Coisas (The State of Things)

Expositions: Anos 70 Arte como Questão, Prospectiva 74

O Estado das Coisas

 

The State of Things

My commentary

 

Newspapers were censored and did not disguise. Articles vetoed by the censor, under the claim that the edition was ready, were replaced by black stain or by alternative text, pure joking, like classical poetry or cooking recipe.

 

I was constantly seeing the ruse and, using the first page of O Estado de São Paulo, a very combative newspaper, I made O Estado das Coisas (The State of Things). Allusion to the title of that newspaper, state as unit of federation, replaced by state as a condition.

Gabriel Borba