Monday, November 10, 2014

Tenochtitlán em Pindorama: "Inconstância Material" de Hector Zamora

México no Brasil na performance organizada por Héctor Zamora em galeria de São Paulo. Gosto e ao mesmo tempo desgosto da proposta e, sem moralismos, suponho que isso indica uma certa força nessa "Inconstância Material". E noto um detalhezinho muito interessante para mim: um dos trabalhadores envolvidos cantarola, de tempos em tempos, o motivo incial de uma canção famosa de Dorival Caymmi.

INCONSTÂNCIA MATERIAL _ Hector Zamora from / REGISTRO DE ARTE / on Vimeo.

Aqui o comentário/contexto dado na reportagem através da qual fiquei conhecendo a obra, que trata de arte discutindo/refletindo sobre arquitetura/urbanismo no Brasil:

And it’s there, large as life, in the work of the Mexican artist Héctor Zamora, who lives in São Paulo. In Inconstância Material (Material Inconstancy, 2012), Zamora brought a crew of construction workers into São Paulo’s Luciana Brito Galeria to perform a kind of bricklayers’ ballet, in which they tossed hundreds of clay bricks from hand to hand along a human chain, as is done every day on building sites. Calling out a random selection of words and phrases from ‘Gigante’ (‘Giant’, 2012), a poem created for the artwork by the artist Nuno Ramos, the men worked in a spectacle of speed, dexterity, human error and dust, missed bricks smashing to the ground as others piled up to form hurried, impro vised structures. “I wanted the piece to leave my hands, and to let them take control of the work,” says Zamora. Having the words to call out to one another as they heaved the bricks between them helped the builders relax in the unusual environment of the gallery, he says, adding a playfulness that gave rise to organically emerging songs, chants and words, until Ramos’s words began to melt into the improvised babel. “The bricklayers became the protagonists, the stars of the show,” says Zamora. “The work was a way to create a circuit in which they were visible, recognised, laughing as the bricks flew between them – it was a way to break the myth of architecture as untouchable.” 

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