{"id":690,"date":"2023-03-02T12:15:33","date_gmt":"2023-03-02T12:15:33","guid":{"rendered":"https:\/\/tirinha.com\/marlene-dumas-a-alma-humana-aberta\/"},"modified":"2023-03-02T12:15:33","modified_gmt":"2023-03-02T12:15:33","slug":"%d0%bc%d0%b0%d1%80%d0%bb%d0%b5%d0%bd%d0%b5-%d0%b4%d1%8e%d0%bc%d0%b0-%d0%be%d1%82%d0%b2%d0%be%d1%80%d0%b5%d0%bd%d0%b0%d1%82%d0%b0-%d1%87%d0%be%d0%b2%d0%b5%d1%88%d0%ba%d0%b0-%d0%b4%d1%83%d1%88%d0%b0","status":"publish","type":"post","link":"https:\/\/tirinha.com\/bg\/690\/marlene-dumas-a-alma-humana-aberta\/","title":{"rendered":"\u041c\u0430\u0440\u043b\u0435\u043d \u0414\u044e\u043c\u0430, \u043e\u0442\u043a\u0440\u0438\u0442\u0430\u0442\u0430 \u0447\u043e\u0432\u0435\u0448\u043a\u0430 \u0434\u0443\u0448\u0430"},"content":{"rendered":"

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Entre as exposi\u00e7\u00f5es programadas em Veneza para coincidir com a Bienal de Arte, a dedicada ao marlene dumas<\/strong> (Cidade do Cabo, 1953) \u00e9 sem d\u00favida uma das mais relevantes. Sul-africana de nascimento, mas estabelecida na Holanda, em Amesterd\u00e3o, desde 1976, o seu trabalho tem adquirido o mais alto grau de reconhecimento internacional. A ess\u00eancia \u00e9 a pintura<\/strong>mas sempre desdobradas num di\u00e1logo de recep\u00e7\u00e3o e reelabora\u00e7\u00e3o com as imagens produzidas tecnicamente no mundo de hoje: fotografias, suportes f\u00edlmicos e redes digitais.<\/p>\n

O t\u00edtulo escolhido pela pr\u00f3pria Marlene Dumas para a exposi\u00e7\u00e3o, extremidade aberta<\/em> (final aberto), nos d\u00e1 uma chave central para o que ela busca com suas obras. Como ele explica, com isso faz alus\u00e3o ao que \u00e9 exposto abertamente nas salas: \u201cO espectador v\u00ea nas minhas obras o que pintei, mas ainda n\u00e3o sabe o seu significado<\/strong>. Onde o trabalho come\u00e7a n\u00e3o \u00e9 onde termina.<\/p>\n

Com essa ideia de significados que n\u00e3o se fecham, que fluem, Dumas nos coloca diante do car\u00e1ter din\u00e2mico de suas pinturas, sempre aberto ao contato com a grande variedade de imagens que hoje vivenciamos e com ela tamb\u00e9m \u00e0 sua diversidade de significados e alus\u00f5es.<\/p>\n

[Marlene Dumas, fantasmas y cuerpos]<\/p>\n

Na exposi\u00e7\u00e3o, organizada por Caroline Bourgeois<\/strong> (curador da Funda\u00e7\u00e3o Pinault em Paris) com a colabora\u00e7\u00e3o direta de Marlene Dumas, s\u00e3o exibidos 102 obras datadas de 1984 a 2021<\/strong>, distribuidas en dos pisos: primero y segundo del Palazzo Grassi, lo que permite un intenso recorrido de toda su trayectoria en el que podemos apreciar su fuerza e intensidad: la pintura de Dumas respira y se mantiene viva en el tiempo de la masificaci\u00f3n t\u00e9cnica de as imagens. Sempre com sentido cr\u00edtico, de introspe\u00e7\u00e3o, de questionamento sobre o que vemos.<\/p>\n

\n

A pintura de Dumas respira e permanece viva no tempo da massifica\u00e7\u00e3o t\u00e9cnica das imagens<\/p>\n<\/blockquote>\n

Al\u00e9m das obras expostas, tamb\u00e9m est\u00e1 dispon\u00edvel gratuitamente uma publica\u00e7\u00e3o de m\u00e9dio formato de 39 p\u00e1ginas, com pequenas reprodu\u00e7\u00f5es de todas as obras expostas e textos sobre elas, muitos deles escritos por Marlene Dumas. Todas as pe\u00e7as t\u00eam o mesmo registo: tinta sobre tela e tinta sobre papel, oscilando entre grandes e pequenos formatos.<\/p>\n

\n

\"Vista<\/p>\n

\n

\n <\/p>\n

Vista da exposi\u00e7\u00e3o de Marlene Dumas no Palazzo Grassi. Foto: Marco Cappelletti e Filippo Rossi. \u00a9 Palazzo Grassi \u00a9 Marlene Duma
\n <\/span><\/p>\n<\/div><\/div>\n

Os dois andares s\u00e3o articulados como se\u00e7\u00f5es. O primeiro andar, conforme indicado, “\u00e9 o reino dos Mitos e Mortais”, e nove se\u00e7\u00f5es est\u00e3o localizadas nele: “1. Introdu\u00e7\u00e3o: Desejo\u201d, \u201c2. Partes traseiras\u201d, \u201c3. Decep\u00e7\u00e3o\u201d, \u201c4. Presen\u00e7a privada\u201d, \u201c5. Aus\u00eancia\u201d, \u201c6. Estranhos\u201d, \u201c7. Tabu e vodu\u201d, \u201c8. V\u00eanus e Adonis\u201d e \u201c9. Envenenamento”.<\/p>\n

Em continuidade com o primeiro, o segundo piso \u201c\u00e9 dedicado aos Double Shots\u201d, organizado em dez sec\u00e7\u00f5es: \u201c10. Casais\u201d, \u201c11. Colabora\u00e7\u00f5es (entre m\u00e3e e filha)\u201d, \u201c12. Crian\u00e7as e o mal\u201d, \u201c13. ba\u00e7o [Bazo]\u201d, \u201c14. M\u00e1scaras e Luto\u201d, \u201c15. Divindades\u201d, \u201c16. Hist\u00f3rias de amor\u201d, \u201c17. Juventude e Guerra – Contra o Muro\u201d, \u201c18. Hist\u00f3rias de arte\u201d e \u201c19. Indo”.<\/p>\n

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Os dois andares do Palazzo Grassi oferecem um passeio intenso por toda a sua carreira, no qual podemos apreciar sua for\u00e7a e intensidade<\/p>\n<\/blockquote>\n

Essa organiza\u00e7\u00e3o \u00e9 importante, pois nela podemos perceber a grande variedade tem\u00e1tica de motivos que circulam na obra art\u00edstica de Marlene Dumas, e como ela expressionismo pict\u00f3rico<\/strong>que para mim \u00e9 o conceito que melhor o define, estabelece-se sempre atrav\u00e9s de um di\u00e1logo com o pensamento interior e a poesia, que confere grande profundidade a cada uma das suas obras.<\/p>\n

Com esse mapa de termos elaborado conceitualmente, vemos as formas e as quest\u00f5es com que Dumas exp\u00f5e sua obra art\u00edstica. Do ponto de vista formal, o que predomina s\u00e3o os corpos, fundamentalmente os corpos humanos<\/strong>, embora existam tamb\u00e9m algumas figura\u00e7\u00f5es de corpos de animais que transmitem uma rela\u00e7\u00e3o direta connosco e com as nossas hist\u00f3rias. Por exemplo, uma r\u00e3 crucificada, ou tamb\u00e9m uma cabe\u00e7a de cavalo e duas cabe\u00e7as de javali.<\/p>\n

\n

\"Mais<\/p>\n

\n

\n <\/p>\n

Mais uma das salas da exposi\u00e7\u00e3o Marlene Dumas no Palazzo Grassi. Foto: Marco Cappelletti e Filippo Rossi. \u00a9 Palazzo Grassi \u00a9 Marlene Duma
\n <\/span><\/p>\n<\/div><\/div>\n

Nossos corpos tamb\u00e9m est\u00e3o em comunica\u00e7\u00e3o com os objetos, mostrando, por exemplo, como lidamos com os telefones celulares, especificamente o iPhone. E igualmente com imagens fotogr\u00e1ficas, cinematogr\u00e1ficas e digitais, sempre em di\u00e1logo entre o desenho e a pintura.<\/p>\n

Rostos humanos, com modula\u00e7\u00e3o de rostos, Eles se configuram como uma esp\u00e9cie de porta de entrada para saber quem somos<\/strong>. E a partir da\u00ed, Dumas nos coloca em um universo de misturas: interracial ou intersexo, com o desejo expl\u00edcito de reivindicar a import\u00e2ncia da mulher com uma abordagem feminista. Assim como a igualdade dos grupos humanos e a cr\u00edtica a todas as posi\u00e7\u00f5es racistas.<\/p>\n

Junto com tudo isso, a rela\u00e7\u00e3o do humano com as artes e o pensamento tamb\u00e9m \u00e9 central. Algo que se materializa com a representa\u00e7\u00e3o expl\u00edcita dos rostos de toda uma s\u00e9rie de personagens referenciais nas letras e nas artes, com homenagens pict\u00f3ricas a artistas, e com o questionamento sobre a origem e pr\u00e1tica da pintura. Em definitivo, \u00c9 aqui que nos conduz Marlene Dumas: \u00e0 necessidade de saber ver<\/strong>para abrir a vis\u00e3o.<\/p>\n

Siga os t\u00f3picos que lhe interessam<\/h3>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"

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