20 Disarrangements, Marco Museo De Arte Contemporanea, Vigo, Spain

Curated by Gerardo Mosquera
January 21 – May 8, 2005
MARCO-Museo de Arte Contemporánea de Vigo, Spain

Artists: Adriana Varejão, Adriano e Fernando Guimarães, Alex Villar, Cildo Meireles, Ernesto Neto, Fernanda Gomes, Jorge Barbi, Jorge Macchi, José Damasceno, José Guedes, José Leonilson, José Patrà cio, Kan Xuan, Lucas Levitan e Jailton Moreira, Marcone Moreira, Paulo Climachauska, Sara Ramo, Umberto Costa Barros, Vik Muniz and Wim Delvoye.

The exhibition “20 DISARRANGEMENTS”, curated by the well-known Cuban art critic Gerardo Mosquera, has its origins in the 2003 edition of the Panorama da arte brasileira, (the second most important periodic exhibition of contemporary art in Brazil, only surpassed by the São Paulo Biennial), organized since 1969 by the MAM, Museu de Arte Moderna de São Paulo. This is the first time that the Panorama leaves Brazil and is internationally presented. MARCO will be the only Spanish museum hosting this exhibition, which shows what is currently being produced in one of the most innovative contemporary art scene.

The fact that the MAM decided to engage a foreign curator shows the interest of the organizers in modernizing an event so strongly consolidated. That is why the curator considered his task in two directions: working with art and artists, but also calling into question the Panorama as an institution. He aimed to organize an exhibition and at the same time to “disarrange” its institutional framework in order to undertake a complete change. Gerardo Mosquera has somehow created an “anti-panorama”, because he consciously refuses the idea of presenting an anthology or a study of contemporary Brazilian art, in order to present an exhibition based on a concept of its own, capable of standing by itself and travelling abroad.

The concept of “disarrangement” has not been imposed by the curator, but created from what has been learned through art practice, after a research carried out in eleven Brazilian cities where the work of more than a hundred artists was assessed. The title was taken from a Cuban pianist and composer of the sixties, Felo Bergaza, who aroused great enthusiasm among the audience with his musical arrangements, so radical that he would call them “disarrangements”. “His passionate imagination as composer and performer used to outshine the original performance, even though its framework was never broken”. This is the concept on which the exhibition is based: creative disarrangements of structures, materials, formal dimensions or the content of the works of art. As Gerardo Mosquera said, “some artists create their works through the formal and conceptual recourse to “disarranging” a structure. Disarrangements can be carried out in the formal dimension of the work of art, in its content, in its projection or in all of them”.

All the artists on exhibition were selected because they played a leading role in these trends and their works intertwine in a perfect manner with the visual discourse of this exhibition. Four of the 20 artists on exhibition do not come from or live in Brazi (the Galician Jorge Barbi, the Belgian Wim Delvoye, the Chinese Kan Xuan and the Argentinian Jorge Macchi). The addition of these artists stamps the exhibition with a more thematic and open character, and is the result of an “auto-criticism” from within intended to exhibitions determined by regional or national frameworks, which, according to the curator, are now obsolete. That is why an artist whose work complies with the exhibition concept will be included in the country hosting the exhibition. On this occasion, it will be the Galician Jorge Barbi.

DESARREGLOS is presented as a thematic exhibition of international interest. This target, according to the curator, has three different aspects:

First, encouraging the dissemination of contemporary art in Brazil, which is nowadays one of the leading art scenes in the world. There are many Brazilian artists in the international scene, but very little is known of Brazil as a first-class art space with its particular character. People often get the impression that Hélio Oiticica, Ligia Clark or Cildo Meireles came out of nowhere, due to the ignorance of Brazilian cultural processes, artists and movements.

Second, taking the exhibition to countries or cities that do not belong to “international circuits” and that show an emerging energy. The know-how and the example set by Brazilian plastic arts may encourage a fruitful exchange of experiences in these places, particularly for young artists and critics.

And third, striving to create a plurality of international circuits capable of establishing their own practices and values beyond the context. This will give a meaning to terms like “international art”, “international art language” and “international art scene”, and introduce in the international circuit an exhibition that can raise interest by itself.

Prà ncipe 54
36202 Vigo
Tel: 34 986 11 39 00
Fax: 34 986 11 39 01

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