 |
|
|
| |
The Iberê Camargo Foundation Print Studio
One of the priorities of the Iberê Camargo Foundation is to keep Iberê Camargo's print studio functioning. Workshops run by artist printmakers started in1999. Anna Letycia, Cláudio Mubarac, Evandro Carlos Jardim and Carlos Martins involved the public for these workshops in the process of intaglio printing and stimulated reflection and exploration into the medium of printmaking. From 2000 the studio started to function differently by creating the "Invited artist" project, which began properly to encourage print work. The guest could make free use of the studio's resources and would receive tools and technical support for experimenting with the language of printmaking for as long as they wished. At the same time, the task of training artists and creating a public sensitive to art was more broadly defined and transferred to other sectors of the Foundation.
Since then, the project has sought to offer distinctive contact with the issue of printmaking, not only for those whose work has a strong printmaking element, but also for artists with no previous knowledge of the area. Printmakers or not, professionals are now invited to produce works from metal plates; the plates remain in the studio for further editions, part of this belonging to the artists and the rest intended for creating a public collection. Amilcar de Castro, Annabella Geiger, Carlos Zílio, Carmela Gross, Mauro Fuke, Karin Lambrecht, Cabelo, Miguel Rio Branco, Nelson Felix, Siron Franco, Carlos Pasquetti, Carlos Vergara, Daniel Senise, Marco Maggi and Leon Ferrari - in addition to the artists mentioned previously - have generously welcomed the Foundation's proposal and taken part in the project. The filmmaker and fine artist Mário Carneiro, who maintained a fertile correspondence with Iberê from 1953 to 1969 about learning printmaking, will soon be working in the studio.
The "Invited artist" project is still an initiative in the process of development, and the Foundation is aware of the need for improving, expanding and consolidating its links with contemporary artistic production. Together with this small but significant five-year experience accumulated by the studio, the show assembles a referential core of prints by Iberê Camargo. Although reduced, this group indicates crucial passages in the artist's career: from the two-dimensional rigour of codified figuration to the spools of the end of the 1950s, to the informalism of the 1960s and 70s and on to the furious realism of his female figures from the early 1990s.
Sônia Salztein
Member of the Iberê Camargo Foundation Curatorial Board
Eduardo Haesbaert
Print Studio Coordinator
* Text written for the Artistas Contemporâneos no Ateliê de Iberê exhibition at the Centro Universitário Maria Antonia, São Paulo, in 2004.
| |
| |
|
|
