Gravura Brasileira

Druckgrafiken
brasilianischer Künstler

kuratiert durch Eduardo Besen (www.gravurabrasileira.com)
und Maria Pinto | Maura de Andrade


Vernissage am Donnerstag,
14. März 2013 um 19.30 Uhr


EXPRESSÃO TROPICAL
25. Januar –
2. März 2013
Mo – Fr 14 – 18 Uhr
Samstag 11 – 14 Uhr
und nach Vereinbarung


Ecke Galerie
Wolfgang Reichert
Anette Urban
Elias-Holl-Platz 6
86150 Augsburg
T 0821.152049
info@eckegalerie.de
www.eckegalerie.de
Gefördert durch die
Künstlervereinigung Augsburg „Die Ecke“

Expressão Tropical
06 artistas brasileiros

14 de março a 27 de abril de 2013

exposição coletiva na Ecke Galerie de Augsburg, Alemanha

artistas:
Claudio Caropreso
Eduardo Ver
Francisco Maringelli
Luise Weiss
Márcio Pannunzio
Ulysses Bôscolo

curadoria Eduardo Besen

Ecke Galerie Augsburg
Elias-Holl-Platz 6
D-86150, Augsburg
www.eckegalerie.de

Tropical Expression

“Tropical Expression” will present a panorama of contemporary Brazil through artists that share a German expressionist influence. This exhibition is part of the exchange between Brazilian Gallery “Gravura Brasileira” from São Paulo and German Gallery Ecke Galerie from Augsburg. German artists  Burga Endhart, Brigitte Heintze, Georg Kleber, Brigitte Kronschnabl, Monika Schultes e Stefan Wehmeier showed their work at “Gravura Brasileira” in October 2012.

The idea of the exhibition “6 Brazilian Artists” at Ecke Galerie in Augsburg, Germany is to draw a line between Brazil’s contemporary printmaking, its origins and the German expressionism movement. Printmaking as an art is quite new in Brazil. Carlos Oswald, an Italian immigrant, founded the first etching course back in 1913.
Lívio Abramo (1903-1992), Oswaldo Goeldi (1896-1961) and Lasar Segall (1891-1957) were the main artists of our incipient printmaking. They all received an influence from the German expressionism, Segall while living in Germany was an active participant. They also helped to extend its limits for incorporating their artistic principles and life experience within the context of Brazilian reality.
Three important exhibitions helped to promote the expressionist production in Brazil: in 1929, “German Decorative Arts”, in 1930, “German Exhibition of Books and Graphic Arts” and in 1933 “Kathe Kolwitz”.
The expressionist way of social denounce was well received in a country with so many social injustice. Furthermore, students learned about printmaking in private studios, not in academic schools, perpetuating the idea of expressionism from teacher to student (this is valid till today).

Artists taking part in this exhibition unite the expressionist character with their own point of view reflecting their technical knowledge and their artistic choices.

Luise Weiss (Sao Paulo, 1953) is inspired by old family pictures. She creates “used” images where woodcut is used as a metaphor for memory and her search for roots and answers.
Francisco Maringelli (Sao Paulo, 1959). The artist self-portrait emerging among his personal studio objects. An image that scares and fascinates the viewer.
Claudio Caropreso (Sao José dos Campos, 1975) unites publicity images, popular Cordel printmaking (North –east Brazilian popular woodcut) and his personal view of art history to create ironic and funny narratives.
Márcio Pannunzio (Casa Branca, 1958) Comic-like characters fighting to stay alive in a world full of horrors, but also full of humor people Pannunzio´s topo woodcuts.
Ulysses Bôscolo (Sao Paulo, 1978). The pleasure of drawing and the expressivity of the dry point technique in an array of portraits inspired by literature, family and friends.
Eduardo Ver (Sao Paulo, 1984) unites Umbanda images (African religion brought to Brazil by African people during slavery in the 16 to 19th centuries) and Cordel images (North –east Brazilian popular woodcut) in a contemporary view of love and human relations in a complex urban world.


February, 15th, 2013
Eduardo Besen
curator
 

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