Free as Air and Water

freeasair“Allora and Calzadilla”
Under Discussion, 2005; Single Channel Video with Sound, 6:14
Copyright Allora and Calzadilla
Courtesy Gladstone Gallery

Wednesday, September 16 to Saturday, October 27, 2009
Opening reception Wednesday, September, 16, 7-9 pm

Allora and Calzadilla, Amy Balkin, Robert Bordo, The Bruce High Quality Foundation, Ross Cisneros, Amy Franceschini and Free Soil, Andrea Geyer, Hans Haacke, Paul Ramirez Jonas, Runo Lagomarsino, Andrea Polli, Marjetica Potrč, Simon Starling, Temporary Services, Oscar Tuazon, Lidwien Van de Ven

Curated by Saskia Bos and Steven Lam

Opening Reception: Wednesday, September 16, 2009, 7-9pm
Exhibition on view: September 16-October 27, 2009
Gallery Hours: Tuesday-Saturday, 11-6pm

41 Cooper Gallery
The Cooper Union School of Art, 41 Cooper Square (3rd Ave. b/w 6th and 7th Sts.)
Lower Level 1,
NYC, NY 10003

The Cooper Union School of Art’s exhibition Free as Air and Water opens Wednesday, September 16, 2009 and will run to Saturday, October 27, 2009. In connection with the exhibition there will be a series of conferences, the first before the opening reception, 9/16, from 5 to 7 pm in The Great Hall and the second on 10/12 from 7 to 9 pm in the Frederick P. Rose Auditorium.

The exhibition takes Peter Cooper’s quote that “Education should be Free as Air and Water” as a starting point. The exhibition addresses the spirit of this statement by recognizing the difference between then (1859) and now (2009). Today, air, water, land, an all are all subordinated to the logic of privatization impacting the environment in challenging ways. As the past few decades have witnessed how global power has systematically distributed the world’s resources in unfair ways, concerns such as human rights become increasingly tied to issues involving land, space, and environmental justice.

Free as Air and Water poses these questions for our contemporary moment linking a broad set of issues such as public access to resources, political ecology, and governmentality within a group exhibition that features a diverse array of artistic operations and tactics. Featuring projects that are rigorous and poetic in its conceptual processes, the exhibition provides a needed density when one discusses the role of art in relation to ecology.

Free as Air and Water inaugurates the 41 Cooper Gallery’s exhibition program to the public and is scheduled to open along with the New Academic Building in September 2009, which commemorates Cooper Union’s 150th anniversary. The building designed by Thom Mayne and the architectural firm, Morphosis, inaugurates the first green academic laboratory building in NYC.

For more information, please visit the cooper union web-site

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“Cinema & Environment” Cycle

Cinema & Ambiente

September 2009 > July 2010

In collaboration with the Cinemateca Portuguesa, the Gulbenkian Environment Program is going to present in 15th of September, Tuesday, 21h30, in the Cinemateca, the first session of the Cinema & Environment cycle, with the film Escapes, of Todd Haynes. The objective of this cycle of Cinema is to motivate an argument widened with the public about the environmental thematic, counting for that with the contribution of public personalities of diverse areas, invited for comment the film.

It carried out in 1995, Escapes to count the history of Carol White, that develops an inexplicable environmental illness, creating allergies to all the kind of chemists of the daily life. It ends up him to be diagnosed to “illness of the 20th century”. After projection, Teresa Gouveia is going to throw the debate about this film, that questions the artificial environment in that we live.

To second session of the cycle, commented by Inês Pedrosa, carries out-itself to 13th of October with the German film Die Wolke (“The Cloud”), of Gregor Schnitzler, 2006, in that two youths live a loving relation in the context of a nuclear accident nearby Frankfurt that throws the panic in the country.

The sessions of the Cinema & Environment cycle are all of free entrance and carry out itself monthly in the Cinemateca Portuguesa.

See the program HERE

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Participate or DIE

participate or die

NEW LIFE COPENHAGEN is a contemporary art festival. The festival takes the form of a social experiment and is part of the official program for the United Nations Climate Change Conference 2009.

All that you have to know about this festival!

Submit your work HERE

NEW LIFE COPENHAGEN is organizing the people of Copenhagen to open their homes to 5.000 environmental activists during the United Nations (UN) Climate Change Conference in Denmark this December.

Utilizing this large-scale human meeting as its exhibition platform, the NEW LIFE COPENHAGEN festival invites artists and curators to submit work proposals.

New Life Happenings. Propose a happening or event for the thousands of NEW LIFE COPENHAGEN hosts and guests during the UN Conference. Your concept should involve collective action and will be implemented alongside works by artist groups Superflex (DK), Signa (DK/A) and Raketa (SE) among others.

To learn more about NEW LIFE COPENHAGEN and to apply for participation, go to:


From December 7th to 18th, 2009, representatives from 192 nations will gather in Denmark for the UN Climate Change Conference to reach an agreement on a new global climate treaty to replace the Kyoto Protocol. In addition to the large number of official UN delegates, thousands of activists and Non-Governmental Organizations are bound for the conference which has been called: “Humanity’s last chance to combat a climate problem that is now all but overwhelming.” (Tim Flannery, Scientist and environmental activist)

However, there will not be enough hotel space to accommodate most of these visitors, as all hotels in Copenhagen and the surrounding area (including Sweden) have already been booked for the official delegates. Furthermore, even if they were available, many visitors from all over the world would not be able to afford them anyway.

In order to help solve this substantial problem, NEW LIFE COPENHAGEN is running a volunteer-based campaign to get private Danish homes to open their door to the thousands of visitors. Through street campaigns and collaborations with local organizations, NEW LIFE COPENHAGEN aims to reach this goal by November.


At the end of Al Gore’s film “An Inconvenient Truth”, Gore lists ten simple life rules to combat global warming. These include using less hot water, recycling more, etc. While supports this sustainable thinking, we also believe that the real problem will not be solved by asking individuals to modify their behaviour but only through addressing the wrongs of a global economic system that thrives on exploiting natural resources and people.

Seen in this way, the climate crisis is not just a threat but also an opportunity: The opportunity to create transnational commitment around radical re-thinkings of a destructive system. The first step to create such change, is to develop alternatives to the current system and our existing cultural codes.

That is our mission with NEW LIFE COPENHAGEN.

By asking artists to develop happenings and reflections for a new life – and then request that thousands of participants implement them – aims beyond the traditional art exhibition to become an active organizer of experiments in civic engagement and social empowerment.

NEW LIFE COPENHAGEN is organized by the artists-run community

Founded in 2002, is today used by more than 13.000 artists from over 140 countries. projects have been presented in such places as: Artists Space (USA), White Box (USA), Basel Kunsthalle (Switzerland) and the Third Guangzhou Triennial (China).

For further questions about NEW LIFE COPENHAGEN or, please contact Martin Rosengaard;
email: / phone: +45 6171 6101,,
Pastursvej 46,

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30 September > 11 October

“COMíCIO-INSTALAÇÃO”, in english, “COMISSION-INSTALLATION”, is an installation event that occupies all the three floors upstairs to Estúdio PerFormas in the marvellous city of Aveiro in Portugal, in a spot with a wonderful view to the water canals, reminding Venice.

“COMISSION-INSTALLATION”, reuse the political propaganda posters surrounding the urban area these days. The aim is to empty rhetoric of these posters media, both graphic and text, printing an urgency and immediacy of reflection on the political process that is eminently. This is a community project that have his own irony. The event cover all ages and invite them to write what’s on their mind.

Artistic and technical
collective design and implement | technical support and light by Joana Oliveira |
executive production and graphics by Pedro Fonseca

Free entrance

For all ages

Estúdio PerFormas |
Teatro Avenida |
Largo do Mercado, 1 |
3800 – 223 Aveiro

234 192 331 |

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Remade in Portugal

jardim de Eden - Joana Vasconceloshigh resolution

photo by Rita Burmester

Joana Vasconcelos
jardim de Eden
dimensões variáveis

Remade in Portugal

for this weekend in Lisbon – ends 13 September
Museu da Elecrticidade

press | PT

Remade in Portugal, is a production of the Portuguese Agency for the Environment in collaboration with the Cremascoli, Okumura e Rodrigues arquitectos, lda.. This exhibition transports you to the museum of electricity where are mentality inventive use of materials used to make parts of eco-design and construction work art, contemporary practices ill-suited to raise public realizing that small gestures of everyday life can have a major influence in building a better future. These practices are divided into 2 fields: pre-consumer and post-consumption. For pre-consumer means the recycling of waste from industrial production that is normally assumed by the industry itself, for post-consumption means the recycling of packaging waste and domestic waste.

The title was influenced by the original project Remade in Italy. This project was created in 2004 by the architect Marco Capellini in collaboration with the Italian organization “Regione Lombardia” and among others, the Ministry of Environment and the various consortia to recycling. The success of the initiative led to the internationalization and, currently, the concept “Remade” is already implemented in several countries in Europe and Latin America.

Allied to this project is the philosophy of the need to change habits for the prevention and slowing down the growing danger of climate change caused by humans. The sensitivity to this issue has to be worked and why not bring the idea to the public by presenting the problem and the solution of the same? 2050 will be the year when humanity will have already fulfilled their Millennium promises, reduction of carbon dioxide, the end of the trap of extreme poverty, to bet in new sustainable technologies, and changing attitudes. All this for the sake of future generations. So cooperation in all modes of expression and communication should serve the purpose of preventing student. The task is difficult but not impossible!

Practical information

> Timetables
10h – 18h | Tuesday to Sunday (closed on Mondays)

> Address

Av. de Brasília, Central Tejo
1300-598 Lisboa

Tel. 21 002 81 90
Fax. 21 002 81 04 / 39


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Nietzsche, Post-Anarchism and the senses Vol.III

Anarchism brings freedom from phallocentrism or exoticism. The left, without anarchism, is all about control. Anarchism immerses the left into internal organs. Anarchism writes in the feminine, and does it in Cixous’ way. Anarchism reflects the memory of the body.

* What happened between Los Angeles 1992 and Seattle 1999? Los Angeles 1992, an ‘anarchistic’ uprising including many people of color [4] ends with Seattle 99 where you don’t see many black people. How? Why? Does violence play a role here? The non-violence of anti-globalization movements is not directly connected with Gandhi or Tolstoy. This is something else. Gandhi can be compared with Fanon. Both thought about ways for people who had suffered from violence and who continue to – Fanon suggests an empowering, emancipating, liberating counter-violence, while Gandhi suggests an empowering, emancipating, liberating non-violence. But what about today? What about today’s non-violence doctrine in Western anti-globalization movements? And what about today’s counter-violence doctrine (black-block?) in Western anti-globalization movements?

* If we go back to the pre-1994 period of EZLN, we can remember that Marcos didn’t go to Chiapas for a post-revolution, he went there to organize a modernist-type revolution. Before 1994, EZLN happened through a process of mutuality in Chiapas. Not ended with an utopian heaven, but had a heavenly effect for the Left world. If we can lay aside political correctness for a moment, we can dare say that, although the Mexican government also had a paramilitary branch which killed and wounded many, there were very few countries that would let a Marcos be as he liked with his EZLN in 1994 and afterwards. For example it wouldn’t be possible in the USA, Peru, Russia, China, Turkey or UK. It wouldn’t happen in a ‘real democracy’ (which can’t endure strong oppositions as we recently witnessed when Western governments showed their brutal side to anti-globalisation protestors early in the 2000s in Gothenburg and in Italy) or in a ‘totalitarian country.’ Mexico was an exceptional zone. And from the beginning, in order not to let this exceptional state become isolated and eventual fade away, EZLN/Marcos described it not as a form and not as an ideology, but as an understanding, as an approach to politics. Isn’t this the core principle of ‘new anarchism’ today as well?

* I was in a European capital city with a group of anarchists when the Madrid bombings occurred. My friends were overtly terrified, taking this as a potential attack on themselves. In Turkey, nobody in the anarchist circles would feel anything similar to that. (And it is not because ordinary people in Turkey were less likely to be a victim of an El Kaide bombing. This was proved soon enough when the El Kaide bombed Istanbul heavily, attacking the British bank HSBC Headquarters and the British embassy, killing many Turkish citizens walking on the road, Never before had something like that happened in that European capital city and will probably never happen again.) And when Zinedine Zidane headbutted Materazzi in the World Cup Final in 2006, why did many anarchists and socialists in Turkey tend to see this act as an ‘anti-colonial art work’, while for many anarchists and socialists in Western Europe it was another expression of ‘Islamic male honour’? What is behind this cultural connectedness that exists even when we are talking about radicals? There are many similar situations I can recall from today’s anarchist circles in different parts of the cultural division – but why wasn’t it like that in the times of Malatesta?

< go back to Vol. II / go to next volume >


4. see the striking text of The Chicago Surrealist Group: “Three Days That Shook the New World Order: The Los Angeles Rebellion of 1992,” Race Traitor No. 2 (Winter 1993), 1-17.),

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Nietzsche, Post-Anarchism and the senses Vol.II

When politicians see the anarchist embracing everything as political, struggling against every tiny possibility of domination, they regard this as an absence of something. Either a lack of passion for economics or a lack of passion for politics. What they don’t get is that everything is political with the anarchist and deserves the same passion. As the poet Ilhan Berk said in an interview “everything is political, even water flows politically.

Even water flows politically – thus, anarchist politics is a politics of life, of culture, anarchism is a raven knocking on the window to invite you. A libertarian party has begun!

Anarchists are de facto pan-anarchists. Anarchist politics lies in the multiplicity of non-politics.

The core is not fixed.

*Many accuse Newman or Day of ‘abusing’ anarchist tradition, as it is quite easy to recognize that their relation with the anarchist history is not sufficient on many levels – but on the other hand, what they are trying to do, especially Newman, is to bring anarchism into today’s political and theoretical agenda as something more powerful. This shouldn’t be underestimated. And I think they are trying the correct door for this – maybe they haven’t found the correct keys yet (maybe, it is time to make the keys collectively today).

*Can it be true that some anarchist principles became generally accepted principles in some Western cultural environments? While discussing the post-Seattle anti-globalization movements, I always tried to ask: where did these protestors who want to organize in an anarchistic way come from? Are they products of anarchistic propaganda? Not likely. My assumption is Western societies (and also many world cities in different parts of the world) are today able to produce ‘anarchistic subjects’, subjects who would only be interested in politics if it is done according to ‘anarchist principles’ or a ‘logic of affinity’. This is because when these people wanted to get politicized there was no other way for them outside the anarchistic way – they wouldn’t accept being part of a Marxist party machine, wouldn’t accept orders, wouldn’t accept being represented by some revolutionary, and yet they still want to engage in something political – what is left for a person like that? Only anarchism or an unlabeled mode of organization which has anarchistic principles and which uses the logic of affinity. Another option is to get in touch with a Marxist faction which has openly declared that they will follow anarchistic principles (Holloway, Negri, etc.) that won’t frustrate ‘anarchistic subjects’ in the West. There may be something very fundamental for post-anarchism here. The question of “how did the postanarchist subjects appear” also goes back to May 68.

< go back to Vol.I
/ go to next volume >

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The arts were not affected by the crisis?!

in Agência Lusa

In the first half of 2009

The influx of the public has increased in the shows of Portuguese in the first half of this year, reveal sources contacted by the Lusa agency, although there is an entity that assess and collect such data. The movie theaters, the theaters and exhibitions have maintained or even increased the number of viewers, with one exception: Castelo São Jorge, with fewer visitors due to the drop in tourism. There is also the case with Teatro Maria Matos, who lowered the price of admission, adapting to “the times”.

The EGEAC (Empresa municipal de Gestão e Animação Cultural) that different cultural guardianship does not mention loss of public, while detecting a “slight decrease” from visitors in the Castelo de S. Jorge justifying with “a reduction of 13 percent in tourism in Lisbon.” However, the Fado Festival, held in the castle, had “almost always” exhausted manning, particularly in concert to Mariza and Deolinda, said source of HM Música, promoter of the event.

The Teatro Municipal Maria Matos, protected by EGEAC, noted “a marked increase in public and submitted always filled rooms,” said the source of the theater Lusa. The Maria Matos “adapted to the times and reduced the price of tickets, which rose from 20 euros to 10 euros on average. Nobody pays more than 12 euros, and have discounts for youths, students and seniors,” said the same source.

Noo the first half of this year, the Teatro Nacional D. Maria II was “always filled rooms”, not noticing any drop in public, told the Lusa source in the room of the Rossio.

For the Teatro Municipal São Luiz, no comparative figures, “in that during the first half was closed for repairs” and dispersed the planning for several areas of the capital.

Source of the Calouste Gulbenkian Foundation ensures that “there is certainly more public” and “subscriptions doubled for the next season (2009/10) in a few cycles.”

The Metropolitan Orchestra of Lisbon, under its artistic director, has increased the public, following the rise has occurred in the last season (2007-08). “The New Year’s concert at Centro Cultural de Belem (CCB), exhausted what was a good harbinger of the season in which he exhausted the concerts with Camané, Tito Paris or in the Basilica of Mafra, besides the flood that was the Metropolitan Day (June 4), “said the source institution.” The Fifth perfect, when the Metropolitan opens its doors to the public, have always been overcrowded, “added the source.

The BAC registered a rise of 3.7 per, cent according to figures from the Foundation. The occupancy rate in the first half of 2008 was 60.05%, while this year has reached 63.75%.

In the last season of the Teatro Nacional de S. Carlos almost doubled the number of spectators, according to the Opart (Artistic Office Management) to protect the lyric stage, from 47,036 in the season of 2007/08, to 72,736 in the 2008/09.

The Company National Ballet (CNB) has also increased the influx of public from 26,040 in 2007/08 to 33,161 spectators in the last season (2008/09), said Pedro Moreira, Opart the president (who also protecting the CNB), when the presentation of next season.

Moreover, the Portuguese were more to the movies in the first half of this year, with room to host more than 89,831 spectators in the same period of 2008. According to the Institute of Cinema and Audiovisual for the first six months of 2009 rose by cinema-goers 7,248,556 spectators, more than 89,831 in the same period in 2008 (7.158.725 viewers).

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Seeking Time, in Space (Scene two)

The Bust of Imam Mohammad Abdu 1

On my first day at the Imam Muhammad Abdu Coeducational Elementary School, I saw the bust of Imam Mohammad Abdu at the entrance to the school courtyard, on the wide and winding steps that led to the headmaster’s office. The Imam was wearing a turban, and his face was friendly and smiling—it was hard for me to believe that such a warm face belonged to someone involved in my education. In those days, I thought that he was the school’s owner. I used to examine the face of every person who entered the school in the hope of seeing him, yet he never came to us, and his face continued to inspect me on my arrival to school every day for the next six years, without my knowing the slightest thing about him.

I spent the sweetest days of my life at that school. Even the small troubles of that time would later become a wellspring of beautiful memories. At that school I became the owner of a small sack for my books, and then later of a proper schoolbag; I also had a few pencils, and later a fountain pen, as well as several textbooks and notebooks, each of which had a sticker with my name on it. I always wore the school uniform with the official necktie and badge, and later I became a reader for the school’s morning bulletin and a drummer for the school’s “morning march”—we pupils always headed to the classrooms in an orderly, soldier-like march, in step with the beating of the drums. I later also became the class alfa — or “leader” — , a term which denotes the pupil at the head of the class. Whoever is chosen by the teacher to be the “leader” acts as the teacher’s substitute and is in charge of the other pupils whenever she is absent or late or has to leave the class. Yet my fondest memories are not of the hard work for which we often garnered excessive praise, nor of my many small possessions, but rather of my fortuitously learning how to tell stories in the school’s large courtyard. Our teacher had a son who was about four years old, a stubborn, troublesome and ill-tempered child who would never settle down. She always had to bring him to school with her, and she would have me look after him and stroll through the courtyard with him so that she could focus on her teaching—I would do this whenever I had a free period or if one of the teachers was absent, and also whenever I had sports class or gardening class. (In gardening class, all we ever did was gather leaves from the courtyard. We never so much as learned the difference between meloukhia2 and clover, or between a rose and an onion.) This unruly child always wore me out as I walked around with him. He would pelt the classroom windows and the other children with pebbles and stones, and had a habit of climbing onto anything he could find. The time passed very slowly at first, and I had no idea how I—being myself such a young child at the time—could possibly be rid of this annoying burden.

I resorted to a bit of trickery one day, and it proved effective: I began making up stories to tell him. For example, I told him about how a lizard once scurried up this palm tree in front of him. A goat saw this and wanted to climb up the palm as well—and it did so. Yet the goat was too scared to climb back down, whereupon a pigeon flew to it and said that it would lend the goat its wings on the condition that the goat give it some of its fur in order to make a warm nest for its chicks, and so on and so forth. In time, the child began to grow fond of me and give in to the sway of the stories, and whenever he saw me he would let go of his mother’s hand and ask me to finish the previous day’s tale. I would vary it a bit, and turn the lizard into a gecko and the goat into a sheep and the pigeon into a dove. I thus learned how to produce convincing stories by being both artful and imaginative.
If it chanced that I was called upon to take care of the boy during Arabic class, then this was always much more preferable to me than staying in class in order to explain the lesson to the other pupils or to help them with their exercises. This was in spite of the fact that I initially felt great pride at being asked by the teacher—that teacher whom all the pupils were afraid of—to help my classmates. Yet this noble task quickly lost its nobility, and the pride I felt disappeared with it: In dismay, I watched the other pupils running around and playing, eating and shouting at each other and having fun while I was stuck at the front of the class trying hopelessly to teach them the lesson.
All the same, this onerous chore of teaching was still better than shelling peas or picking meloukhia for the teachers to cook at home.


1 Imam Muhammad Abdu was a pioneering innovator of the intellectual revival movement in Egypt and the Arab East in the 19th century enlightenment. He was also one of the Islamic enlightened intellectuals who rejected conventionalism, believed in openness to other cultures and the innovation of thoughts and social, political and religious reform.” [] [translator’s note]

2 This is the Arabic word for the corchorus plant (also known as Jew’s Mallow), as well as for a traditional Egyptian stew made from its dark green leaves. [translator’s note]

< previous scene / next scene >

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Malevitch: Utopia is not a Left-wing concept.

english | soon

Pedro N. Marques
in Infinito ao Espelho
19 – 07 – 2009

Por entre tamanha obsessão por utopias, ou mais precisamente pelo falhanço das mais variadas propostas utópicas, maioritariamente modernistas – como se a utopia se circunscrevesse a tal e não a toda a modernidade – talvez devesse-mos focar-nos mais na realidade crua da desilusão ou do retorno à ordem (uma e outra realidade não são o mesmo) do que propriamente na proposta utópica.

No Città di Como, onde não há muito que fazer caso não se avance a Norte onde os Alpes se dramatizam mais e a comparação é feita ao lago de Garda, deparei-me inesperadamente com a ausência de pinacotecas mas em contrapartida com uma tocante exposição dedicada à vanguarda russa de princípios do séc. XX, nomeadamente Chagall, Kandinsky e Malevitch.

Fechando a exposição encontravam-se cerca de vinte pinturas de Malevitch. Expostas em painéis de demasiada presença – relembrando-me estar em Itália – no interior de um salão oitocentista que em tempo albergou Garibaldi – relembrando-me estar em Itália – a escolha das pinturas estendia-se de princípios da década de 10 à ascensão de Estaline na transição da década de 20 para 30. Entre estas encontravam-se pinturas suprematistas justapostas com o figurativismo abstracto que Malevitch inicia após a revolução – ceifeiras e camponeses – e, fechando a exposição, o retorno ao realismo das pinturas tardias, como por exemplo o auto-retrato de 1933. Ver o percurso de Malevitch concentrado numa única sala a meia luz foi uma experiência tocante, devo confessar. Há muito que esperava ver pinturas abstracto-figurativas como “Mulheres no Campo” e “Cabeça de um Camponês” (ambas de 1928-30). A verdade é que reprodução alguma lhes faz justiça.

Mulheres+no+Campo+1928-30 mulheres no campo

Mas não foi somente a pintura em si mesma (as cores; a pincelada; as formas) que me marcou e me demorou na sala, mas a densidade do conjunto e a transparência melancólica da passagem da revolução suprematista à representação do movimento comunista presente no figurativismo abstracto. Ou seja, a adesão de Malevitch à necessidade de um conservadorismo, devolvido à representação do mundo e da vida, para a compreensão da revolução.

É precisamente o reconhecimento do paradoxo encontrado neste ponto de viragem que não cessa de me pesar: a necessidade do conservadorismo na representação ou de um regresso ao figurativo e ao reconhecível – nas formas e na leitura, em suma, na passagem do conhecimento e das propostas – para a ocorrência da revolução.

É certo que a mudança que se dá na pintura de Malevitch durante a década de 10 se encontra imbuída das condicionantes políticas; que o suprematismo e a concretude dos quadros negros/ vermelhos, não podia prosseguir em simultâneo com a revolução; que Malevitch teve, para prosseguir enquanto pintor e sob perigo de exclusão, de aderir ao movimento. Mas é precisamente a transformação na sua obra o que revela e torna tocante (humana, demasiado humana) a relação entre a Arte e a Política. Malevitch acompanha radicalmente a revolução, a queda de Lenine e a ascensão de Estaline e o consequente fim da terceira internacional. É aqui que a melancolia se abate sobre as pinturas de Malevitch; que a Cabeça do Camponês ganha introspecção, e a religiosidade, tão presente na tela, transborda.


cabeça de um camponês

Escondidas a um canto e dirigindo-se para a porta de saída encontravam-se duas pinturas realistas de Malevitch datadas de 1933 – retratos sobre fundo negro. A um outro ponto da sala, fechando a exposição, também uma pintura inicial – “Banhistas” de 1908 – reconhecendo subtilmente a circularidade do percurso de Malevitch. Transposta de 1908 a 1933 (Malevitch morre em 35) as banhistas, colocadas naquele ponto da narrativa expositiva, não me puderam senão funcionar como a devolução da revolução modernista iniciada por Cézanne nas banhistas de 1906, contrastada agora pelo recuo ou desvanecer das figuras, na desilusão do necessário falhanço da vanguarda para o sucesso da ascensão de um ideal.


Retomando, talvez nos faça falta, perante tanto entusiasmo por utopias e o seus falhanços, perante o reactivar de planos não realizados ou pelo seu imprevisto cessar prévio, entender a constante iminência do retorno à ordem, quer queiramos quer não, compreensível histórica e contextualmente. A utopia não é um conceito de Esquerda – nem de Direita – e a sua relação com o Presente, que se quer capaz de utopia, não é sinónimo de vanguarda ou progressismo.

Que propósito há em retomar utopias passadas; repescar visões? Podemos revê-las, deve-mos revê-las, mas na consideração da necessidade de utopias há que reconhecer em simultâneo o enraizar destas no Presente. Mais que reactivar utopias perdidas, parece-me fundamental compreender as lógicas de relação entre estas e o real, e que a utopia não é linearmente sinónimo de revolução.

Nota: Malevitch pode ser entendido como um dos percursores fundamentais do Conceptualismo avançado antes demais por Duchamp, e da inclusão quer da performatividade quer da linguagem na concepção e transmissão da Arte que baseia por inteiro a Arte Contemporânea. O nomear atributivo de Duchamp deve ser comparado com o discurso que Malevitch fez frente à pintura “Quadrado Preto” aquando da sua primeira apresentação pública em 1915, proclamando através da presença viva do seu corpo e voz aquela não ser uma representação mas a concretude do plano da pintura.

malevitch morto

malevitch morto

Malevitch morto em 1935; envolto em pinturas, o quadrado
preto é colocado precisamente no alinhamento da sua cabeça.

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