Itinerant Artists: this is the idea that permeates the Communal Space presented at the Museum of Art of Ribeirão Preto (MARP) in May/June 2003. This implies that the six artists, residents of São Paulo, Fulvia Molina, Hugo Fortes, João Carlos de Souza, Lynn Carone, Mauro de Souza and Stela Barbieri understand art as a two-way street. They are not interested in presenting, in many cities, work that is already finished, and that carries no relationship with the space they are displayed in. In contrast with the concept of “Itinerant Presentations”, what attracts them is the challenge imposed to their respective visual poetics by the conception of the museum as a place: a live space, impregnated with history, culture, affection, and inserted in a singular manner in the dynamics of a city.
As observed by art critic Alberto Tassinari, contrary to traditional naturalist art and tailing the experimentation introduced by modern art, “contemporary art does not spatially transcend the world and the (spectator’s) communal space, but it is rather born from them and returns to everyday life adding new meanings to it”. Em uma sociedade massificada como a nossa, na qual a arte necessariamente convive e conversa com os produtos da indústria da cultura, o ato de resignificação do espaço da vida torna-se um dos desígnios mais pujantes do artista, indício de sua instigante situação contemporânea de relativa autonomia.
To experience the architectonic space in its contradictions, to live it as individual and collective memory, to conceive of its social role, as a foundation for the web of interactions of the city, to expose it as an organic form, also subject to action of time, are some of the questions pinpointed by this group of artists after a period of living with MARP.[…]
Lynn Carone, like Fulvia, brings the exterior to the interior in her work On Epidermis and Tears Under her affectionate view, fragments of peeled walls from the facade of the museum become pieces of aged skin of an organic body which is also delicate and susceptible, subject to time and to historical destruction.[…]
It is worth mentioning that, because they assume an experimental connection with the world, the works hereby presented invite the spectator to not just an “artwork presentation”, but, especially, to an experience of the place through the presentations.
1. Tassinari, Alberto. O Espaço Moderno. São Paulo, Cosac & Naify, 2001. P. 88.