A Love Reflective by Luisa Duarte
Is difficult to perform critical from within. Mingling with the object, diluting the boundaries. For criticism presupposes distance. How to insert a “judgment” while belonging, without generating a backlash? Establish critical that seeps gently and, ultimately, shares the ethos of what disputes, ie, it is like a suspicious sister, who loves, but looks askance.
It’s a bit like what happens with the reflective love affair between Marcos Chaves and Rio de Janeiro, whose most recent formalization is on the show “Academia”. On the first floor of the gallery Nara Roesler we face a series of “sculptures”: replicas of apparatus to work out made of concrete, iron, rubber and wood, as existing outdoors on beaches, plazas, and parks. Then we climb the stairs and are surrounded by several photographs that have in common the presence of the Sugarloaf.
For a hasty glance it may seem that we are faced with two different shows, but it is not the case. One complements the other organically regarding deviant critical thinking about Rio. Of course the stone age Chaves’ academia mocks the “academy” as a place of knowledge, of reason, of thinking.
In 1959 Neoconcretism said yes to life in response to an empire of Cartesian reasoning of The Concretism, we now see the icons of the cult of the body dehydrated so that we can better understand this city-fetish. The artist mira against alienating regime that makes praise inhibitor of healthy and beautiful body, and brings to the foreground the know-how rudimentary, low-tech, characteristic of Rio and its ability to live in adversity. Ie, there is a built knowledge beyond the school walls, outdoor, made from breeze and salty air. The city here is skewered and caressed simultaneously.
The appliances in the world fulfill the function of helping the project for a more taut and beautiful body are stationary and without any human presence. Gravity seems to act stronger. A mirror doubles the sculptures / equipment and ourselves. We are the “athletes” in reflective practice amid an art gallery in Ipanema.
In the series “Sugar Loafer” another cliche River, Sugarloaf Mountain, is subverted. Loafer is a translation of the French flâneur. Keys is that someone walking at a slower pace, watching the facades and landscapes, against the rush, and thus can capture and transmute the same our eyes, dulled by habit, no longer see. Boredom becomes surprise, the adult earns a docile acidity. These pictures make us see what is the symbol of a sharp imagery repetition as if for the first time. Returns our city lost somehow.
The two hills in the background with double shower in front gushing water brings a humorous and erotic charge but a banal scene emblematic of this knowledge do Rio bastard middle clever way; precarious means, naive middle. The Rio where he was born and died Goeldi, perhaps the greatest artist Brazil in its expressive translation of melancholy, is the object of “Academy” shows that says not to nondescript knowledge of schools, peeled theories of experience, but for the know that merges with flesh and life, seen between the lines of everyday life, which is built in response to the daily necessity. All this has to helm a distance that allows you to see the narcissistic trap that Rio implies. And the back foot as the mental record that represses the body and eroticism.
The “Academy” Mark Chaves evokes the irony a tenuous balance without prescription or bulla, between body and reason, gesture and thought. The Olympic City of 2016 is incensed and questioned at once. In this gesture, if valendo- of the simplest materials, Marcos Chaves returns in an unsuspected awareness about where we are and sets up the question: where do we go?