WEARING BODIES

A

 

Wearing Bodies,

 

Performance by Suely Farhi and Aimberê Cesar

Photograph by Mauricio Ruiz

Downtown of the city of Cinelândia, 1997

 

Not only of the neo-concretism lives the man. Homage to Lygia Pape

 

B

 

They are two human billboards self advertisement. They show us pieces of their self bodies in the labor market.

 

 

 

Head Hand Foot Sex Eye Finger Hair Nose Mouth Cu Hair Fingernail Tooth Veins Semen

modeled body,

protected body,

encapsulated body,

treated body,

portrayed body,

contracted body,

abstract body

 

C.

 

Two bodies dressed pieces of the word BODY in space. BO and DY

 

The single BODY, in reading, is the BODY of several senses. With each position the BODY is another BODY

 

 

 

D

 

BODY LINESS inside

BODY LINESS OUT

BODY LINESS memory

 

BO DY word, is rewritten, here, in this text, which is in all printed magazines of this issue. And in every possible network.

How many bodies does the body incorporate?

 

text;

Aimberê César

Maurício Ruiz

Suely Farhi

 

 

Text about art performance made in exhibition at FUNARTE/RJ, "ILUSION", in the Palavreiro series /1997: All elements of the gallery were appropriated and became visual poems specialized. In this case, the viewer was the basis of the work. They were clothes made of black plastic and the letters are made in transparent plastic . This text participated in the magazine "Global" nº10

BOUNCING NAILS

Today one of the major aesthetic concerns is exactly space and its non-establishment. The space that gradually dissolves to get tangled in its own constitution as a formal element, as being. Suely Farhi is a clear example of an artist who crosses space to investigate everything that exists in her surroundings, without letting these issues stifle the plastic reality she provokes. Your place is the place in transit. A desert place that, by its vastness and its intelligence, evaluates the vacuum of the presence itself to rediscover the rhythm and the joy of what reverberates in consistency and dance.

The object chosen is the nail and its marks, permeated with certain doubts, as a ballast, as footprints that reveal themselves to indicate other possibilities of orientation, of trait, of the fundamental impression of human expressiveness in the face of the endless exercise of knowledge and ignorance of yourself.

Nails hold nothing beyond their concreteness, though they are clearly aware of supporting the world that holds them there, on display without representation. Without drama, without exaggeration and without anguish (post?) - modern. Opting for the singular simplicity of metrical existence in plurality, full of pulse in visual score, to make itself sound (n) in elegance, awakening the audience from a distant sleep.

And then, in chords, we perceive the subjectivity present in every object, as well as the inherent objectivity of the subject that overflows us as historical legacy. While the artist smiles symphonic, so that together, we can then see the lost horizon of a hitherto hazy language.

Alexandre Sá

August 2004

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