The Singapore State Gallery.
An attempt to move ALL paintings texts, in English, to their corresponding works. But more, an attempt to Understand Singapore… and South-East Asia. One day in S’pore… and this exhibition, Tropicalia, showing how connected art in SEA and Ibero-America is.
Ну зачем, зачем я это делаю? Рейсик вчера был так себе, коротенький — не плавные семь часов, а 1:10, Сингапур — Куала-Лумпур. Поля мне показала, что, по крайней мере в Андроиде — можно на фотках выделить и перенести в Ворд текст. И..???? Я тупо это сделал.
Ну КТО меня просил?
Может, Fascination? Очарование — и откровение?
Смотрите. Во-первых, мы очарованы Бали.
Во-вторых, мы чуть меньше суток провели с Полей в Сингапуре. Колыбель ЮВАшного капитализма, слишком чистый город? Ан нет, впечатления у нас были — от Государственной картинной галереи — до ресторанно-лотошного рынка с 2000 видами еды за 2-4 евро блюдо — до почти набития лица гнусному торговцу за обман в апреле. О торговце вообще потом —
а Сингапур хорош. Но дорог, капиталистичен, да?
А тут — выставка. Tropicalia. О связи искусства ЮВА — и Иберо-Америки. Ну, ЛатАмерики, если Вам привычней — хотя испанцы и иберро-американцы этого термина не выносят.
Так вот, в центре капитализма — абсолютно социалистическая выставка. Альенде с Фиделем — я даже не понял, зачем там такое фото. А вообще — обзор. Искусства в 1920х, строившее социализм-коммунизм. Не только в Мексике — повсюду. Искусство красивое и тревожащее. Бичующее колониализм — не напрямую, исподволь. Искусство пробующее. Художники, критикующие друг друга за красивость. Чего стоит одна история: ученик взял деревянную работу Учителя и сжег ее во дворе университета — поскольку тот, поначалу революционный, стал конформистом! Я даже писать об этом отдельно не буду.
Короче, знакомые формы — а за ними — море событий в этом страннейшем Регионе — ТРОПИКАЛИИ — за последние сто лет.
Да, там была еще выставка трудолюбивейшего китайского Liu Kuo-sung, родившегося в 1932 и до сих пор творящего. Его кропотливая техника была Полиной оценена — могу, особенно, для Angela Grishin — послать описание ее, техники.
Ну вот. Сингапур промелькнул, теперь у нас Малайзия — Куала-Лумпур. А интересность от искусства, от «социалистического гнезда в логове матерого капитализма» — осталась. Сорри, все подписи почти на английском, переводить не буду. А вот самые главные мысли-мыслищи — я вынес в эту преамбулу.
We believe that while our society is in
transitional stage between the destruction of
an old order and the introduction of a new
order, the creators of beauty must turn their
work into clear ideological propaganda for
the people, and make art something of
beauty, education, and purpose for everyone.
individual freedom is
a collective effort to liberate those individuals,
including myself, who are struggling to free
themselves from desolation.
The delineations between humans and
machines become indistinct: buildings,
cars and trains are transformed into
instruments of mass production and
industry, while figures that appear
almost human are fashioned from
machine components.
The expression «this earth of mankind» is taken
from a novel of the same name written by
Indonesian writer Pramoedya Ananta Toer in 1980.
By the 1940s, the ideas of the Nobel laureate
and poet Rabindranath Tagore gained a
following. Tagore sought to dissolve the
boundaries between «modern art» and
«popular culture.» He envisioned a new
world, where the destinies of artists were
intertwined with folk storytellers, batik
makers, handloom weavers, wandering
ascetics, seamstresses, woodcarvers and
temple painters, to name just a few.
Kala Bhavana—Tagore’s art academy in
Santiniketan, India-emerged as a crucible for
this visionary world. Here, the concept of art
was broadened to encompass every being
on earth. This philosophy became pivotal for
artists from newly independent nations as they
endeavoured to forge a distinct language
within modern art.
-defying conventions and
cultivating an entirely
new realm of imagination.
«The subversive» is a term taken from poet
José Rizal’s 1891 novel El Filibusterismo (The
Subversive), which centres on the freedom
fighter Simoun, whose masterful manipulation
of events and people by assuming multiple
personas sparks a revolution against Spanish
colonial rule
Этпроменя. Не могу не. Извините-простите великодушно. И не читайте! Спасибо анекдотру.
Вот. Сингапур. В правой части фото — домишки и поля. Сейчас — небоскребы.
КАААК? Все эти страны — вот Малайзия сегодняшняя, Дубай, Давно забытый за 9 дней отсутствия, Сингапур —
они все вылепились в 1960-70х. Из деревни, из трущоб. Ну хорошо, вот Британские зданьица были в центре Сингапура — и все!
Недаром я напевал все время «В бананово-лимонном Сингапуре в бурю» — Вертинского. Сингапур — экзотика. Ан нет! Это — рабочая экономика, да, на закабалении построенная — а какая из теперешних экономик таки-нет?
НО — эти ЮВАшные тигры за 50 лет сделали такое…. до чего громадным восточно-европейским странам ехать и ехать. Как они это смогли? Религии помогли? Ислам и Индуизм, обе — требовательные и созидающие? Помогло то, что они из мангровых зарослей — рванули в космическую эру? Не знаю, пока не могу понять. Но поражает.
А пока мы с Вами походим по залам этого громадного двойного здания, того, что в центре с колоннами — и левее, с Капитолийским куполом. Национальная Галерея Сингапура. Здания и сейчас стоят обособленно, вместе с игрушечкой — Св. Андреем (шотландским), выбеленнным донельзя. Сингапур!!!
БАЛИ!
Нашему островку — как будто не уезжали — на выставке Тропикалия уделено ОЧЕНЬ много внимания. Получается, Гоген там был перед Таити, а с 1920х его, Бали, стали продвигать как центр искусства.
Lee Man Fong
(b. 1913, China; d. 1988, Indonesia)
Kehidupan di Bali (Balinese Life)
c.1960s
Советник Президента огромной Индонезии!
И — слишком красивый рисовальщик?
А Вы знаете, что один из недавних президентов Индонезии был человек с одним из самых высоких IQ за историю человечества? Некто Хабиби, почитаем?
А пока — идиллия Бали. И о Ли Ман Фонге
Lee Man Fong is known for his artistic style
that incorporated formal characteristics of
classical Chinese painting with the medium
of oil paint applied on smooth and hard
masonite boards. In 1949, Lee established
the Society of Chinese Artists in Indonesia
providing a place for artists
of Chinese
descent to gather.
In 1961, he was appointed the Presidential
Palace Painter under President Sukarno.
Following the political upheavals of 1965
in Indonesia, Lee relocated to Singapore
for two decades before returning to
Indonesia, where he lived until his death.
Ayam Jago Bertarung is an
early example
of the large-format panoramic works
that Lee began painting from the 1960s
onwards. The painting centres on the
drama of a cockfight, capturing details
such as the rattan rooster cages and the
distinct expressions, postures and attire
of the spectators. The dynamic motion
of the fighting cocks gives the scene a
sense of immediacy.
While Lee collaborated with political
figures like Sukarno in managing and
developing the nation’s art collection,
the themes in his work diverged from the
heroic nationalism or revolutionary ethos
often portrayed by his contemporaries.
Instead, Lee delved into meticulous
studies and observations of everyday life
and craft techniques throughout the vast
Indonesian archipelago.
О, Бичуем Колониализм!
Новая Олимпия, бесстыдно-блондинистая.
Видите, из-под кровати нога Убиенного торчит, а в чемодане — явные кровавые доллары? Туды ее!
Semsar Siahaan
(b. 1952, Indonesia; d. 2005, Indonesia)
Olympia, Identitas Ibu dan Anak
(Olympia, Identity with Mother and Child)
1987
Oil on canvas
Collection of National Gallery Singapore
2019-00144
А вот его манифест.
НО именно его работу сжег или попытался — Ученик. См. вступление.
Маркс!? masses are
struggling to survive, gasping for breath…
My Art,
«Art of Liberation»
And now I stand with my art before you, dear
inhabitants of this beautiful garden.
I am fully aware of your view that new and
fresh creations in contemporary art can only
be achieved by having total individual freedom.
l agree! But I would like to ask: do you deserve to utter that credo from the parasitic shell of your beautiful garden that rests in the middle of
such a large expanse, where masses are
struggling to survive, gasping for breath, let
alone live with dignity and rights that have been
torn into shreds?
Has it ever crossed your mind that you are
part of the struggling masses?
Then, what do you mean by freedom?
What — freedom to create beauty?! What is the
purpose of that? And where does such a
quest begin?
Aren’t you aware that before you talk about
BEAUTY, you (and I) have a moral obligation
to liberate ourselves and the struggling masses
residing at the gates of our beautiful garden?
Don’t we have to liberate those who suffer from
ignorance and deception? It is clear, as clear
as black and white, that individual freedom is
a collective effort to liberate those individuals,
including myself, who are struggling to free
themselves from desolation.
Merdeka!
Semsar Siahaan
Jakarta,1988
Наш Главный Балийский Художник.
Лемпад или Нуоман или И Густи?
Его именем аэропорт назван.
Но творил он — в конфликте и противопоставляя себя «украшателям».
1936: I Gusti Nyoman Lempad, Pita Maha, Ubud
The revered Balinese sculptor, architect and painter I Gusti Nyoman Lempad
met artist Walter Spies in 1927. Although they were friends through the artist
cooperative Pita Maha (Grand Ancestor), which they founded together in 1936,
Lempad did not conform to the dense, intricate paintings that Spies was
promoting. Instead, he developed a minimalist approach that included dramatic
figures, and went on to become one of the most sought-after artists by Western
travellers to Bali. Throughout his life, Lempad presented himself in the image
of the Balinese artist who experiments tirelessly, insisting on a total art where
creation is merely a reflection of the evolving tensions of the shifting times.
Просто кубизм?
Э нет… Во-первых, женские формы выступают. А куда Чудовище, Змей и Ящериц девать?
А во-вторых, почитайте про художника!
Про мысли Тагора — о том, что любое действие, народные промыслы — это искусство!
Bagyi Aung Soe
(b. 1923, Burma; d. 1990, Myanmar)
Woman, Snakes, Lizards and
Ogre
c. 1972
Oil on masonite
Bagyi Aung Soe was part of a wave of
painters from the 1950s to 1970s who were
trained at the poet Rabindranath Tagore’s
Visva-Bharati University in Śantiniketan,
India. There, he was exposed to Tagore’s
pan-Asian ideals. After returning to
Burma (today, Myanmar) in 1952, Aung
Soe travelled across his home country
to learn about popular art forms such as
wood carving and lacquer painting. This
experience complemented his exposure
to various popular and folk art forms at
Šäntiniketan,
modern Burmese art that integrated both.
This integration is evident in how Aung Soe
frequently used Burmese arts and crafts
as subjects.
In Woman, Snakes, Lizards and Ogre, Aung
Soe experiments with representations
of mythological creatures, which were
prominent subjects in classical
Burmese paintings.
The artist’s self-portrait is
featured in the
preceding row.
Even after achieving independence from
colonial rule, artists from Southeast Asia and
Latin America continued to be reminded of
their debt to conventions in modern art, which
were largely perceived as Western in origin.
In response, these artists delved into the rich
communities of artisans and storytellers
around them whose works had been dismissed
as unrefined and unsophisticated during
the colonial era.
By the 1940s, the ideas of the Nobel laureate
and poet Rabindranath Tagore gained a
following. Tagore sought to dissolve the
boundaries between «modern art» and
«popular culture.» He envisioned a new
world, where the destinies of artists were
intertwined with folk storytellers, batik
makers, handloom weavers, wandering
ascetics, seamstresses, woodcarvers and
temple painters, to name just a few.
Kala Bhavana—Tagore’s art academy in
Santiniketan, India-emerged as a crucible for
this visionary world. Here, the concept of art
was broadened to encompass every being
on earth. This philosophy became pivotal for
artists from newly independent nations as they
endeavoured to forge a distinct language
within modern art.
Across Southeast Asia and Latin America,
passionate movements emerged where artists
actively studied, documented and replicated
materials, symbolisms and techniques from
craft communities that had suddenly become
visible in the wake of colonialism’s departure
A verse from Tagore’s poetry echoes this
sentiment: «Where the mind is without fear and
the head is held high; Where knowledge is free;
Where the world has not been broken up into
fragments by narrow domestic walls..
А это вообще-то мы в аэропорту Шанги или как он там произносится.
Тоже произведение искусства. Аэропорт.
ХА! Для папы Вовы!
Энергия перерастает в материю!
И ведь это — облачка. Постоянно выдуваемые облачка пены! Только трогать их нельзя….
David Medalla created the first Cloud Canyons
artwork in 1964, and it is considered a landmark
work of kinetic art. In Cloud Canyons No. 24,
water and soap interact to generate foam.
This foam, almost spirit-like, ascends through
the tubes, cascading
outwards and forming
transient puddles. Then, as if ensnared by a
spell, it auto-destructs, vanishing into thin air
through evaporation.
David Medalla
(b. 1942, The Philippine Islands;
d. 2020, Philippines)
Cloud Canyons No. 24
2015, first version in series: 1964
Wood, perspex,
compressors, timer,
water and detergent
This work materialises the unseen, portraying
how matter transforms into energy, seamlessly
weaving the tangible with the ethereal.
Просто… каким был Сингапур и каким стал.
Это — Boat Quai. Теперь тут мульон ресторанов и баров —
но ни одной лодки. Центр самый городка.
Tan Choh Tee (1)
(b. 1942, China)
Singapore River
1981
Oi on canvas
А как же без Маэстро?
Но ведь хорош!
Diego Rivera
(b. 1886, Mexico; 1957, Mexico)
Velorio o día de muertos
(Day of the Dead)
1944
Oil on masonite
Collection of Museo de Arte Moderno,
Mexico / INBAL, Secretaría de Cultura
Гммм
S. Sudjojono
(b. 1913, Dutch East Indies; d. 1986, Indonesia)
Sippp dalam Segala Cuaca
(Safe in All Circumstances)
1980
Oil on canvas
Colection of Deddy Kusuma
Что-то простенькое?
Всегда в безопасности?
А теперь почитайте манифест этого художника.
S. Sudjojono actively criticised Dutch
colonialism. From 1945 to 1949, he positioned himself at the forefront of
the Indonesian National Revolution as
one of its primary thinkers and activists.
His art carried revolutionary themes,
from propaganda posters and murals to
portraits of guerilla fighters and ordinary
Indonesians supporting the Revolution.
Maka Lahirlah Angkatan ’66 pays tribute
to the artists, thinkers, writers and poets
who envisioned a renewed intellectual
life after the fall of Sukarno. While
Sukarno successfully united Indonesia’s
diverse archipelago and led the nation
through the Revolution and its early years
of independence, by the mid-1960s, it was evident that he could not present
a comprehensive programme that
effectively tackled the nation’s economic
challenges.
In this painting, a young student stands
in the middle of a busy road junction in
Jakarta, holding a paint can and a brush
with a defiant gaze. He represents the new generation seeking to hold the early
promises of independence to account.
Known for his social commentary,
Sudjojono inscribes his thoughts on the
right corner of the painting: «With all his
means, / with all his might, / this young
conveyor of the people’s voice says /
‘In the name of Ampera.»
Ampera is an acronym for «Amanat
Penderitaan Rakyat» (The Aspiration
of the People’s Suffering). Originally a
unifying slogan during the early years of
the independence struggle, it is deployed
here ironically-as a reminder of whom
the spirit of independence intended
to serve.
We Know Where
We Will Be Taking
Indonesian Art
As Indonesians, we admit that the art
We make here nowadays has
a Western
style. Nevertheless, to say that it is not an
Indonesian style is not accurate.
Realism does not belong only to the West.
Realism belongs to all of us, to every human being.
Western people should not be arrogant if we
use their art theories. As we analyse and
observe carefully, Europeans must remember
that they never had the art of painting before.
The oldest art of painting in the world is not
from Europe but Egypt.
We will not blame our European colleagues
for their mistakes. We will honour them, for
they have worked sincerely, even sacrificing
their lives for a great aspiration
We will use their works as a landmark, like
a shipwreck in the ocean, of our people’s
struggle in this world and in our revolution
in Indonesia, not only to enable artists to
become artistic, but also to make the whole society become artistic, to become artistically
conscious as Indonesia was before.
We will accomplish our revolution not only
through the intellect but also through
artistic means
S. Sudjojono
Jakarta, 1947
Вот.
Это трудолюбивый
Liu Kuo-sung, b. 1932
Отдельная громадная выставка…
By the 1940s, the ideas of the Nobel laureate
and poet Rabindranath Tagore gained a
following. Tagore sought to dissolve the
boundaries between «modern art» and
«popular culture.» He envisioned a new
world, where the destinies of artists were
intertwined with folk storytellers, batik
makers, handloom weavers, wandering
ascetics, seamstresses, woodcarvers and
temple painters, to name just a few.
Kala Bhavana—Tagore’s art academy in
Santiniketan, India-emerged as a crucible for
this visionary world. Here, the concept of art
was broadened to encompass every being
on earth. This philosophy became pivotal for
artists from newly independent nations as they
endeavoured to forge a distinct language
within modern art.
Across Southeast Asia and Latin America,
passionate movements emerged where artists
actively studied, documented and replicated
materials, symbolisms and techniques from
craft communities that had suddenly become
visible in the wake of colonialism’s departure
A verse from Tagore’s poetry echoes this
sentiment: «Where the mind is without fear and
the head is held high; Where knowledge is free;
Where the world has not been broken up into
fragments by narrow domestic walls..
А вот Главный Украшатель Бали. Немец.
1928: Walter Spies, Tierfabel (Animal Fable), Ubud
Walter Spies, a German artist, composer, and curator, first arrived in Bali in 1927.
He was invited to the island by Tjokorda Gde Raka Soekawati the Protector of Ubud.
Together, they founded the artist cooperative Pita Maha (Grand Ancestor) in 1936.
Through Pita Maha, Spies encouraged Balinese artists to expand their subject matter to include serene and titillating scenes that would appeal to tourists, This meant that Balinese painting was now exposed to commercialisation from tourism, while also gaining inclusion into the world of European fine art. In an interesting twist,
Spies adopted Balinese narrative techniques in his paintings while perpetuating
exotic fantasies of a tropical paradise
Бали… целый мир!
Впереди всего мира — с 1920х!
2023: Bali Dwipa, Bali Island
By the 1920s, influenced by the exoticism of Gauguin’s images of Tahiti, artists from
across the world began to gravitate to the island of Bali in search of their own tropical
paradise. They were guided by stories of free love, the low cost of living, perpetual
summer and ‘untouched» culture that was intriguing
and exotic. This section contains
travel guides, historical fantasy, ethnographic studies, scholarly books, exhibition
catalogues and romance novels. Gathered from online booksellers and the National
Gallery Singapore Library & Archive between 2016 and 2023, we invite you to consider
how Bali continues to loom
as a tropical paradise.
Поля и Бали.
И снова Суджожоно
Так Начиналась Революция. Умов.
S. Sudjojono
(b. 1913, Dutch East Indies; d. 1986, Indonesia)
Maka Lahirlah Angkatan ’66
(Hence Was Born the ’66 Generation)
1966
Oil on canvas
Collection of Museum of Fine Arts and Ceramics, Jakarta
S. Sudjojono actively criticised Dutch
colonialism. From 1945 to 1949, he positioned himself at the forefront of
the Indonesian National Revolution as
one of its primary thinkers and activists.
His art carried revolutionary themes,
from propaganda posters and murals to
portraits of guerilla fighters and ordinary
Indonesians supporting the Revolution.
Maka Lahirlah Angkatan ’66 pays tribute
to the artists, thinkers, writers and poets
who envisioned a renewed intellectual
life after the fall of Sukarno. While
Sukarno successfully united Indonesia’s
diverse archipelago and led the nation
through the Revolution and its early years
of independence, by the mid-1960s, it was evident that he could not present
a comprehensive programme that
effectively tackled the nation’s economic
challenges.
In this painting, a young student stands
in the middle of a busy road junction in
Jakarta, holding a paint can and a brush
with a defiant gaze. He represents the new generation seeking to hold the early
promises of independence to account.
Known for his social commentary,
Sudjojono inscribes his thoughts on the
right corner of the painting: «With all his
means, / with all his might, / this young
conveyor of the people’s voice says /
‘In the name of Ampera.»
Ampera is an acronym for «Amanat
Penderitaan Rakyat» (The Aspiration
of the People’s Suffering). Originally a
unifying slogan during the early years of
the independence struggle, it is deployed
here ironically-as a reminder of whom
the spirit of independence intended
to serve.
We Know Where
We Will Be Taking
Indonesian Art
As Indonesians, we admit that the art
We make here nowadays has
a Western
style. Nevertheless, to say that it is not an
Indonesian style is not accurate.
Realism does not belong only to the West.
Realism belongs to all of us, to every human being.
Western people should not be arrogant if we
use their art theories. As we analyse and
observe carefully, Europeans must remember
that they never had the art of painting before.
The oldest art of painting in the world is not
from Europe but Egypt.
We will not blame our European colleagues
for their mistakes. We will honour them, for
they have worked sincerely, even sacrificing
their lives for a great aspiration
We will use their works as a landmark, like
a shipwreck in the ocean, of our people’s
struggle in this world and in our revolution
in Indonesia, not only to enable artists to
become artistic, but also to make the whole society become artistic, to become artistically
conscious as Indonesia was before.
We will accomplish our revolution not only
through the intellect but also through
artistic means
S. Sudjojono
Jakarta, 1947
S. Sudjojono
А это — красивости. Критикуемые, но приятные.
Аморсоло, Филиппины
Fernando Cueto Amorsolo
(b. 1892, The Philippine Islands; d. 1972, Philippines)
Rice Harvesting
1946
Fernando C. Amorsolo is a pivotal figure
in the Philippines associated with the
formation of national and self-identity.
He was fascinated with rural Philippine
landscapes throughout his artistic career,
and his works often depicted farmers,
fishermen and other workers carrying
out their daily activities in harmony with
their environment. These idyllic images of
the Philippines-along with a meticulous attention to detail and his masterful use of
light and colour-made him highly sought
after by patrons.
By the 1930s, a school of painting that
included Amorsolo’s students emerged,
leading to the proliferation of pastoral
scenes. The workers depicted in Rice
Harvesting are an example of such representation, presenting work as a
social activity that included time for rest.
Amorsolo often used warm colours
such as yellow and green that gave his
paintings a characteristic glow. His use
of natural perspective and compositional
balance allowed his viewers to easily
immerse themselves in these idyllic
settings, and instilled a sense of realism
to these imagined scenes.
Later generations of artists, such as
Victorio C. Edades, whose works are
also featured in this section, argued that
Amorsolo’s depictions reinforced
colonial stereotypes of the Philippine
people’s contentment with rural life.
They contended that this perpetuated a
romanticised view of the Philippines while
ignoring the harsh reality of life under
colonial rule.
Тоже филиппинец. Учился у предыдущего, у Аморсоло — но пошел дальше.
Карлос Ботонг Франсиско.
Carlos «Botong» Francisco
(b. 1912, The Philippine Islands; d. 1969, Philippines)
Courtship Ritual
1937
Carlos «Botong» Francisco
(b. 1912, The Philippine Islands; d. 1969, Philippines)
Muslim Betrothal
1958
Oil on canvas
Collection of Alexander Tedja
Carlos «Botong» Francisco is renowned
for his immersive murals that explore
themes of Philippine history, progress,
and identity. One of his most significant
murals, Filipino Struggles Through History,
originally installed at the Manila City Hall
in 1964, embodied the ambition of painting
as a means to narrate the struggle for
independence against colonial rule. Today,
the approximately 80-metre-long mural is
the collection of the National Museum
of Fine Arts in the Philippines.
and instead aimed to develop a new
visual vocabulary with contemporaries
Victorio C. Edades and Galo B. Ocampo,
emphasising the role of common people in
the country’s history.
In Muslim Betrothal, Botong presents a
ceremony of the Muslim-majority Moro
people, celebrating the richness of pre-
Hispanic cultural practices. By densely populating the canvas with figures and
cultural objects, Botong aligns himself
with the visual language of the Mexican
muralists, who also created paintings that
explored pre-Hispanic cultural systems in
Latin America.
Botong studied at the University of the
Philippines under the guidance of painter
Fernando C. Amorsolo. As a student,
he steered away from pastoral scenes
Он же, Мусульманская помолвка. Странно!?
Carlos «Botong» Francisco
(b. 1912, The Philippine Islands; d. 1969, Philippines)
Muslim Betrothal
1958
Oil on canvas
In Muslim Betrothal, Botong presents a
ceremony of the Muslim-majority Moro
people, celebrating the richness of pre-
Hispanic cultural practices. By densely populating the canvas with figures and
cultural objects, Botong aligns himself
with the visual language of the Mexican
muralists, who also created paintings that
explored pre-Hispanic cultural systems in
Latin America.
о нем.. Carlos «Botong» Francisco frequently
collaborated on murals for new public
spaces in the rapidly urbanising city
of Manila. Painted for an art patron’s
residence, Mother Nature’s Bounty Harvest
is representative of the themes and
style that the artists deployed in their
public murals. This painting is one of the
few collaborative works by the trio that
survived the bombing of Manila during
World War ll.
Просто? АН нет.
МАНИФЕСТ почитайте — ниже.
Нам нужна Карибская Революция!
Tarsila do Amaral
(b. 1886, Empire of Brazil; d. 1973, Brazil)
O vendedor de frutas
(The Fruit Seller)
1925
Oil on canvas
Tarsila do Amaral is a central figure within
Brazil’s modern art movement. In 1922, she
was a founding member of the Grupo dos
Cinco (Group of Five), which organised a
series of pivotal art events in São Paulo.
The group aimed to establish a new
art-making approach that combined
Brazilian sensibilities and subject matter
with global art movements.
Do Amaral was one of the driving forces
behind the «Manifesto Antropofago» (or
the Cannibalist Manifesto). Penned by
the poet Oswald de Andrade in 1928, this
manifesto calls on the Brazilian people
to «devour» or absorb foreign cultural influences, especially from Europe and
United States, and transform them into
something uniquely Brazilian. Since the
1960s, numerous artists from Brazil such
as Lygia Clark and Hélio Oiticica—whose
works are also featured in this exhibition-
have referenced the Cannibalist Manifesto
In O vendedor de frutas, a solitary figure
is shown alongside a bounty of tropical
fruits. The indifferent and disdainful
expression of the fruit vendor in this
vividly coloured painting exemplifies how
do Amaral challenged the stereotypical
view of Brazil as a «tropical paradise.»
Anthropophagite
Manifesto
Only anthropophagy unites us. Socially.
Economically. Philosophically. The world’s
only law.
The masked expression of all individualisms,
of all collectivisms. Of all religions. of all
peace treaties.
What hindered truth as clothing, the
impermeable element between the interior
world and the exterior world. The reaction
against the dressed man. American movies
will inform.
Sons of the sun, mother of the living. Found
and loved ferociously, with all the hypocrisy
of nostalgia, by the immigrants, by the slaves
and by the tourists. In the country of the
big snake. It was because we never had grammars, nor
collections of old plants. And we never knew
what was urban, suburban, boundary and
continental. Lazy men on the world map
of Brazil. A participating consciousness, a
religious rhythm.
We want the Caribbean revolution. Bigger than the French Revolution. The unification
of all efficacious rebellions in the direction
of man.
Without us Europe would not even have
its poor declaration of the rights of man.
The golden age proclaimed by America.
We walk.
Routes. Routes. Routes. Routes. Routes.
Routes. Routes.
Заглавная работа всей выставки.
Коллективный труд.
Victorio C. Edades,
(b. 1895, The Philippine Islands; d. 1985, Philippines)
Galo B. Ocampo,
(b. 1913, The Philippine Islands; d. 1985, Philippines)
Carlos «Botong» Francisco
(b. 1912, The Philippine Islands; d. 1969, Philippines)
Mother Nature’s Bounty Harvest
1935
Oil on canvas
А это — Первая Тропикалия, еще 1960х
Красивости и Фавелы.
И Макао, как символ…
Tropicália, 1967, Rio,
remind of favelas,
juxtoposition between idyllic pictures and the harsh realities of life.
Macaws — representatives of sun gods, bringers of good fortune.
И снова ОН,
Liu Kuo-sung, b. 1932,
начавший уже в 1970х использовать фото, сделанные космонавтами…
