User:Lacerdaferreira/sandbox
 | This user has publicly declared that they have a conflict of interest regarding the Wikipedia article Cleber Machado. |
Cleber Machado | |
|---|---|
| Born | Cleber Machado Neto June 25, 1937 Porto Alegre, Brazil |
| Nationality | Brazilian |
| Known for | sculpture |
| Notable work | |
Cleber Machado (June 25th, 1937, Porto Alegre) is a Brazilian artist, sculptor and painter. Today he lives and works in São Paulo. Exhibits individually since 1971 and in group since 1968. The artist's literature includes texts by leading critics. He received several national and international awards and his work is part of important public and private collections. Son of Marina Machado Neto e João Pedro Pereira Neto, in 1960, Cleber moves with the family to Rio de Janeiro, where he joins the student movement, alongside of his friends and also artists of the School of Fine Arts of Rio, Artur Barrio and Rubens Gerchman. In 1968, amid demonstrations and the National Salon of Modern Art, he is arrested and released within 24 hours - influenced by his father´s friend. The fright took him away from street demonstrations, but did not take his political interest and engagement. Prior to expressing himself as a sculptor, while living in the neighborhood of Santa Tereza, Cleber began designing and producing jewelry in silver and acrylic. This excursion earned him the Jewelry Research award of the XI International Biennial of São Paulo. Years later, he resumes jewelry production, this time strongly influenced by sculpture, with the creation of the Sculpture to Wear Collection, composed of true sculptures to be worn on fingers as rings. Between 1970 and 1974, he had a studio in the neighborhood of Botafogo, where he taught several courses and, at the invitation of the Biennial of São Paulo, participated in the Brasília Room, where his work was acquired by the President Juscelino Kubitschek to compose the collection of the future Brazilian Art Museum, built in the federal capital. After a visit to Guaratiba, a beach 40 kilometers from Rio, where he resumed an old passion for submarine hunting, he moves to São Paulo and performs an exhibition on the shores of Ibirapuera Park Lake with MAM-SP. From São Paulo he embarks for a period in New York and next settles for three years in Mexico City where he presents his installation "Archeology of the Year 4000" (according to him, a great responsibility, since his work was exhibited shortly after the closing of Henry Moore´s exhibition. Back to Rio de Janeiro, Brazil, Cleber builds a studio in the neighborhood of São Critovão where he works for the next two years. His participation at the 20th International Biennial of São Paulo is highlighted by “Earth, Water and Air” performance, where a helicopter simulates the presence and landing of a UFO in Ibirapuera Park lake. In early 90s, moves back to São Paulo and, once recovered of a period of depression, resumes vigorously his original language, as he likes to call it, “oneiric geometry”. His comeback is highlighted by an exposition in the House of Roses Garden (currently Haroldo de Campos Poetry Space).
Individual Expositions[edit]
- 1971 - Rio de Janeiro Art Museum - MAM Rio
- 1980 – São Paulo Modern Art Museum - MASP
- 1983 - Museo de Arte Moderno - México
- 1984 - Rio de Janeiro Art Museum- MAM Rio
- 1997/98 – House of Roses - São Paulo
- 1999 - Ricardo Camargo Gallery - São Paulo
- 2000 – The Greenhouse - São Paulo
Cleber Machado by[edit]
The Argentine theoric and critic Fermín Fèvre (1939-2005) places Cleber as one of Brazil's most prestigious sculptors, who, despite different phases and their various emphases, maintain a work of extraordinary continuity.
| “ | In all his work – wheter static or those which mobility provides an ambiguous situation between what is real and what is virtual – Cleber Machado exposes the fragility of objects in space, its always instable and partial balance (…) The precarity subject is constant in special and structural search. Structures are changeable. It has a feel of temporary. It happens to them the same as to man, who walks through the world aware of its changeable and peccary condition. Thus, Cleber Machado work resumes a metaphoric and symbolic aspect that transcends its own materiality. | ” |
Referring to the work “Cube-Sphere-Cube”, the Swiss author and writer Peter Karl Wehrli qualifies as a historical task Cleber's achievement of sphere cubification and cube spheration.
| “ | He is the inventor of spherical cube and cubic sphere. He places these two basic elements in movement – in all directions at the same time. Spinning, they include each and all existing forms. There is a word for this: “omnifaction”. Or, more precisely: “Omnification”. That´s what Cleber Machado performs. | ” |
The doctoral and mathematician Luiz Barco visits Cleber Machado's studio, raises the question of whether or not the universe is infinite and narrates his encounter with the Cube-Sphere-Cube.
| “ | I saw in this deconstruct, construct, two huge spheres. One became a cube and the other returning to sphere. I can´t image them apart. They are like the Universe, now expanding, now clustering, and by the end they are not static as Galileo Galilei would say: Eppur si muove. | ” |
Cleber drawn by Julio Larraz “
Aracy Amaral realizes the challenge of sculpture in Cleber's trajectory. Whether it's the issues of balance explored in mid-1960s mobile designs, or the rare strength of unconventional combinations of materials such as glass and wood. Then highlights the fixation on geometric shapes, which remains until today.
| “ | In these last years we see a circle circumscribed in the circle, virtual circle versus real circle, perspective games with rectangles, parallelograms or triangles, or spheres, real or virtual, polyhedral angles faces visualization, endless games of reflexes in automotive silver painting, to simulate the also virtual mirror magic. Mirrored faces, thus moving in space, which early constitute itself as frame. | ” |
Collective Expositions[edit]
- 1968 a 1971 - National Salon of Modern Art - Brazil
- 1970 - BankBoston - Brazilian Contemporary Art - Rio de Janeiro - Brazil
- 1970 - Pre-Biennial of São Paulo - Brasil
- 1971 - XI International Biennial of São Paulo - Brazil
- 1971 – Pan American Festival of Culture - Cali - Colombia
- 1972 - Brazil Plastic 72 - Biennial of São Paulo - Brasil
- 1972 - 1991 - Brazilian Sculpture Overview - MAM - São Paulo - Brazil
- 1975 - XIII International Biennial of São Paulo - Brazil
- 1979 - XV International Biennial of São Paulo - Brazil
- 1979 - Alternative Space "Galpão"- São Paulo - Brazil
- 1982 – 12th International Sculpture Conference - San Francisco - EUA
- 1982 - 100 Years of Brazilian Sculpture - MASP - São Paulo - Brazil
- 1987 - Brazilian Contemporary Art - Trends - Rio de Janeiro - Brasil
- 1989 - XX International Biennial of São Paulo - Special Events, São Paulo - Brazil
- 1991 - Montesanti Gallery, International Art Fair, Bogotá - Colombia
- 1991 - International Biennial of Makurazaki - Japan
- 1996 - Brazilian Museum of Sculpture - Sao Paulo - Brazil
- 1998 - Campinas Contemporary Art Museum - Master's Touch - São Paulo - Brazil
New York Project[edit]
Octopus
As Pierre Restany said, Cleber's art critic and personal friend, in a written text by him in 1982, “... Machado is indeed a message bearer. He conceived a whole program of interventions, from which “Octopus” is the starting point to give his art the existential span of a vital phenomenon. Look into New York City sky the evolution of a giant octopus. What will be the reaction of people around a corner? Imagination takes power among the skyscrapers of Wall Street, caresses the Statue of Liberty. More than art in freedom, Machado tries to grab our interest in our essential freedom of being. His dream, if we share it, is a call to order, to existential order, to the law of the great nature.”
São Paulo Project[edit]
An UFO in São Paulo
To be presented in the Special Events of 20th International Biennial of São Paulo (1989), Cleber Machado prepares an urban interference from outer world. From Congonhas Airport (SP), a helicopter disguised as an UFO takes off, equipped with 20 green and blue light beams. The "disk" flies over the city for about 40 minutes, describing symmetrical routes and spiraling down over the Ibirapuera Park lake. According to Cleber, the purpose of this interference is to enable a dive of fantasy into reality, provoking individuals, stimulating them into new sensations or a new perception of reality.
Selected Collections[edit]
- Rio de Janeiro Modern Art Museum - MAM Rio
- São Paulo Modern Art Museum - MAM SP
- Museo de Arte Moderno - México
- Brazilian Art Museum from Armando Álvares Penteado Foundation - MAB FAAP - SP
- Museo Rayo - Roldenibe Del Vale - Colombia
- Brazilian Art Museum - Brasília - Brasil
- Latin American Art Center - México - DF
- Museo de Arte Americano - Manágua - Nicarágua
- Stado of São Paulo Archive - Brasil
- Museo de Arte Moderna - La Tertulia - Cali - Colômbia
- Museo Casa Del Lago - México - DF
- Nanmeikan Modern Art - Makurazaki - Japão
- Museo El Chopo - México - DF
- Londrina Art Museum - Paraná - Brasil
Awards[edit]
- 1970 Brazilian Contemporary Art - Bankboston
- 1971 Jewelry Research - XI International Biennial of São Paulo, Brazil
- 1972 Research - I National Biennial of São Paulo, Brazil
- 1991 Special Sculpture - II International Biennial of Makurazaki, Japan
External Links[edit]
- Art Bonobo
- Bolsa de Arte
- Galeria Espaço Arte
- MAM - Jardins das Esculturas
- Ricardo Camargo Galeria
- Itaú Cultural
- D'Ambrosio
- MAM-SP
References[edit]
- ^ Fèvre, Fermín (February 2003). "El precario equilibrio estructural". Arte Al Día n 95.
- ^ Wehrli Peter, Karl. "Um cubo e uma esfera e tudo|Art Canal |data".
{{cite journal}}: Cite journal requires|journal=(help) - ^ Barco, Luiz (2008). "Epur si muove|Art Canal".
{{cite journal}}: Cite journal requires|journal=(help)” - ^ Amaral, Aracy (December 1999). "Visita a Cleber Machado|".
{{cite journal}}: Cite journal requires|journal=(help)”