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<div class="wf-td hgroup"><h1 class="h2-size entry-title">Cárceres a duas vozes: Piranesi e Ana Maria Tavares</h1></div>
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<div class="wf-td hgroup"><h1 class="h2-size entry-title">Cárceres a duas vozes: Piranesi e Ana Maria Tavares</h1></div>
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<p>12/09/2015 ;a 09/11/2015</p>
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<p><i>Aquela noite não dormi. Por volta do amanhecer, sonhei com uma gravura à maneira de Piranesi, que eu nunca vira, ou vi e esqueci, e que representava um labirinto.</i></p>
<p>Jorge Luis Borges, em “There are more things” (<i>O livro de areia</i>)</p>
<p>Em agosto de 2015 ocorreu a abertura parcial do Museu Lasar Segall, com a exposição <i>Mário de Andrade e seus dois pintores: Lasar Segall e Candido Portinari</i>, iniciativa conjunta com os Museus Castro Maya da rede do Instituto Brasileiro de Museus, e curadoria de Anna Paola Baptista.</p>
<p><i>Cárceres a duas vozes: Piranesi e Ana Maria Tavares</i> é a mostra dedicada a reabrir o Museu Lasar Segall/Ibram-MinC, em sua totalidade, após um ano e meio de fechamento, ocasionado por reformas de caráter estrutural, e com patrocínios do Fundo Nacional de Cultura e da Petrobras.</p>
<p>A série das dezesseis gravuras dos <i>Cárceres</i> (c. 1761) de Giovanni Battista Piranesi (Veneza 1720-Roma 1778), cedida pela Biblioteca Nacional do Rio de Janeiro, estabelece um diálogo inédito do gravurista italiano mais importante do século XVIII com uma artista brasileira contemporânea, que se deixou seduzir pela estrutura labiríntica dos Cárceres, para forjar uma obra em série (<i>Airshafts para Piranesi</i>). Ana Maria Tavares é também responsável pelo projeto “Intervenções VIII” (<i>Tête-à-tête</i>), nos jardins externos do Museu, criando, assim, uma interlocução com o espaço expositivo interno.</p>
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<p><i>Cárceres de invenção</i> (título original) foi a série produzida por Piranesi precocemente aos vinte e cinco anos de idade, e retrabalhada anos mais tarde em uma segunda sequência, com efeitos mais sombrios e detalhados, consagrando o artista para a posteridade. Nascido em Veneza, ele passou uma vida registrando em gravuras as ruínas de Roma, na busca de uma tradição etrusca por ele considerada perdida na arquitetura grega. Ao contrário das <i>Vistas de Roma</i>, os <i>Cárceres</i> são claustros imaginários, sem pontos de fuga, que se desdobram sobre si mesmos. O caráter utópico, para não dizer impossível, dessas arquiteturas do confinamento poderia ser visto como um projeto pós-moderno: as escadas, algumas delas helicoidais, que se multiplicam ao infinito, sem levar a lugar algum, pontes levadiças partidas ao meio e suspensas no ar, instrumentos de suplício sem carrascos nem verdugos, a monumentalidade vazia. Nas palavras de Marguerite Yourcenar, “um mundo privado de centro e perpetuamente expansível”.</p>
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<p><i></i><b>Serviço</b></p>
<p><i>Cárceres a duas vozes: Piranesi e Ana Maria Tavares</i></p>
<p>De 12 de setembro a 9 de novembro de 2015</p>
<p>Funcionamento de Quarta a Segunda, das 11 às 19 horas</p>
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