The show features 50 years of production of an artist multimedia, experimental musician, Maestro and thinker. A member of the Vanguards of the years 1970, Guilherme Vaz is one of the pioneers of conceptual art and soundtrack, responsible for introduction of musique concrète in Brazilian cinema
The Centro Cultural Banco do Brazil in Rio de Janeiro, CCBBs-Rio presents to the public, from day 13 January, the exhibition "Guilherme Vaz: a fraction of Infinity ", with 50 years of production of this artist multimedia, experimental musician, Maestro, thinker and member of the Vanguards of the years 1970. One of the pioneers of conceptual art and soundtrack, William is responsible for the introduction of musique concrète in Brazilian cinema. The show relies on debates, reprint of ancient works, production of new works and editing book with unpublished trials, and large number of historical images and documents.
Admission is free.
Curated by Franz Manata presents the innovative nature of the work of William while highlighting their production in the context of the Vanguards of the contemporary art and its experience in central Brazil, with the frontiersmen and indigenous peoples. In its first major exhibition will be shown 41 works that contemplate the various props used by the artist, as the installation, sound objects, instructions, drawings, sheet music, performances and part of your music production. “Guilherme Vaz: a fraction of Infinity " stresses the importance of the work of this artist in the panorama of culture and leave behind a set of texts, documents and images to the memory of art in Brazil.
Trajectory
Guilherme Vaz began his dialogue with the cultural scene in Rio de Janeiro in the late 1960, working with filmmakers, musicians and artists residing in town. Held at the time of the films soundtracks Hungry for love (1968), by Nelson Pereira dos Santos – the first experience of musique concrète in national cinema, and The Angel was born (1969), directed by Júlio Bressane. Both winners at the Film Festival of Brasilia. William produced tracks for more than 60 movies, being 30 feature films; won nine awards and has established partnerships with leading filmmakers, like Júlio Bressane and Sérgio Bernardes. According to the curator, his work for the film translates the spirit of deep Brazil ". Franz Manata comments even the process of research and curation of the show.
The exercise was invisible and respect the author on their routes and detours, because we're talking about a radical artist, both aesthetic, how ethical. Someone who refused the path of institutionalization, what cost him some invisibility in terms of culture. An artist of invention, that expands the language.
And musician and conductor, Vaz became involved with the harmonic, the musique concrète, experimental, the jazz, deepening the research with popular music and flirting with the MPB. He was involved in the founding and presentations of the Group of composers of Bahia, organized by Ernst Wiedmer; in 1967 merge with Vitor Assis Brazil Calmalma Free Jazz Group, that produced jazz edge with accent on experimentation and improvisation in music; and participated in the recording of the album and the tour of the album Ney Matogrosso, Water from the sky-bird, from 1975, featuring experimental sounding pervaded by elements of nature. He also participated in the then-nascent carioca scene concept art, articulated around the activities of the Museum of modern art of Rio de Janeiro, the creation of the Experimental unit and historical exhibition as the compass Lounge, held in this Museum, in 1969, and the controversy "Agnus Dei", held at Petit Galerie, in Rio de Janeiro, in 1970, In addition to participating in international shows: "Information", at MoMA, in 1970, and the 8th biennial of Paris, in 1973, both relevant in the context of conceptual art.
Divided into three rooms occupying the second floor of the institution, the exhibition presents a route that articulates in such a way as to complement the show a fraction of infinity William stage.
In the first room, the experience of William in the interior of Brazil, where he developed works of anthropology, Visual Arts and music with prehistoric South American indigenous peoples Zoró-Panganjej, Ikolem Hawk and parrots. The public can meet near a set of paintings held with the Indian Carlos Bedurap Zoró, the Hawk tribe-Ikolem, of Rondônia, that the artist reproduced, in the tissues supplied by William, their body painting. More series Burning soil, composed of 16 photographs taken with an amateur camera in 1999, in which children of the tribe Ikolem Hawk are in front of a pile of coal from the jungle, within the Office of the society Pro-Arte, in Ji-Paraná, Rondônia.
The harmonic concert video Music in Manaos (2004). Directed by William and under his Regency, the Belarusian Philharmonic Orchestra joins the indigenous ethnicity Ikolem Hawk, at the Teatro Amazonas. The registry is a partnership with your friend, filmmaker and documentarian Sérgio Bernardes (1944-2007). In another video, A fraction of infinity, held in 2013 in partnership with the Office Table, William establishes a dialogue with Charles Darwin to redo, symbolically, the road traveled by British naturalist in the city of Niterói. A sound theater where the maracas "trigger" the forces of nature.
In room B will be unprecedented sculpture Totem of maracas, composed of hundreds of units of the Indian instrument, reflecting on learning with the indigenous universe, and Garden without name, an installation with pebbles that, According to the artist, It's a metaphor about the universe of art, his own story is like a giant river in which artists are pebbles arranged along the way.
The second room shows the production of William as multimedia artist, experimental musician, Maestro, thinker and member of the Vanguards of the years 1970. There can be seen his research in the field of musical notation is displayed (conventional sheet music, balizamentos graphics, the film ratings and scores as performance), the sound installation Crude oil, that comes from his research on what he defined as "body music" started in the eighth Biennale de Paris, in 1973, still under the name of Raw. In its first version, the work was done so when the artist was extracting acoustic sounds directly of architecture. Already from the presentation of the 7th Biennial of MERCOSUR on 2007, It incorporates microphones and amplifies the sound in space. In the current version, the artist invites the public to experience. It also has the acusmática installation, composed by Guilherme Vaz instructions, presented to the public on "Information" – important conceptual art exhibition held at MoMA, in 1970. To the CCBB the artist invites the public to follow a corridor, where do you read your instructions. According to the curator's “a strategy for putting something in evidence”.
The last room stands out its relationship with the moving image through a partnership with the filmmaker and documentarian Sérgio Bernardes, that translates the deep Brazil in seven movies: The guardians of the forest (1990), Panthera Onca (1991), Cauê Porã (1999), Us and we (2003), Amazon (2006), Atlantic Forest (2007) and "Tamboro" (2009). The exhibition has a illustrated chronology, that addresses the life and the course of Guilherme Vaz, with a vast set of documents, works, videos and audio files.
THE ARTIST
Lives and works in Rio de Janeiro. Pioneer of sound art, graduated from the National University of Brasilia, having teachers Rogério Duprat, Décio Pignatari, Nise Obino, Cláudio Santoro, Damiano Cozzela, Régis Duprat, Hugo Mund Junior, among others (1962-1964); and at the Federal University of Bahia, where he was a pupil of Walter Smetak and Ernst Wiedmer (1964-1966). Founded, in partnership with Frederick Matthews, Cildo Meireles and Luiz Alphonsus, the Experimental unit of the Museum of modern art of Rio de Janeiro (1968-1970). Presided over the Cultural Foundation of Ji-Paraná, border with Bolivia, where he developed works of anthropology, Visual Arts and music with prehistoric South American indigenous peoples Zoró-Panganjej, Ikolem Hawk and parrots. Multimedia and experimental artist, author of sound works: Walk to anywhere, Rio de Janeiro (1970); Open your door as slow as you can, Rio de Janeiro (1970); Burning soil, New York (1970); Crude oil, Paris (1973); Essay on organ donation, d ' après Marcel Mauss, Oslo (2008). His work is included in important group exhibitions, among which stand out: "Hélio Oiticica and his time", Centro de Arte Hélio Oiticica, Rio de Janeiro (2006); VIII Biennale de Paris, Museé d'Art Moderne de la Ville de Paris (1973); "Agnus Dei", Petite Galerie, Rio de Janeiro (1970); "Information", MoMA, New York (1970), among others.
He edited several works on CD with the label OM Records: the wind without master (2007), Symphony of the air (2007), La Virgen (2006), Unknown gods (2006), Angel on the Green (2006); The storm, El arte, People of ares, Der Spruch Heiligue (2005); The original night-Die SchopfungsNacht [Die Windeuber der Meer am Anfgang der Welt] (2004); Symphony of fire (2004); The man running on the Savannah (2003), all of them released in the Niterói contemporary art museum (MAC). Published the Symphony of water lines from Goiás (2001), a book that brings together some of the deepest sound conjunctions, archaic and significant central Middle South America.
DEBATES
Guilherme Vaz and contemporary art
Synopsis: Comments on aspects of his artistic production, highlighting its role in the introduction of conceptual art and soundtrack in Brazil. On the same date will also be launched the book "Guilherme Vaz: a fraction of Infinity ".
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Speakers: Franz Manata, Marisa Flórido Caesar, Luiz Guilherme Vergara
Date: 24/02/2016, at 19h
Guilherme Vaz and the cinema
Synopsis: Comments on aspects of his musical work, highlighting its role in the introduction of musique concrète in soundtracks of Brazilian cinema.
Speakers: Franz Manata, Júlio Bressane, Suzana Reck Miranda
Date: 09/03/2016, at 19h
Guilherme Vaz and the music
Synopsis: Comment its production as a conductor, his relationship with the aesthetic aspects of classical music and its relation to the formation of the Brazilian cultural identity.
Speakers: Franz Manata, J.-P.. Caron
Date: 23/03/2016, at 19h
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SERVICE |
| "Guilherme Vaz: a fraction of Infinity " |
| Opening for guests: Tuesday, 12 January 2016, at 19h |
| Visitation: 13 from January to 4 April 2016 |
| From Wednesday to Monday, from 9 at 9:00 pm |
| Free entrance |
| Centro Cultural Banco do Brasil – CCBBs Rio de Janeiro |
| First Street March, 66 - Center |
|
Information: (21) 3808-2020 |
| www.bb.com.br/cultura/ |
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