CRÍTICA AO 59º SALÃO DE ABRIL NO TERMINAL DO SIQUEIRA

"No dia em que os teares tecerem sozinhos

e as cítaras tocarem sozinhas, o homem será livre”

Aristóteles, filósofo da Grécia Antiga.

Esta resenha pretende analisar as obras do 59º Salão de Abril - Mostra Nacional de Artes Visuais - Arte: Desejo e Resistência, realizado de 14/Out/08 a 23?Nov/08 dentro do Terminal de ônibus do Siqueira. O evento foi promovido pela SECULTFOR, orgão da Prefeitura Municipal de Fortaleza.

Teve a curadoria de Andrés I. M. Hérnandez, Ricardo Resende e Siegbert Franklin.

Esta resenha não intenta cobrir o evento como um todo, que se realizou em três lugares: o terminal de ônibus do Siqueira (na região sul de Fortaleza, área extremamente pobre), no terminal do ônibus do Papicú (na região leste de Fortaleza, a chamada área nobre da cidade) e no Centro de Referência do Professor (que fica no Centro da capital cearense).

Pretende-se aqui apenas analisar as obras expostas no Terminal de ônibus do Siqueira.

Fazer crítica de artes-plásticas é uma tarefa quase ingrata e quase inútil, quando se parte do pressuposto de que o crítico seria uma espécie de relações públicas a divulgar artistas (Terry Eagleton).A Tarefa se torna inútil, porque muitas vezes quando finalmente o leitor tem acesso a crítica, a exposição já tem saído de cartaz. Diferentemente da crítica literária. Quando examino a obra do poeta paulista Roberto Piva, por mais marginal que ele tenha sido um dia, rabiscando poemas em guardanapos de papel nos bares infectos da boêmia de São Paulo, hoje pode-se encontrar a obra do poeta transgressor quase toda editada ou relançada nas livrarias pela Editora Globo.

Já em se tratando de crítica de artes-plásticas temos uma série de problemas.

O primeiro deles:se a crítica não vier acompanhada de ilustrações, tudo ficará muito no plano da abstração. Além disso, no caso da arte contemporânea não basta apenas a crítica vir acompanhada de suas respectivas reproduções fotográficas. Já que na contemporaneidade as condições ambientais, ou até a ausência delas, faz parte do gesto artístico. Assim, não basta reproduzir os posteres fotográficos que ficaram fixados nas paredes de uma parte do terminal (Não informo o nome da artista porque não havia folder nem o monitor tinha o catálogo com o nome da mesma), pois quem sabe se o fato do deslocamento dos ônibus no interior do terminal, proporcionando momentos em que os pôsteres eram vistos e outros em que eram tapados 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pelos ônibus, não faz parte da intenção da artista? Ou seja, não seria aí também os motoristas de ônibus uma espécie de co-autores das obras? Seria difícil reproduzir isso em fotos.

Outro problema de se fazer crítica de artes-plásticas em comparação com a crítica literária: é que na crítica literária conto com o sossego de um escritório, de um quarto e de um livro que tiro ou recoloco na estante conforme a conveniência.

Já a crítica de artes-plásticas é extremamente desconfortável. Uma vez para cobrir uma exposição do Centro Cultural Banco do Nordeste, tive de ficar agachado ou sentado no chão enquanto preenchia meu caderno de anotações, pois as obras que estava analisando foram dispostas numa vitrine rente ao chão.

Nessa exposição em particular, no 1º dia em que fui vê-la, fui num horário próximo do rush e o terminal estava ficando muito cheio, esfumaçado e barulhento. No 2º dia em que fui num horário mais cedo, uma das vídeos-instalações apresentou problemas técnicos. E o vídeo não foi exibido e o monitor de TV estava desligado.

Tudo isso são imprevistos que o crítico literário, no conforto de sua casa e tomando seu café, nunca terá.

A 1ª obra analisada é do cearense Luiz Sales, cujo título é 8.É uam instalação usando a técnica da fotografia.

Num suporte de 200x400 cm, vemos duas fotografias justapostas. Numa delas é um clique fotográfico sobre uma cena banal no centro da cidade de Fortaleza: pessoas atravessando uma rua em frente ao Edifício Sulamérica. Tudo isso seria banal aqui, se o fotógrafo por um processo digital (tipo Photoshop) não tivesse tirado as cabeças e rostos dessas pessoas atravessando a rua. Causando um visível efeito de estranhamento. E na foto ao lado há um esboço de rosto feito em negro sobre fundo branco.

Quando vi os homens sem cabeça e sem rosto atravessando a rua, lembrei do conceito sociológico do sujeito sem rosto, sem identidade da pós-modernidade. E o esboço de rosto ao lado dessa foto, sugere um rosto sem traços identitários definidos, pois o rosto não exibe marcas de classe social, poder aquisitivo, faixa-etária, etnia e até gênero, o que nos sugere o conceito das identidades fluidas e líquidas de Zigmunt Bauman.

A 2ª obra analisada é Sem Título do cearense Caio Danieli. A técnica utilizada é a fotografia e impressão digital sobre tecido.

O monitor da exposição me informou algo curioso: a fotografia foi tirada numa câmera tipo pinhole, que são aquelas câmeras artesanais muito rudimentares, utilizadas por oficineiros para dar aulas de fotografia para alunos carentes que não tem dinheiro para comprar um câmera profissional.

O efeito plástico dessa foto foi muito bom. Devido a baixa qualidade e a baixa resolução, a imagem ficou com um efeito poroso, granulado.

E o que se vê é uma paisagem marinha bem comum aos fortalezenses. Nela aparece um pedaço da ponte dos Ingleses, também conhecida por Ponte Metálica. Justamente aquele pedaço em que o acesso do público é proibido; a ferrugem, a maresia, buracos na argamassa deixaram a edificação em ruínas.

Há algo de metáfora aqui. Trazer parte do oceano atlântico para dentro da região mais afastada do litoral de Fortaleza. Seria uma brincadeira do artista com aquela profecia de que o mar em 2012 vai atingir até a Serra do Maranguape, devido a um suposto cataclisma geológico, previsto por um pai-de-santo e que já faz parte do anedotário da cidade?

Pode também ser uma alusão a questão dos deslocamentos e das desterritorializações proporcionadas pela tecnologia. Pois os usuários do Terminal do Siqueira, que estão vendo a réplica daquela paisagem, poderão vê-la pessoalmente, pois do terminal há intinerários de ônibus que levam para Praia de Iracema.

Isso não seria possível antes do advento da civilização do automóvel, dos ônibus coletivos e da rodoviarização forçada da paisagem brasileira, depois do Governo Juscelino Kubtschek, totalmente submisso à indústria automobilística.

Enquanto na Europa as pessoas vão para o trabalho ou para o lazer através do transporte ferroviário, que polui bem menos e mata bem menos também.

A 3ª obra é do paranaense Charles Klitze: Revistimento/Reinvestimento em desenho de gênero II. Intervenção feita através da impressão de cartazes off-set.

Na obra vários cartazes com o mesmo motivo foram colados. Neles há um pugilista desferindo socos. Pode estar fazendo uma crítica à violência urbana que se multiplicou no cenário caótico das cidades. Sinalizando que vivemos numa era tensionada de conflitos.

Pode ser também uma paródia com o modismo do Muay-Thay, praticado tanto por gente séria, como por doidinhos que querem sair por aí dando porradas em homossexuais e empregadas domésticas, que esperam a condução na parada de ônibus. Falo em paródia, porque o traço utilizado nos remete ao universo das histórias em quadrinhos.

A 4ª obra analisada é a da cearense Cláudia Sampaio, que usou técnicas diversas como pintura direta na parede com pincel atômico, lápis, guache, colagens de recortes, detalhes fotográficos e objetos do cotidiano colados na parede.

A obra possui um texto verbal que sugere uma leitura, mas devido a disposição caótica intencional, o espectador fica sem a indicação de um percurso de leitura específico. Pois a cada momento que se tenta ler, a frase é interrompida por um desenho, ou por outra frase superposta em outra cor, a sugerir o estado emocional perturbado da artista.

A monitora explicou que a artista sofreu recentemente a experiência do luto com um parente e que parece ter havido violência sexual nesse homicídio.

A obra mostra elementos icônicos que sugerem cortes, rupturas, perdas, sobreposições. Há beleza nessa caos, mas também há dor.

A 5ª obra analisada é dos cearenses do Themis Memória: Uni-forme.É uma instalação em que há um relógio de ponto antigo, tv e dvd.

No primeiro dia em que fui ver a obra, o vídeo funcionava.

O que é a obra? Aparentemente um relógio de ponto, só que no lugar do relógio, foi colocado um monitor de tv que fica exibindo uma video-arte.

No 1º dia que fui consegui ver a vídeo-arte. E no 2º dia que fui com o caderno de anotações, o vídeo estava desligado por problemas técnicos.

Pelo que entendi Themis Memória não é uma pessoa, mas um grupo de artistas. O vídeo foi editado por Frederico Benevides e contou com a perfomance do seguinte elenco: David da Paz, Taya Lópis, Balbucio. Contou ainda com a parceria de João Paulo Ribeiro e Luiz Pratti.

A trilha-sonora é assinada por Narcílio Grud.

As fotografias presentes no vídeo são de João Wilke, Reginaldo Freitas e Haroldo Sabóia.

Vou descrever o que acontece com o espectador nessa obra. Ele chega e vê um relógio de ponto antigo analógico e um pequeno fichário antigo cheio de cartões de ponto usados.

No cartão está escrito: - Bata Ponto.

O verbo no imperativo sugere a atmosfera autoritária do mundo do trabalho.

Como o relógio de ponto é antigo, talvez a obra queira sugerir que estamos num mundo marcado pelo desemprego e que assim como o relógio de ponto, o trabalho é uma relíquia do passado.

Então se não temos mais o pelourinho \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\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moderno que é o relógio de ponto para nos atanazar, então seria o momento de comemorar a liberdade de um mundo sem trabalho e marcado pelo ócio? (Bob Black em Abolição do Trabalho). Errado.Não é o que sugere o tom e a trilha-sonora da vídeo-arte. Nela pessoas se movimentam em cima de um palco repetindo movimentos mecânicos, como se batessem ponto, com uma iluminação sombria a sugerir o ambiente insalubre das fábricas, que um dia o homem foi condenado a suportar e que hoje foi expulso delas pelas inovações tecnológicas, pela automação do trabalho e por certos modelos de gestão da cadeia produtiva, como o toyotismo, que provocaram o enxugamento do quadro de pessoal.

A vídeo-arte tem interferências de fotografias e recortes de anúncios publicitários, sugerindo que esse homem pós-moderno está angustiado não por ter perdido o trabalho ou por nunca ter ter conseguido se inserir no mercado de trabalho, mas por não ter como consumir as mercadorias que lhe são oferecidas diariamente pela publicidade e que ele desesperado não tem poder aquisitivo para comprá-las.

Outras reflexões também são sugeridas aqui. Mesmo que o homem pós-moderno esteja desempregado em grandes contigentes urbanos ou rurais, será que sua psiquê está desempregada? Ou para ser mais claro, depois dos 200 anos da Revolução Industrial, que trouxe outro uso do tempo e do espaço terrestres, que trouxe outros ritmos e pulsações...pois o homem que passou 200 anos cumprindo horários, prazos, obedecendo ordens e produzindo mercadorias nos ritmos frenéticos ditados pelas leis implacáveis da ecomomia de mercado, estaria esse homem preparado para esse repentino e compulsório excesso de tempo livre, provocado pelo desemprego estrutural?

Vamos esmiuçar mais este raciocínio. Há 200 anos que o homem vinha sendo usado como engrenagem de uma grande máquina de produção.Sendo controlado pela produção, ao invés de controlá-la como tentaram fazer na revolução de caráter anarquista na Espanha de 1936 ou como sugere a crítica do fetichismo da mercadoria da obra do filósofo alemão Karl Marx. O homem se via pautado pelos ritmos cadenciados e militarizados do trabalho, ora no taylorismo ora no fordismo. De uma certa forma, a instrumentalização do ser humano provocada pelas necessidades do produtivismo capitalista marcou também a subjetividade do ser humano. Tanto que o o ser humano trouxe certos hábitos da fábrica ou do escritório para sua vida pessoal.

Hoje,por exemplo, quando alguém termina um namoro com outro pessoa, há até a expressão: \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\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Eu dei as contas de fulano ontem na 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O conceito cínico networking, que consiste na necessidade das pessoas atualmente serem sempre simpáticas, ficarem mostrando os dentes o tempo todo e evitarem certos atritos ou conversas mais profundas com os colegas e amigos, no intuito de que esse colega ou amigo não pode ser descartado, porque pode estar nele a dica ou a indicação do próximo emprego ou do próximo bico ou trabalho temporário, que levará a comprar aquela TV de 29 polegas de Plasma, que está cientificamente comprovada que ninguém pode passar sem ela. Assim, o networking difundido por conceitos como DATA-MARKETING, veiculados por revistas idiotas como a Você S/a, nada mais é do que Roberto Kurz chamou sarcasticamente de relações de freguesia. Então, o que seriam as amizades hoje em dia? Oportunidades de negócio.

Assim, insistimos, o homem pode até estar desempregado, mas sua psiquê continua batendo cartões de ponto em todos os lugares.

Para terminar a análise da obra do relógio de ponto, vale ainda destacar que de cada lado do relógio de ponto há uma gravura de uma mulher nua pintada em branco sobre fundo azul. Eletrodos de uma máquina foram instalados em sua vagina e em seu cérebro, constituindo uma sinistra simbiose homem-máquina, sugerida por certos modelos de gestão de trabalho como o toyotismo, que liquidou totalmente a vida familiar dos trabalhadores, que ainda permanecem empregados - falo aqui da nefasta prática da folga cinco por um.

A mulher na gravura parece emitir um espasmo de dor e os traços lembram algo da ficção-científica Blade Runner ou do artista Moebius, nesse pequeno quadro sádico em que se tornou o capitalismo transnacional vitorioso com as bençãos das esquerdas e direitas administradoras.

Na 6ª obra analisada, a paulista Heloísa Etelvina: Filatelista, feita com gravura - 1,92x3,10 cm, selos fictícios, tipografias e carimbos compõe um painel que de longe lembraria algo na confluência entre o rigor do construtivismo geomético e o abstracionismo. De perto, o espectador ao se aproximar percebe que há selos que tem letras, sílabas, que remeteriam a uma língua que tivesse fonética, morfologia e até sintaxe, mas que não tem semântica. Posto que as letras e sílabas não formam frases nem textos. Ou formam palavras de uma língua inexistente.

Talvez Etelvina queira referir-se a uma época, em que o bombardeio de informações diárias proporcionado pelos meios de comunicação de massa, mais tumultuam a mente do receptor, do que informam. Ou então, seria uma alusão a partir do significante do selo ficticio de que as comunicações atualmente estão mais cheias de ruído, do que de sentido.

Na 7ª obra Antonio Rocha: Seres Naturais (o monitor não soube informar a naturalidade do artista) feita de gravuras com tinta serigráfica num suporte de tecido. As cores utilizadas foram jogadas em jorros furiosos e explosivos sobre a tela num fundo branco. Os matizes foram o preto, o branco, o cinza e o magenta. E o efeito plástico produzido nos remete a um expressionismo abstrato que resolve cantar o disforme, o grotesco, o feio e o sujo realçado pelo excesso de preto, a simular talvez a fuligem presente em terminais de ônibus.

Na 8ª obra da cearense Ivanize, a artista usou a técnica de lambe-lambe, pintura sobre papel.

Foram coladas nas paredes do terminal. Há uma adolescente colegial. Há uma concha gigante de que saem pernas femininas e há uma mulher com mala querendo sair, migrar para algum lugar, mas dos seus pés brotam raízes que a impedem de sair.

Que percurso de leituras podemos fazer desses significantes? A associação com o universo feminino é automática. A mulher-menina adolescente na escola, que deve ir à escola para aprender a ser uma mãe ou trabalhadora eficiente e submissa. A mulher escondida numa concha gigante que poderia ser o útero, mas também pode ser o ostracismo imposto à mulher durante muitos anos e uma mulher que finalmente resolve deixar a casa do pai, do marido, do companheiro que a oprime, mas que ao mesmo tempo, já se enraizou no que é familiar, ainda que ruim e teme a insegurança e a imprevisibilidade do desconhecido.

E por último a obra do cearense Gentil Barreira: Espelho Meu II.Fotografia - 200x 90, impressão espelhada adesivada sobre PVC.

Em duas fotos um homem e uma mulher de corpo inteiro vestidos e mal iluminados.

A iluminação é suficiente apenas para mostrar os contornos do corpo e certas partes do colorido das roupas.A impressão que se tem é de que estão num provador de roupas dessas lojas de departamento.

Os rostos de ambos estão escurecidos.

A pergunta que a obra de Gentil Barreira nos faz é: qual o contorno do homem e da mulher contemporâneos? E se o refletor se acendesse sobre seus rostos, o que veríamos? Que tipo de homem e que tipo de mulher a pós-modernidade produziu em meio ao patriarcado judaico-cristão agonizante, como se depreende da obra de João Silvério Trevisan ( Seis balas num buraco só: A Crise do masculino - Ed. Record), da feminista alemã Roswita Scholz e as seduções da sociedade de consumo, da indústria de comésticos como se depreende da obra de Gilles Lipovetsky?

Termino aqui minha contribuição crítica.Não quiz com ela encerrar um debate, mas provocar seu início.

Charles Odevan Xavier

Mestrando em Letras pela UFC.