2015 // Catalog Tropicando // ENG
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Transcript of 2015 // Catalog Tropicando // ENG
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Bolsa de Arte e Design
present
Mameluca Studio
Tropicando Collection, 2015
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What we present is just another vision of a
movement for rescuing the essence, self-love and
faith in the Brazilian people.
There is no true if you do not live it;
There is no cruelty if you do not feel it;
There is no love with no sublime;
There is no faith with no perseverance;
There is no design if there are no differences.
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TROPICANDO
necessary.” According to tropicalists,
culture embodies the mechanics for
understanding, interpretation and
reformulation the way information is
broadcasted, and this was powered
by them through Carnival, Brazilian
northeastern music and street art,
thus reaching the large Brazilian
masses of people.
Oswald de Andrade in his Cannibalist
Manifesto (1928) stated,
“Cannibalism alone unites us” urging
other tropicalists to realize Brazil
as a country of mixing ethnicities
which included Indians, Africans and
Europeans, and that a moral liberation
in favour of the different was needed.
Information should reach all types of
people.
Tropicália was an analytical cultural
movement born in 1967 as a
creative option for political and social
manifestation. Tropicalists believed
that new existing policies in Brazil
(after 1964) only served to the
elitist culture. According to Martinez
Correa, “to express a new and
complex reality to reinvent forms
to capture this new reality was
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Artistic creations and movements
occurring during Tropicália did elicit
the people by showing disparities,
mismatches and a large array of
materials. Images unfolded that
counteracted one to another and
powered tensions. Influenced by
American Pop Art and French Realism,
Tropicalism champions the use of
Brazilian elements to highlight the
national issue: green and yellow
psychedelism, advertising language
and means of mass communication.
“WHY NOT? Why do not see the
national identity of Brazil as an
open process under a continuous
development?”
Barriers and limitations were broken
in each word, each object. Everything
was designed to make the life better
and to show people that nothing
was definitive. Instead, a productive
questioning resulted therefrom “Why
limit possible experiences and produce
art in a preconceived manner?”.
Martinez: “Criticism exists only when
there’s History in progress”.
Inspired by Oswald de Andrade’s
Cannibalist Manifesto, Oiticica then
added that “Cannibalism would be the
defense we have against the foreign
rule”.
Under the belief that tropicalist
philosophy is a movement that will
never end, we now celebrate its
50th anniversary by creating a
collection in honor of one of the
greatest artistic manifestations in
Brazil. Thus, we went deep inside
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this political and cultural movement in
order to translate its concepts into
objects that could incorporate the
philosophy of that time and be aligned
with experimental moves of designs
and Mameluca’s parameters.
“We do not profess abstracts thinking
but we communicate live thinking”
stated the tropicalists.
Tropicália employed an aesthetical
breakthrough as a revolutionary
formula as well as Mameluca goes
through the new approaches to design
the objects. Tropicália puts together
the experimentalism and criticism;
Mameluca uses the criticism as trial
laboratory.
Based on this period of History we
display musical furniture, objects that
vibrate, twist and bind; ideas that
awake the curiosity for challenging
questioning as Why?, Where?, How?
The introduction of electric guitar
in the Brazilian music, for example,
made us think about the visual effect
that the sound distortions would
produce in the people’s mind. Then,
we visually depicted the effect caused
by the wide array of overlapping
guitar cables resulted from the move.
As it is a sound inspiration, the object
is floating in the space, and we called
it Vertigem (Dizziness).
In 1967 during the 3rd Festival of
Brazilian Popular Music, Caetano
Veloso sang his song “Alegria,
Alegria” (“Joy, Joy”) which would
become the icon of Tropicalist
Movement. In a curbed manner,
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wearing an orange turtleneck shirt
and bright eyes Caetano translated all
feelings overshadowed by the political
disruptions at the time. This is the
time portrayed in the object Iluminado
(Enlightened).
Cannibalist Manifesto, a seminal
document for tropicalist movement, is
portrayed in Antropófago (Cannibal)
bar. Eleven thousand thorns simulate
a type of cannibalism of the object,
the perception of forms is lost by the
fagocitose between the bar and the
objects inside it. The shape is inspired
by a blend of Brazilian flag and thinking balloons
used in comic books and graphic novels in the
1970s.
By the end of 1960s, peak of political crackdown
in the country, some people were accepted
while others struggled to survive with their own
thoughts. Os Mutantes (The Mutants – Brazilian
rock band) were one of the few that outlived
that harsh period of time and could uphold their
beliefs alive. They warmed the soul whenever
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their thoughts pulsed the emotions
out. Our intention was to portray
the group brain through Portento
(Prodigy), a changing-mood table
that reacts to the sound perception
exactly as Os Mutantes’ mindset is
conveyed in their songs.
As a breath of fresh air to the object
concept in the arts, Hélio Oiticica
created the Bólides, boxes to be filled
with his memories, manifestations
and hidden desires. By joining them
to the Penetrable we developed
Transestruturas (Trans-structures),
a translucent chromatic scale object
that changes the visual perception
thus enabling several uses and
possible compositions.
Hélio Oiticica’s Parangolés inspired
the creation of a rocking chair Supra
(Supra). Fabrics, cloths, plastics
and other materials overlaid become
meaningful as per the viewer’s
experience. Its twist was magic and
exploded out the expressions hold
inside each one. It was the moment
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the persons were in touch with
themselves. The twist expresses the
richness of this creation and offers
a counterpoint to Oiticica’s work. By
employing gentle materials, each work
overlaid is assigned a function in
order to cause an enjoyable reflective
experience.
Favela (slum) was a place of high
inspiration for tropicalists. It was a
place to search for the people’s root,
dreams and needs. From Mangueira
Hill, Hélio Oiticica explored the slums
architecture. From there on, in
1967, he featured Tropicália work
at the Museum of Modern Art of
Rio de Janeiro (MAM) over the New
Objectivity exhibition.
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“The act of walking in the installation produces a feeling of stepping back
on the floor.” – Hélio Oiticica.
In the search of Brazilian soul as presented in this sentence we created
an installation set up by the visual disorganization. Our work Cafofo
(Cozy) encompasses the essence of Brazil’s natural richness. Randomly
displayed, four Bólides each one depicting one type of raw material
found in the Brazilian soil. Tree, rubber, metals and precious stones
are provided in powder which enables both an experience of visual and
sensorial perception.
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In order to honor the Brazilian
mix of races we have digged into
the roots of our people since the
colonization times. The reality of our
racial history has hugely surprised
us. Nowadays, on the average, only
10% have Brazilian indian ancestry
to 30% of African ancestry and
60% of European ancestry. Based
on these data we created the lamp
Ninho (Nest) that shows this very
proportion in the Brazilian DNA
by merging materials from each
continent.
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Bolsa de Arte e Design
WWW.BOLSADEARTE.COM
+55 21 2522 1544