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<strong>Convite<br>
<span style="font-size:12px">Rua Passos Manuel, 178, 4º andar</span></strong></div>

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<p style="margin:10px 0;padding:0;color:#202020;font-family:Helvetica;font-size:16px;line-height:150%;text-align:left"><strong>AGULHA GUIA | Eliane Duarte</strong><br>
Curadoria de/ <em>Curated by </em>Cláudia Saldanha<br>
Visita à exposição com a curadora/ <em>Visit to the exhibition with the curator</em>: 22h<br>
<br>
<strong>14.02 — 21h30<br>
Até /<em> Until </em>24.03</strong><br>
<br>
<span style="font-size:12px">[PT]</span></p>

<p style="text-align:left;margin:10px 0;padding:0;color:#202020;font-family:Helvetica;font-size:16px;line-height:150%"><span style="font-size:13px">"A exposição de Eliane Duarte reúne a produção da artista surgida nos anos noventa, no Rio de Janeiro, e interrompida prematuramente por sua morte em 2006. Eliane transformou em materiais suas pinturas iniciais. Recortava, dobrava e costurava. Virava as telas do avesso, costurava outra vez. Descobria superfícies e encobria outras. Assim, num trabalho de redefinição<br>
da própria obra, iniciou uma série de relevos (por assim dizer) que revelavam uma vasta experimentação em busca de novas formas até então relegadas ao plano bidimensional. Partia de sobras de telas, caixas de papelão, couro e também da pele de animais e as preenchia com algodão e outros materiais atribuindo volume e estranheza a seus objetos. Abdicava assim da tela como suporte de representação e construía superfícies, criava corpos estranhos como a descobrir-se a si mesma, seus gestos, seu próprio corpo, sua memória. Em uma entrevista Eliane afirmou “trabalho com agulha e linha como se fossem vísceras, meu intestino grosso e delgado... É através deles que existo e tento fazer arte. Com agulha e linha crio um pequeno mundo pra mim mesma, onde tento me entender”. O poeta Chacal, irmão da artista, escreveu certa vez “Eliane vai buscar lá onde o som ainda é murmúrio, onde a forma ainda é esboço, rascunho, estranheza... com isso a forma vem sem filtro como escrita automática, com a liberdade extrema de quem inventa em cima do vivido”.<br>
<br>
Os anos noventa foram de intensa produção reconhecida por um primeiro prêmio no Salão Nacional de Artes Plásticas da Funarte com a obra Veste, em 1994. Com esse prêmio ganhou uma viagem ao exterior e sua obra foi incluída na coleção do Museu Nacional de Belas Artes do Rio. Outras importantes mostras viriam a seguir como sua primeira individual na Galeria Anna Maria Niemeyer, no Rio, em 1996; na Galeria Camargo Villaça, em São Paulo, em 1998, a convite de Marcantonio Villaça; e na Galeria Canvas, no Porto, em 2001, a convite de José Mário Brandão. Participou também de relevantes exposições coletivas como “Entretelas”, no Museo Alejandro Otero, em Caracas, Venezuela, com Iole de Freitas e Beatriz Milhazes; “Os 90”, no Paço Imperial do Rio, em 1999; e nas Cavalariças da Escola de Artes Visuais do Parque Lage, com Marcia X. e Lina Kim, em 2003.<br>
Eliane não deixou muitos registros de suas obras. Era uma pessoa quieta, pouco falava e não frequentava o substrato social do meio artístico. Premonitoriamente parecia compreender que precisava dedicar-se a seu ofício sem interrupção. Pode-se dizer que seu trabalho pertence a uma genealogia bastante vigorosa da arte latino-americana. Eliane admirava a obra de Lygia Pape, de Hélio Oiticica e de Lygia Clark (especialmente sua última fase – a dos objetos relacionais). A mesma admiração estendia-se à obra de Brígida Baltar, com quem dividiu ateliê, de Efrain Almeida e de<br>
Marcia X. Com todos manteve um intenso diálogo. Revelava grande fascínio por Rembrandt e pela série de pinturas negras de Goya.<br>
<br>
Esta mostra traz à tona a atividade fugaz mas de grande valor de Eliane Duarte. Amigos próximos colaboraram com alguns fragmentos de memória — uma foto, uma entrevista, um desenho. Duas obras da coleção da Galeria Graça Brandão estão em exposição. Criaturas da Noite participaram da mostra Esculturas como Cicatrizes, no Porto, na Galerias Canvas. Executadas em tecido e cobertas de cera de abelha e pigmentos, esses estranhos órgãos tridimensionais nos revelam o vasto universo de referências acionado pela artista em sua obra. Com o conjunto de fotografias e documentos apresentados buscou-se conectar fatos, vestígios, indícios.<br>
<br>
A distância e a ausência são fatores que deterioram nossas lembranças. Mas a poesia de Chacal nos faz alcançar elos perdidos nesse emaranhado de estilhaços depositados de maneira esparsa e indisciplinada em nossa memória."<br>
<br>
Claudia Saldanha<br>
<br>
ELIANE<br>
eliane costura<br>
roc roc roc<br>
eliane vê a vida de viés<br>
e não gosta do que vê<br>
eliane explode tudo<br>
catapimba! catapum!<br>
eliane tece a vida divergente<br>
cria bichos mantos fantasmas<br>
eliane faz da agulha sua guia<br>
e da linha sua língua<br>
eliane se recria na arte<br>
eliane de carvalho duarte<br>
roc roc roc</span><br>
<br>
<em><span style="font-size:12px">[EN]<br>
<br>
"Eliane Duarte's exhibition brings together the artist's work emerged in the 90's, in Rio de Janeiro, that was prematurely interrupted by her death in 2006. Eliane turned her early paintings into materials. She cut and folded and sew. Turned the canvases inside out, stitched it up again. She would discover surfaces and cover others. Thus, in a work to redefine the work itself, she began a series of reliefs (so to speak) which proved to be a great experimentation in search of new forms which were then relegated to the two-dimensional space.<br>
She created from scraps of canvases, cardboard boxes, leather and also the skin of animals and filled them with cotton and other materials attributing volume and strangeness to their objects.<br>
This way, she abdicated the canvas as a representation medium and built surfaces, created strange bodies as if discovering herself, her gestures, her own body, her memory.<br>
In an interview Eliane said "I work with needle and thread as if they were viscera, my large and small intestine... It is through them that I exist and try to make art. With needle and thread I create a small world for myself, where I try to understand me. " The poet Chacal, brother of the artist, once wrote "Eliane goes to get where the sound is still murmur, where the form is still sketch, draft, strangeness... this way te form comes without filter as automatic writing, with the extreme freedom of those who invent from what is lived."<br>
<br>
The nineties were of intense production recognized by a first prize in the National Salon of Plastic Arts of Funarte with the work Veste, in 1994. With this prize, she won an international trip and her work was included in the collection of the Rios's National Museum of Fine Arts. Other important exhibitions would follow, like her first solo exhibition at the Anna Maria Niemeyer Gallery in Rio in 1996, at Galeria Camargo Villaça, in São Paulo, in 1998, at the invitation of Marcantonio Villaça; and at the Canvas Gallery, in Porto, in 2001, at the invitation of José Mário Brandão. She also participated in important collective exhibitions such as "Entretelas", at the Museo Alejandro Otero, in Caracas, Venezuela, with Iole de Freitas and Beatriz Milhazes; "The 90's" in the Imperial Palace of Rio in 1999; and in the Stables of the Lage Park School of Visual Arts with Marcia X. and Lina Kim in 2003.<br>
Eliane did not leave many records of her work. She was a quiet person, didn't speak much and did not attend the social substratum of the artistic medium. Premonitory she seemed to realize that she needed to devote herself to her craft without interruption. It can be said that her work belongs to a rather vigorous genealogy of Latin American art. Eliane admired the work of Lygia Pape, Hélio Oiticica and Lygia Clark (especially her last phase - that of relational objects). The same admiration extended to the work of Brígida Baltar, with whom she divided a studio, Efrain Almeida and Marcia X. With all of them she maintained an intense dialogue. She revealed a great fascination for Rembrandt and Goya's series of black paintings.<br>
<br>
This exhibition brings to light the fleeting activity but of great value of Eliane Duarte. Close friends collaborated with some fragments of memory - a photo, an interview, a drawing. Two works from the Galeria Graça Brandão collection are on display. Criaturas da Noite participated in the exhibition Esculturas como Cicatrizes, in Porto, in Galerias Canvas. Carried out in cloth and covered with beeswax and pigments, these strange three-dimensional organs reveal the vast universe of references that the artist has in her work. With the set of photographs and documents presented, we tried to connect facts, traces, and clues.<br>
<br>
Distance and absence are factors that deteriorate our memories. But the poetry of Jackal makes us reach lost links in this tangle of fragments deposited sparingly and undisciplined in our memory."<br>
<br>
Claudia Saldanha<br>
<br>
ELIANE<br>
eliane sewing<br>
roc roc roc<br>
eliane sees the life of bias<br>
and doesn't like what she sees<br>
eliane explodes everything<br>
catapump! catapump!<br>
eliane weaves the divergent life<br>
creates bugs ghost mantles<br>
eliane makes the needle her guide<br>
and from the line her tongue<br>
eliane recreates herself in art<br>
eliane de carvalho duarte<br>
roc roc roc<br>
<br>
[Free Translation]</span></em></p>
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