pérez- oramas león ferrari and mira schendel tl tangled alphabets e series of works on paper, developing a practice in which organic, aó gestural forms can appear both as abstractions and as explora- n n tions of the codes of writing, whether legible or indecipherable. f Deeply concerned with the ethical role of the artist, Ferrari later ge r fused his avant-garde formal interests with a more political, con- lr frontational kind of art. Still fully active in Argentina’s contempo- ea r León Ferrari and Mira Schendel are among the most significant rary-art scene, he lives in Buenos Aires and won the Leone d’oro di Latin American artists of the twentieth century. Living respec- at the Venice Biennale of 2007. a tively in Argentina and Brazil, both began to make art in the 1950s Born in Zurich in 1919, Schendel moved with her family to n a and hit their stride in the early 1960s, maturing during a period Italy while still an infant. In 1936 she entered a Milan university to d when not only artists but philosophers and indeed a broad range study philosophy, but three years later, facing the threat of anti- l m p of intellectuals were developing a fascination with language. Semitic persecution, she fled into exile, and once the war was i Interested equally in speech and the written word, Ferrari and over she left Europe for Brazil. It was there that she began to make hr a Schendel made language their subject matter. In this they may art, producing first ceramics, then painting, and, beginning in the a s seem to resemble the Conceptual artists, their contemporaries in 1960s, a volume of work based on the use of Japanese paper c b North America and Europe, but their work differs fundamentally but involving uncategorizable, often self-invented methods. Like h from the generally accepted canon of Conceptual art in using Ferrari, Schendel was highly sensitive to the ethics of artmaking, ee language not as a transparent vehicle of ideas but as a material, and approached art as the most radical possible expression of n t an almost physical medium to shape and mold. the human condition. She continued to experiment with forms d se Ferrari was born in Argentina in 1920. He has worked in and materials until her death, in São Paulo in 1988. l a wide range of art forms and mediums, from sculpture, paint- Written and conceived by Luis Pérez-Oramas, The Estrellita ing, drawing, and assemblage to film, collage, mail art, poetry, Brodsky Curator of Latin American Art at The Museum of Modern and sound. While living temporarily in Italy in the 1950s, he made Art, León Ferrari and Mira Schendel: Tangled Alphabets presents ceramic sculptures stylistically connected to the European new insights into these artists’ visual deconstructions of language abstraction of the time. On returning to Argentina, he produced and examines the connections and collisions among visual art, the sculptural works of metal wires and rods before beginning a word, and the social world. ISBN: 978-0-87070-750-6 MoMA león ferrari and mira schendel luis pérez-oramas león ferrari and mira schendel tangled alphabets with essays by andrea giunta and rodrigo naves The Museum of Modern Art New York Published on the occasion of the exhibition Tangled Alphabets: © 2009 The Museum of Modern Art, New York Contents León Ferrari and Mira Schendel, organized by Luis Pérez-Oramas, Copyright credits for certain illustrations are cited on p. 199. All rights The Estrellita Brodsky Curator of Latin American Art, The Museum reserved Foreword 7 of Modern Art, April 5 through June 15, 2009 Acknowledgments 8 Luis Pérez-Oramas’s essay was translated from the Spanish by The exhibition is made possible by Agnes Gund, The International Kristina Cordero. Andrea Giunta’s essay was translated from the León Ferrari and Mira Schendel: Tangled Alphabets 12 Council of The Museum of Modern Art, and Estrellita B. Brodsky. Spanish by Elise Nussbaum. Rodrigo Naves’s essay was translated Luis Pérez-Oramas from the Portuguese by Michael Reade. Mira Schendel’s writings in Generous support is provided by Beatriz and Andrés von Buch, The that essay were translated from the Portuguese by Clifford E. Landers. Léon Ferrari: A Language Rhapsody 46 Bruce T. Halle Family Foundation, and Fundación Cisneros/Colección Andrea Giunta Patricia Phelps de Cisneros with additional funding from Clarissa Distributed in the United States and Canada by D.A.P./Distributed Alcock Bronfman, Andrea and José Olympio da Veiga Pereira, Leopoldo Art Publishers, 155 Sixth Avenue, 2nd floor, New York, New York 10013 Mira Schendel: The World as Generosity 58 Rodés and Ainhoa Grandes, Mrs. Yvonne Dadoo de Lewis, Mr. and (www.artbook.com) Rodrigo Naves Mrs. Guillermo Cisneros, TEN Arquitectos/Enrique Norten, and Mr. and Distributed outside the United States and Canada (except Brazil) Mrs. Nicholas Griffin, Eva Luisa Griffin, and Tomás Orinoco Griffin. by Thames & Hudson Ltd, 181 High Holborn, London WC1V 7QX Plates 70 United Kingdom (www.thamesandhudson.com) Chronology 169 This publication has been prepared with the assistance and support Distributed in Brazil by Cosac Naify Selected Bibliography 184 of Mr. Charles Cosac and Mr. Michael Naify. Index of Plates 196 Library of Congress Control Number: 2009922634 Cosac Naify Publishing House acknowledge the cooperation received ISBN: 978-0-87070-750-6 Trustees of The Museum of Modern Art 200 from Mrs. Ada Schendel, Mr. André Millan, and Mr. Carlos Jereissati Filho, to whom they wish to express their gratitude. Front cover Left: León Ferrari. Torre de Babel (Tower of Babel; detail). 1964 Produced by the Department of Publications Stainless steel, bronze, and copper, 6' 6 3/4" x 31 1/2" (200 x 80 cm) The Museum of Modern Art, New York Lent by the American Fund for the Tate Gallery 2008. See plate 72 Right: Mira Schendel. Untitled (detail) from the series Objetos gráficos Edited by David Frankel (Graphic objects). 1973 Designed by Amanda Washburn Transfer type on thin Japanese paper between transparent acrylic Production by Christina Grillo sheets, 22 x 22 x 3/8" (55.9 x 55.9 x 1 cm) Printed and bound by Conti Tipocolor, s.p.a., Florence, Italy Collection Patricia Phelps de Cisneros. See plate 93 This book is typeset in Chalet and Century Schoolbook. Back cover The paper is 170 gsm Luxosamt Offset León Ferrari, late 1960s; and Mira Schendel, São Paulo, 1980s Published by The Museum of Modern Art, 11 W. 53 Street, New York, Frontispiece New York 10019 (www.moma.org) and Cosac Naify, rua General Jardim, León Ferrari, Galeria Levi, Milan, 1962; and Mira Schendel with a 770, São Paulo, Brazil, 01223-010 (www.cosacnaify.com.br) Droguinha, São Paulo, 1980s Printed in Italy foreword 7 The Museum of Modern Art has a history of conceiving comparative their work together in New York and in Europe, we bring to bear on retrospectives, exhibitions exploring parallels and divergences among them an international perspective that transcends a purely national two or more artists. Following one of the original legacies of modernity, understanding and will no doubt crucially inflect our understanding of the understanding that symbolic forms only produce meaning through Western modern art. their differences, we have embraced this curatorial model from our open- We are enormously grateful to Ferrari and to the Schendel ing in 1929, with a show of Cézanne, Van Gogh, Seurat, and Gauguin, to estate, as well as to the collectors and institutions lending works for the recent Matisse Picasso of 2004. Tangled Alphabets: León Ferrari and the exhibition. A project this complex demands the collaboration of a Mira Schendel extends this curatorial and philosophical tradition. great number of people and we are grateful to the writers, curators, Tangled Alphabets focuses on two outstanding artists whose and other members of the Argentine and Brazilian art worlds who have work is too little known in North America and Europe. The first U.S. contributed to the exhibition’s materialization. The excellence and cre- retrospective to pair León Ferrari, from Argentina, and the late Mira ativity of the Museum’s own staff is crucial to the success of all our Schendel, who was based in Brazil, it provides a consistent analogical projects, and Luis Pérez-Oramas, The Estrellita Brodsky Curator of Latin survey of their contribution to contemporary art and, we feel, a ground- American Art, and Geaninne Gutiérrez-Guimarães, Curatorial Assistant breaking moment of awakening to the quality and significance of their in the Department of Drawings, have worked tirelessly on every detail work. The Museum’s commitment to Latin American art of course goes of this exhibition from inception to realization. We are deeply grateful back many years, and today more than ever we are committed to to Agnes Gund, The International Council of The Museum of Modern bringing attention to overlooked chapters of modern art history and to Art, Estrellita Brodsky, Beatriz and Andrés von Buch, The Bruce T. Halle shaping curatorial initiatives through an awareness of the complexity Family Foundation, Clarissa Alcock Bronfman, Andrea and José Olympio of our present world. da Veiga Pereira, Leopoldo Rodés and Ainhoa Grandes, Mrs. Yvonne Art is a history of diaspora, of the relocation, assimilation, and Dadoo de Lewis, Mr. and Mrs. Guillermo Cisneros, TEN Arquitectos/ transformation of forms, ideas, practices, and intellectual movements. Enrique Norten, and Mr. and Mrs. Nicholas Griffin, Eva Luisa Griffin, and Ferrari, the Argentine son of an Italian immigrant, and Schendel, a Tomás Orinoco Griffin for their enthusiasm and support for this exhibi- Swiss/Italian who emigrated to Brazil, have tirelessly addressed visual tion and its catalogue. We warmly thank Patricia Phelps de Cisneros art as capable of positing the most radical and demanding existential and the Fundación Cisneros for important funding of the exhibition, and questions. At a time when a good deal of Western art was linguisti- Patty for her tireless efforts to raise awareness and support not only for cally based, they addressed language as if there were no difference this presentation but for all Latin American art. The Brazilian publishers between signs, codes, words, and any other visual form. Instead of Cosac Naify were extremely generous and helpful with the production using language as a substitute for the art object, they produced art of the catalogue, and this assistance is greatly appreciated. objects that made language a visual subject. Both artists knew hard- ship and tragedy; Schendel, who came from a Jewish family, became a Glenn D. Lowry refugee fleeing the Nazis during World War II, and Ferrari had agonizing Director, The Museum of Modern Art experience of the Argentine junta’s “dirty war” of the 1970s and ’80s, to the point where he was forced into exile. Both made art a form of sur- vival, conceiving original techniques for producing it and opening up new repertories for abstraction and language-based work. Their contri- bution has been transformative in their own countries, but in exhibiting acknowledgments 9 I remember an early afternoon in the late 1990s in São Paulo, when including her father and aunt, Knut and Erika Schendel, and her chil- Hector Babenco; Julie Belfer and Felipe Chaimovich, Museu de Arte The observations of friends such as Luis Camnitzer, Nicolas Guagnini, I first saw a retrospective of works by Mira Schendel. I had barely seen dren João, Nina, and Max Schendel. Max also contributed to the book Moderno de São Paulo; Jones Bergamin; Peter and Flavio Cohn; Israel Jorge Macchi, Gabriela Rangel, Eduardo Stúpia, and Beto de Volder this magnificent, compelling art before, and I felt privileged to share my as one of our main photographers in Brazil. I thank Claudia Vendramini Furmanovich; Esther and Edward Galvão; Carmela Gross; Afonso were instrumental as I was building my personal cartography of both astonishment with Patricia Phelps de Cisneros and Paulo Herkenhoff. Reis and André Millan, dear friends and esteemed colleagues. André, Hennel and Cristina Sá; Antonio Hermann; Ana Maria Hoffman and Paulo artists’ work. I could not have asked for a higher blessing than being there with an exceptional gallerist, gave us an incredible amount of help; he was Roberto Barbosa, Museo de Arte Contemporâneo, Universidade de In the United States and abroad, we have depended on the Patty, who really brought me to Latin American art and introduced me a constant guide and advisor, and I am deeply grateful for his dedi- São Paulo; Paulo and Marta Kuczynski; Eduardo Leme; Francisco Leite; assistance of a wonderful group of collectors and gallerists: Anton to friends and guides like Paulo. I am and will forever be grateful to cation to this wonderful project. We could not have succeeded with- James Lisboa; Heitor Martins and Fernanda Feitosa; Marli Matsumoto; and Victoria Apostolatos, Francisco and Pia Arevalo, Pablo and María them both. out his devoted partners and staff—Socorro de Andrade Lima, Sophia Andrea and José Olympio Pereira; Cesare Rivetti; Paulo and Helene Cristina Henning, Ernesto and Cecilia Poma, and Cecilia de Torres. I have As fortune had it, that first encounter led me to friendships that Whately, Adriana M. de Brito, and Amanda Rodrigues Alves—who gave Mendes da Rocha; Nara and Daniel Roesler; Clara Sancovsky; Jayme been privileged in the friendship and intellectual support of Edward paved my path toward the work of Schendel and León Ferrari. These us unconditional support. I was also privileged to share many hours Vargas da Silva; Susana and Ricardo Steinbruch; Eduardo and Alberto Sullivan, Dean of Humanities at New York University, whose unparal- amis de grande profondeur are many, and no words can express my of work and talk with León in his Buenos Aires studio. The exhibition Tassinari; and Martin Wurzmann. Special gratitude goes to the pub- leled generosity and enthusiasm have given me strength. Mari Carmen gratitude to them. I would first like to thank Glenn D. Lowry, Director of could not have taken place without the tireless help and devotion that lisher Charles Cosac and to the team of professionals working with him Ramírez, Worham Curator of Latin American Art at the Museum of Fine the Museum, whose continuing enthusiasm for both artists has been his family, assistants, and friends demonstrated along the way, in par- at the publishing company Cosac Naify, particularly Augusto Massi and Arts, Houston, has shared insights and knowledge on both artists. the touchstone of this project; Gary Garrels, former Robert Lehman ticular Julieta Zamorano, Marcela Roberts, Andrea Wain, and Juan José Cassiano Machado. Their generosity, as well as that of Charles Cosac Erika Franek, Registrar at the same museum, and Catherine Clement, Foundation Chief Curator of Drawings, who inspired me to think of Firpo (Yaya). I am also grateful to León’s family in São Paulo, including and Michael Naify, has made a transformative difference in this book. Registrar at Tate Modern, London, have been instrumental in expedit- Schendel and Ferrari as acquisition and exhibition priorities here; John Pablo Ferrari, Anna Ferrari, and Patricia Rousseaux, for receiving us in In the Argentine art world too we have met a seemingly unlim- ing key loans. I am grateful to the staff of the Fundación Cisneros, Elderfield, former Marie-Josée and Henry Kravis Chief Curator of Painting their homes. ited welcome. I would first like to thank Eduardo Costantini, President including Gabriel Pérez-Barreiro, Director; Guillermo Ovalle, Collection and Sculpture, for whose wise and inspirational advice I will always be There are a number of studies of Schendel, including Sonia of the Museo de Arte Latinoamericano de Buenos Aires (malba), for his Manager; and Ileen Kohn, Projects Manager, all of whom have given grateful; Jay Levenson, Director of the Museum’s International Program, Salzstein’s exhibition catalogue No vazio do mundo, which remains a ongoing support. Marcelo Pacheco, Chief Curator of malba, embraced us incredible assistance and support. Amelia Sosa-Zimerman, Senior with whom I first visited Ferrari’s Buenos Aires studio along with Victoria major reference. Geraldo Souza Dias’s research on the artist is the most the idea of this parallel retrospective of Ferrari and Schendel early Associate, Programs and Communications, at the Fundación Cisneros Noorthoorn, who pointed out the almost total absence of Ferrari’s work comprehensive to date; I was fortunate to have access to both his doc- on, and his friendly advice, intellectual input, and concrete help have has given us unconditional assistance, particularly in the fundraising in the Museum’s collection at the time; Kathy Halbreich, the Museum’s toral dissertation and his forthcoming book, Mira Schendel. Do espiritual been invaluable. I am also grateful to his assistant, Victoria Giraudo, aspect of the project. Museum Trustees such as Kathy Fuld, Mimi Haas, Associate Director and an ardently supportive advocate of the global à corporeidade, which will be published later this year by Cosac Naify and to Cintia Mezza, Registrar, who were always ready to answer our Henry and Marie-Josée Kravis, and Emily Pulitzer have long supported cause behind this exhibition; and Guy Brett, whose brilliant insights have and will certainly prove a fundamental scholarly tool. My knowledge of questions. Many Argentine intellectuals, critics, and artists have shared the work of both Schendel and Ferrari. I am especially grateful to the been instrumental in the constitution of my own view of Schendel’s art Schendel, and this exhibition and catalogue, are permanently indebted with me their knowledge of Ferrari’s work and life. Andrea Giunta, an sponsors of this exhibition: Agnes Gund, MoMA’s International Council, and whose patience and understanding were critical in accomplishing to Souza Dias. The Brazilian historian and art critic Rodrigo Naves pro- exceptional art historian and one of the most devoted and trustworthy Daniel and Estrellita B. Brodsky, and Patricia Phelps de Cisneros and major acquisitions of her works at the Museum. vided vital input on Schendel’s life and work, and collaborated further by sources of intelligence on Ferrari’s work, contributed an essay to this the Fundación Cisneros, tireless allies in MoMA’s Latin American initia- The conception, production, and realization of a project like this writing an essay for this catalogue. I am grateful to Rodrigo for introduc- book. Luis Felipe Noé, a major artist and an intimate friend of Ferrari’s, tives, who have continuously supported all of our endeavors involv- one are a labor of many, and the professional collegiality and human ing me to Paulo Celso and his son, Fernando Vilela, both of whom shared generously shared time, memories, and information. Collectors, gal- ing Latin American art; Beatriz and Andrés von Buch; Bruce and Diane generosity of the numerous contributors to the creation of this publi- intimate information about Schendel’s friendships with Dominican friars lerists, and art lovers such as Orly Benzacar, Ruben Cherñajovsky, Halle, exceptional collectors of Latin American art; and Clarissa Alcock cation and the exhibition it accompanies have been an immense privi- in São Paulo in the early 1970s. Debbie Frydman and Mariela Rossi, Mauro and Luz Herlitzka, Ignacio Bronfman, Andrea and José Olympio da Veiga Pereira, Leopoldo lege. I am forever indebted to Ada Schendel, Schendel’s daughter, and Many members of the Brazilian art world have come to our Liprandi, Luisa Pedrousa and Gianni Campochiari, Perla Rotzait, and Rodés and Ainhoa Grandes, Mrs. Yvonne Dadoo de Lewis, Mr. and Mrs. to León and Alicia Ferrari, all major lenders to the exhibition. Both Ada rescue with priceless advice for which I am forever thankful: the col- the staff of the Museo Nacional de Bellas Artes and of the Museu Sívori Guillermo Cisneros, TEN Arquitectos/Enrique Norten, and Mr. and Mrs. and León have been generous in sharing their time and their memories lectors Gilberto Chateaubriand and Adolpho Leirner, good friends of were invaluable guides. Photographers in both Argentina and Brazil Nicholas Griffin, Eva Luisa Griffin, and Tomás Orinoco Griffin. with me, and have been invaluable to the entire process of this exhi- the Museum; Ricard Akagawa; Aracy Amaral; Marcelo Araújo, Director, did an amazing job of capturing the artists’ works: Vera Albuquerque, A challenging curatorial and intellectual project like this one bition from the start. I have shared many moments with Ada’s family, Pinacoteca do Estado, São Paulo; Raquel Arnaud and Yannick Carvalho; David Clarke, Romulo and Nicole Fialdini, and Adrían Rocha Novoa. can only be achieved within the framework of a unique, supportive, 10 11 demanding institution, and what has made Tangled Alphabets: León Management System team of Ian Eckert, Jeri Moxley, Kristen Shirts, outstanding skills in its beautiful and elegant design. She was always Curator; Curatorial Assistants Esther Adler, Maura Lynch, and Samantha Ferrari and Mira Schendel possible is The Museum of Modern Art. This and, in the past, Eliza Sparacino and Susanna Ivy worked closely with open to our ideas and has materialized them beautifully. Outside the Friedman; Preparators David Moreno, Mary Saunders, and Eleanor institution comprises a multitude of bodies and souls, who have given us in maintaining our checklist and responding to our endless queries. Museum, Kristina Cordero, Clifford Landers, Elise Nussbaum, Michael White; Research Assistant Carrie Elliot; and Ji Hae Kim, Assistant to us much more than could properly be asked of them in the fulfillment The outstanding staff of the Museum’s Department of Imaging Services, Reade, and Marguerite Shore, provided translations from Spanish, the Chief Curator. The exhibition has also relied on the tireless help of of their everyday work as staff members here. I would like to thank including Robert Kastler, John Wronn, and Thomas Griesel, elegantly Portuguese, and Italian. Without them there would be nothing to read. an amazing team of interns, who dedicated endless hours to research Jennifer Russell, Senior Deputy Director for Exhibitions, Collections, and photographed many of the works for this book. The Department of I have benefited from the interest and understanding of my col- for the exhibition and its book: Gabriela Baez Bastarrachea, Luis Gordo Programs, who, working with Maria DeMarco Beardsley and Jennifer Graphic Design, and particularly Bonnie Ralston, Inva Cota, and Claire leagues in other curatorial departments and have enjoyed their advice Pelaez, Carmen Hermo, Maya Jimenes, Heather Reyes, Jessica Ventura, Manno, has supported this exhibition in the most exemplary way. The Corey, have given the exhibition a brilliant design that echoes the and feedback: Ann Temkin, The Marie-Josée and Henry Kravis Chief and Ed Ubell. Above all, this project came to fruition with the assis- high standards of this team are an endless lesson in discipline and originality of the artists’ own production. The Exhibition Design and Curator, and Lilian Tone, Assistant Curator, Department of Painting tance and collaboration of Geaninne Gutiérrez-Guimarães, Curatorial intellectual efficiency for any curator in the field. Peter Reed, Senior Production team under the leadership of Jerry Neuner counts among and Sculpture; and Deborah Wye, The Abby Aldrich Rockefeller Chief Assistant, whose outstanding professional and human qualities have Deputy Director for Curatorial Affairs, has been an advisor from the the most understanding and imaginative professionals I have had the Curator, and Christophe Cherix, Curator, Department of Prints and been absolutely fundamental to making this project and catalogue moment of the show’s inception to the realization of the exhibition and privilege to work with; Lana Hum, Production Manager, has excelled Illustrated Books. Last but not least, the entire Department of Drawings possible. Geaninne has been a real intellectual partner along this life- its catalogue. Ramona Bannayan, Director, Collection Management and as an unparalleled exhibition designer. I am in debt to Peter Perez, has supported, accompanied, discussed, and enhanced this project time process, from its inception to its materialization, and there are Exhibition Registration, and Sacha Eaton, Senior Registrar Assistant, who has reached artistic heights of taste, execution, and understand- in a myriad of ways: Connie Butler, The Robert Lehman Foundation simply no words eloquent enough to express to her my fondest grati- have excelled in executing the shipping of the works for the exhibition ing of the works when it came to providing them with frames. Rob Chief Curator, who exemplifies the best intellectual and human form tude and intellectual debt. in a safe and caring way. Michael Margitich, Senior Deputy Director for Jung and his team of preparators have given us crucial hands and of leadership; Jodi Hauptman, Curator, who as Interim Chief Curator Friendship is key in the life of ideas, and I have counted on the External Affairs, and Todd Bishop, Director of Exhibition Funding, have minds, eyes and arms, for the installation of the works in the exhibition. provided me with invaluable insights and brilliant advice during the constant support and advice of my friends Juan Iribarren and Michel achieved funding for the project during the most difficult of economic The most outstanding group of conservators ever imagined, under the inception of this project; Kathy Curry, Assistant Curator, whose experi- Weemans, and of my dearest partner, Samuel Guillen. times. Jay Levenson’s advice, support, and intelligence have accom- direction of Jim Coddington, has cared for every work in the show. ence is a treasure for any exhibition project; and John Prochilo, whose panied me in all my projects at MoMA, and Carol Coffin, who serves Karl Buchberg, Senior Conservator, in particular provided masterful management skills and intellectual intuitions have tirelessly guided and Luis Pérez-Oramas as Executive Director of the Museum’s International Council, was knowledge of paper conservation, and Anny Aviram, Lynda Zycherman, protected me. I am also thankful to Christian Rattemeyer, Associate The Estrellita Brodsky Curator of Latin American Art instrumental in getting its support. Wendy Woon, Deputy Director for and Roger Griffith oversaw the paintings and sculptures and provided Education, Pablo Helguera, Director of Adult and Academic Education, conservation for key works in the exhibition. and Laura Beiles, Associate Educator, have worked closely to organize A quiet but essential protagonist in the complexities of a curato- an exciting series of educational programs. Allegra Burnette, Creative rial project is the Publications Department, whose staff produces the Director, Digital Media, and her team of designers have worked tire- exhibition’s lasting memorial, its catalogue. I have been fortunate in lessly on the exhibition’s website. Kim Mitchell, Deputy Director an extraordinary team: Christopher Hudson, Publisher, handled inter- for Communications, Margaret Doyle, Assistant Director, and Meg continental negotiations to give the show a well-funded catalogue that Blackburn, Senior Publicist, have taken special care in fostering the will be internationally distributed and translated into Portuguese and best communication strategy and reaching the Latin American press Spanish; David Frankel, a gifted editor and challenging reader, has both in the United States and abroad. surpassed the most exigent heights of intellectual competence and Any curatorial project involves ongoing intellectual research, and knowledge, and it has truly been a privilege to work with him; Kara Kirk, here the outstanding resources of the Museum’s Library are key. My Associate Publisher, Christina Grillo, Associate Production Manager, special gratitude goes to Milan Hughston, Chief of Library and Museum and Marc Sapir, Production Director, have contributed hugely to the Archives, and to Jenny Tobias, Sheelagh Bevan, and Alexa Goldstein production, organizational, and financial details of creating the book; for their tireless support and attention. Our Collections and Exhibitions and Amanda Washburn, an amazing designer, has surpassed her own león ferrari and mira schendel: luis pérez-oramas tangled alphabets Man, Discurso do Capibaribe (Capibaribe discourse): “Whatever lives is thick/ because he lives, like a dog, a man,/like the river./Thick/like everything real.” The Objetos clashes with the living. gráficos, as their title suggests, explore the thickness of language, To live the objectlike density of its graphic root, the existential bulk of words, is to wend among the living. traces, marks, whether written or drawn by brush. Opaque bodies, Whatever lives obstacles, suspended in our presence as fields of both seeing and inflicts life reading, these works are bodies to be deciphered with the body (fig. 1). on silence, on sleep, on the body One might even say that Schendel’s entire oeuvre is about the body, that dreamed of cutting itself the single link through which we understand the world, and about the clothes out of clouds. body of art that may emerge from this ceaseless effort to understand. Whatever lives clashes, In that light it is significant that in one of these works, as if in a modern has teeth, edges, is thick. palimpsest, Schendel inscribed the poetic key to the corporeal dimen- Whatever lives is thick sion of her work, and perhaps to the Objetos gráficos as a whole, in the like a dog, a man, form of poems and quotations. And she did so in the most transparent like the river. and bare, the least dense and thick, of all of the Objetos gráficos. —João Cabral de Melo Neto, O cão sem plumas Both art and language have the potential for opposite dimen- (The dog without feathers) sions: opacity, or density and thickness, and transparency, or immediacy and clarity. Perhaps between these poles we may frame an approach O the frenzied alphabet to the work of Schendel and of León Ferrari. The two artists were born —César Moro, Prestigio del Amor, 2002 on different continents—Ferrari in Argentina, Schendel in Switzerland, though she spent her later life in Brazil—but they are contemporaries, born in 1920 and 1919 respectively (Ferrari is still working, Schendel The Tumult of Language Among the Objetos gráficos (Graphic objects) died in 1988), and both have found their principal visual source in lan- shown by the late Mira Schendel at the 1969 Venice Biennale, one piece guage as both writing and gesture, that is, as both verbally intelligible stands out for its sobriety, rigor, nakedness, and transparency (plate 90). and purely visible matter. Even at its most silent, intimate moments, That work contains not scattered letters, like most of the rest of the their art is imbued with the protean tumult of language’s countless Objetos—variously inscribed sheets of Japanese paper, sandwiched faces and incarnations, from voluntary silence to aphasia, passing in transparent acrylic—but whole fragments of text. Some of these along the way through whisper, prayer, accusation, sermon, dialogue, passages quote the conversation and lecture notes of the artist’s quotation, stutter, shout, onomatopoeia, collage, argument, alphabet, friend Max Bense, the philosopher and linguist. Others include refer- and poetry. Both artists knew poets well—Haroldo de Campos in the ences to samba, and to the general spirit that made the name of that case of Schendel, Rafael Alberti in that of Ferrari—and both at one time Brazilian dance into a verb (sambar, to dance samba) that for Schendel or another were poets themselves. described an entire existential endeavor; lyrics by the popular song- To understand the meaning of an art infused with language, to writer Chico Buarque de Hollanda; and extracts from the verses of the understand what such infusion can mean and how it can help us to great Brazilian poet João Cabral de Melo Neto, taken from his book talk about that art’s specificity, we should remember something obvi- O cão sem plumas (The dog without feathers), better known as the ous but often overlooked: Schendel and Ferrari emerged during a time 1. Mira Schendel Installation view, Venice Biennial, 1968. Mira Schendel Estate 14 pérez-oramas 15 marked by the use of linguistic models to understand the world, a time dematerialization of the art object assumed to be implicit in it.4 Not when many intellectuals—anthropologists, filmmakers, philosophers, only did Conceptual art aspire to be an art form without genre, it also sociologists, psychiatrists, psychologists—made language a para- was, or tried to be, an artistic option opposed to the formalisms of the digm for thought and for the world itself. These thinkers were reacting late modern period and most of all to painting, as an art of subjective against the tendency during the early part of the twentieth century expression, a materialization of the spirit. to take the organism, the machine, natural selection, and other such In that crucial year of 1964, not only did Ferrari and Schendel start models as organizing systems through which to explain reality.1 It is to derive work from language, or more specifically from its constant important, then, to understand what in the realm of facts the language dérive, or drift, they also reacted against painting—Schendel by aban- in Schendel’s and Ferrari’s works refers to, or uses as a backdrop or doning that art form for works on paper, and Ferrari, although he had not frame, a context or pretext—what provokes that language, what guides painted since his earliest days as an artist and would not again until the it, where it is directed. And: what distinguishes the art of Schendel and 1980s, still rejecting it, subtly but clearly, in Cuadro escrito. In describing Ferrari from so much other work of the same era that was based on what Ferrari would have painted had God blessed him with painterly tal- and revolved around language. ent, the text of this written drawing illustrates an impossible, nonexistent The early 1960s were crucial years in the development of painting, a nonpainting, an imaginary painting, the utopian painting cre- Schendel’s and Ferrari’s work—that is, in its materialization of new and ated by the erotic yearnings of God.5 Ferrari’s and Schendel’s distance different forms—and 1964 in particular seems to have brought both from painting, however, which in Schendel’s case was temporary, makes artists to turning points. That was the year of Ferrari’s Cuadro escrito neither of them a Conceptual artist. On the contrary: since language as (Written painting; plate 41), which followed a period of intense focus a material presence, a body of signs and traces, brushstrokes and ges- on drawing that led him from abstraction (fig. 2) to deformed, illegible tures, far more than as a vehicle of concepts or ideas, prevails in their writing (fig. 3), and then to the sophisticated but no less hermetic cal- work, we cannot claim that “the idea or concept is the most important ligraphy of his written drawings (plate 58). That same year, Schendel aspect” of it. In fact execution is key here, making each work an unre- embarked on a phase of her practice exclusively dedicated to works peatable operation—the polar opposite of LeWitt’s sense of execution as on paper—specifically, rectangular sheets of the Japanese paper often a “perfunctory affair.”6 called rice paper. To make her drawings of this period—around two The works of Ferrari and Schendel describe an ingrown, inter- thousand of them—she used a self-invented technique, her own in both connected language, a written materiality, language as a trembling of the application of the ink and the actual physical gesture.2 The period the hand, a shudder of the body—language that itself has shuddered, a ended in the second half of the 1960s with the creation of her most language that voices an idiosyncratic, irreplaceable subject. Of course emblematic objects: the Droguinhas (Little nothings, c. 1965–68; fig. 4), their art involves ideas and concepts, indeed, often, ideas and concepts Trenzinho (Little train, 1965; plate 77), and the Objetos gráficos (fig. 5). in their barest state, an obstinately repetitive plundering of barely leg- In North America and Europe, these years also saw the emer- ible names, words, fictions, definitions, locutions. But these things are gence of an art form that used no single medium, or at least that could depicted in a physical circumstance, where the materiality of signs and not be understood from the perspective of the qualities of a single symbols resonates like a dissonant, distorting echo of the ideal and per- 4. Mira Schendel medium or material. Instead, as Sol LeWitt wrote, this was an art form haps fictional purity of the mind and of ideas. Perhaps this, in one sense Untitled (detail; see plate 73) from the series in which “the idea or concept is the most important aspect of the Droguinhas (Little nothings). c. 1965–68 at least, is what the tumult of language means to these two artists: that 2. León Ferrari work.”3 From the start, the critical writing on this work—Conceptual Japanese paper, dimensions variable, c. 35 1/2" (90 cm) words are opaque and out in the world. Untitled. 1962 art—developed what would prove to be one of its essential myths, the fully extended Clearly the key to LeWitt’s famous declaration lies in the mean- Ink on paper, 18 1/4 x 12 1/4" (46.4 x 31.1 cm) The Museum of Modern Art, New York. Scott Burton Fund The Museum of Modern Art, New York. Purchase 5. Mira Schendel 3. León Ferrari Untitled from the series Objetos gráficos Carta a un general (Letter to a general). April 13, 1963 (Graphic objects). 1967 Ink on paper, 18 7/8 x 12 3/16” (48 x 31 cm) Oil transfer drawing on thin Japanese paper between Fundación Augusto y León Ferrari. transparent acrylic sheets, 39 3/8 x 39 3/8 x 3/8" (100 x 100 x 1 cm) Archivo y Colección, Buenos Aires Collection Diane and Bruce Halle 16 tangled alphabets pérez-oramas 17 ing ascribed to the word “aspect”: while language as an ideal vector of meaning is a central “aspect” of the Conceptualists’ art, Ferrari and Schendel are concerned with the “aspect” of language in the sense of its visual appearance. This distinction is crucial if we are to understand their specific contribution, and to defend them from the stereotypic, homogenizing tendency of the label “Conceptual,” with its baggage of aesthetic and artistic myths: dematerialization, ideality, and so on.7 It is Clark, and Amilcar de Castro to Antonio Manuel, Cildo Meireles, and also crucial in approaching a complex moment in which the legacies of Waltercio Caldas, the fundamental premises of Concrete art tended the historical Western avant-gardes began to multiply in a more global to relativize the art object, underscoring its perceptual pliability and geography, the classic modern styles to break apart and evolve in a conceiving it as a transitional form somewhere between the field of art variety of relocalized or, rather, repoliticized forms. The shift contrib- and the field of political or everyday experience. We may also recall the uted to the rise of practices in which objective content, a discursive distinctly literary tendency in the art of Argentina and Uruguay, where dimension (by which I mean the use of linguistic enunciation as con- artists from Joaquín Torres-García (fig. 6) and Alejandro Xul Solar (fig. tent in visual art, a strategy in various work of the postwar era, both 7) to Alberto Greco, Alejandro Puente (fig. 8), Leandro Katz, Roberto within and beyond the Conceptual canon), the power to say things (not Jacoby, and Ferrari himself favored narrative and discursive, illustrative just show them), would reach new relevance. and textual methods, working especially on relationships between the Between 1945 and 1965, “modernity”—the large and complex image and alphabetic or verbal codes. repertory of artistic practices that accompanied modernization—gave The ideologues of modernism, by ignoring basic historical facts, way to “modernism,” an artistic ideology that contributed to the sum- had ascribed to canonical modern art the idea of the primacy of the ming up of modernity and modern art in their most characteristic and purely visual, and this and related notions—the identification of the art- hegemonic versions. Existing modern works became the object of mul- work with the specificity of its medium, for example—had become the tiple reappropriations, and began to be used to legitimize the practice connecting threads of modernist aesthetics.9 As nongeneric practices of late modern artists. The spectacular public reception of these latter began to emerge, as more and more artists embraced hybrid media, artists’ works, instrumentalized by the European and American culture and as the presence of discursive intentions became more common, industries during the second half of the twentieth century, was key in varied, and widespread in visual art, this ideology fell to pieces. By order for modernity to become an ideology, a canon, a universal formal the late 1960s, the possibility of identifying an artwork with a specific model.8 At the same time, for various reasons—World War II; the end statement rather than with a specific medium, and tautological, alle- of many traditional institutions of colonialism; the emergence of new gorical, narrative, or literally textual modalities—“something alien to the 7. Alejandro Xul Solar nations; diasporas of entire communities, along with their artists and late modernist tradition of painting, namely the specific operation of Pan Game and Marionette I Ching. c. 1945 Painted wood and metal, 54 pieces, intellectuals; the Cold War; the industrialization of tourism; the advent language,” as Alexander Alberro has put it10—had once again become overall dimensions variable of new information technologies, and so on—the idea and promise of a general currency in Western art.11 The Museum of Modern Art, New York. Gift of single form of modernity happily fell apart, making way for the rise of It is important to say, however, that canonical Conceptual art was Patricia Phelps de Cisneros, through the Latin American alternative local versions of what it meant to be “modern.” not alone responsible for the shift. The work of Ferrari and Schendel, and Caribbean Fund, in honor of Agnes Gund In many of these versions of the modern, the idea of the auton- unclassifiable within the usual parameters of critical discourse on the omy of the artwork did not exist, or took very different form from its art of the postwar period, shows this conclusively. In and beyond the 8. Alejandro Puente expression in canonical modernism. In Brazil, from Hélio Oiticica, Lygia West, and in and beyond recent decades, certain art practices have Todo vale. Colores primarios y secundarios llevados al blanco (Everything goes. Primary and secondary colors brought up to white). 1968–70 Cloth, iron, and pigments. Pencil, felt-tip pen, cut-and-pasted 6. Joaquín Torres-García printed paper, transfer type, watercolor, felt samples, and Composition. 1932 staples on seven sheets of paper, 29 1/2 x 68 7/8" (74.9 x 174.9 cm) Oil on canvas, 28 1/4 x 19 3/4" (71.8 x 50.2 cm) The Museum of Modern Art, New York. Latin American The Museum of Modern Art, New York. and Caribbean Fund with additional funding provided by Gift of Dr. Román Fresnedo Siri Beatriz and Andres von Buch on behalf of Fundación arteBA