Documente Academic
Documente Profesional
Documente Cultură
ZACCAGNINI
TÍTULO / TITLE Elements of Beauty: a tea set is never only a tea set
ANO / YEAR 2014
DURAÇÃO / DURATION variáveis/ variable
TÉCNICA / TECHNIQUE 29 PINTURAS E AUDIO GUIA
29 paintgs on wall and áudio guide
exposição/ exhibition Elements of Beauty: a tea set is never only a tea set - Van Abbemuseum Museum – Eindoven – Holanda - 2015
On March 10th, 1914, at 11am, Mary Richardson entered
the National Gallery in London and stood in front of the
painting by Velázquez known as Venus at the mirror, maybe
not for the first time. She looked at it for a few minutes
before letting the cleaver she had hidden up her sleeve
slide into her hand. She then slashed the canvas several
times. The first blow broke the protection glass and called
the attention of guards and visitors, the following ones had
to be quick and resulted in seven clean cuts on the paint-
ing area that represents the goddess’s naked back. She
didn’t struggle as the museum guard and the police of-
ficer stopped her and took her to the police station. Fol-
lowing this incident, the Women’s Social and Political Union
– WSPU, the militant association for women’s suffrage of
which she was a member, made public a short text in which
Richardson compares the destruction of the painting to the
incarceration of Emmaline Pankhurst, and states: ‘justice
is an element of beauty as much as color and outline on
canvas’. A very significant statement about her under-
standing of justice, also revealing her idea of beauty, that
serves as the starting point for this installation title.
Lista de armas : “The attack, as in the case of that upon the ‘Rokeby’ Venus at the 13 - Machado: ferro e nogueira / Axe: iron and hickory
National Gallery, was made with a meat chopper […]. She is an old
3 de abril de 1913 woman with white hair and wore a loose purple over cloak, in the “The latest incident in the war levied against society by the militant
Manchester Art Gallery ample folds of which a much larger implement than the chopper, suffragists was committed in the Doré Gallery yesterday afternoon
which was produced in Court, could have been hidden”. when a young woman armed with a hatchet almost completely de-
1 - Martelo: ferro e nogueira / Hammer: Iron and hickory The Times, 05.05.1914, p.8 stroyed two valuable drawings — one by John Shapland and the
2 - Martelo de confeiteiro: bronze / Confectioner’s hammer: bronze other by Bartolozzi”.
3 - Chave de parafuso: ferro e cherry / Screw wrench: iron and 12 de maio de 1914 The Times, 04.06.1914, p.8
cherry
4 - Martelo: ferro e ash / Hammer: iron and ash 8 - Cutelo: ferro e cherry / Cleaver: iron and cherry 9 de junho de 1914
Birmingham Museum and Art Gallery
“There were two hammers found in the room where the pictures “The woman took a small hatchet from her muff, struck three times
were damaged […] and on one of them, a small confectioner’s ham- at the portrait, smashing the glass to bits and making two cuts 14 - Cutelo: ferro e pinho / Cleaver: iron and pine
mer, there was a card bearing the words, ‘Parliament for dishon- through the canvas in the robes near the ground”.
orable men; imprisonment for honorable women’. On the other side Daily Express, 13.05.1914, p.5 “It was noticed when the woman entered the gallery that she was
were the words, ‘Stop forcible feeding,’ and ‘Votes for Women’. […] carrying with her a small handbag, which was submitted to the
A screw wrench was subsequently found behind a statue, and the 22 de maio de 1914 usual search and nothing suspicious was discovered. Yet almost im-
defendant admitted it was the weapon she had used. […] Another National Gallery, Londres mediately afterwards she was seen to attack one of the Romney
small hammer was also found near the door […]”. pictures, ‘Master Thornhill’, the full length portrait of a boy with a
The Manchester Guardian, 12.04.1913, p.6 9 - Martelo: ferro e cherry / Hammer: iron and cherry chopper almost a foot and a half in length”.Birmingham Daily Post,
Loaded cane: latão, chumbo e porca de parafuso / Loaded cane: 19.06.1914, quoted in The Suffragette, 09.06.1914, p.164–165
10 de março de 1914 brass, lead, hazel 17 de julho de 1914
National Gallery, Londres
“Shortly before noon a ‘woman’ wearing a cloak which aroused at- 15 - Cutelo: ferro e box / Cleaver: iron and box
5 - Cutelo: ferro e cherry / Cleaver: iron and cherry tention and suspicion entered the gallery and walked to the Vene-
tian Room. Suddenly it produced a hammer and began to play havoc “A young woman of refined appearance and very respectably
“The chopper was produced in court. It is about a foot long, with among the pictures”. dressed attacked Millais’ unfinished portrait of Carlyle with a
a wooden handle, the metal being about six inches long and five Daily Express, 23.05.1914, p.1 butcher’s cleaver which she carried concealed beneath her blouse,
wide. It looked quite new, and had the shop label still attached to and before she could be restrained made threlarge cuts on the face
the handle”. “The occupants of the room at the time were three students, one of and head of the portrait”.
Daily Express, 11.03.1914, p.6 whom has stated that the damage was done with almost incredible Morning Post, 18.07.1914 quoted in The Suffragette, 24.07.1914,
rapidity with a light p.258–259
“She attacked the picture with a small chopper with a long narrow hammer or loaded cane”.
blade, similar to the instruments used by butchers […]. The weapon Westminster Gazette, 22.05.1914, quoted in The Suffragette,
with which the damage was done luckily had a keen edge, and so 29.05.1914, p.123
did less mischief than an old and blunt weapon would have done”.
The Times, 11.03.1914, p.8–9 22 de maio de 1914
“There was, however, nothing in the woman Richardson’s appear- 10 - Cutelo: ferro e box / Cleaver: iron and box
ance to arouse suspicion. She carried her chopper hidden in a
wrap hung over her arm”. “Shortly after noon yesterday a woman, who subsequently gave her
Daily Express, 11.03.1914, p.1 name as Mary Spencer, was seen to strike with a butcher’s cleaver
at a picture at the Royal Academy”.
9 de abril de 1914 Manchester Guardian, 23.05.1914, quoted in The Suffragette,
Asiatic Saloon, British Museum, Londres 09.05.1914, p.5
about
Conducted based on the invitation to represent the city of
São Paulo at the 9th Biennial of Shanghai (China) in 2012,
this drawing replicates at 1: 1 all the paved area of Shangai
Street located in the Penha neighborhood in São Paulo.
The street, one of the four named in reference to the
Chinese city in the greater São Paulo, measures 5 m wide
by 35 m long.
colaboradores collaborators
Ana Luiza Fonseca, Belinda da Cunha, Estela Miazzi,
Felipe Cidade, Fernando Sala, Gabriela Godoi, Giorgia
Mesquita, Henrique César de Oliveira, Jaime Lauriano,
Janaina Wagner, Leonardo Araujo, Mariana Abasolo, Milena
Edelstein, Pipa, Runo Lagomarsino
TÍTULO / TITLE Estudo para Shangai em São Paulo in Shanghai
ANO / YEAR 2012 / 2014
DURAÇÃO / DURATION 13 peças/ pieces 36 x 53,77 cm
TÉCNICA / TECHNIQUE impressão Lightjet em papel sobre placa de acm
Lightjet printing on paper on acm board
exposição/ exhibition Shangai em são paulo in sanghai - galeria vermelho - 2014
TÍTULO / TITLE THE NORTH-WEST PASSAGE THE NORTH-WEST PASSAGE
ANO / YEAR 2012 - 2013 2012 - 2013
DIMENSÕES / DIMENSIONS 78 X 98 CM 78 X 98 CM
TÉCNICA / TECHNIQUE IMPRESSÃO COM TINTA PIGMENTADA MINERAL SOBRE PAPEL. IMAGEM MINERAL PIGMENT PRINT ON PAPER. IMAGE GRANTED
CONCEDIDA PELA TATE, LONDON, 2013. TEXTO CARLA ZACCAGNINI BY TATE, LONDON, 2013. TEXT CARLA ZACCAGNINI
DETALHE / DETAIL
DETALHE / DETAIL
TÍTULO / TITLE DUAS MARGENS DUAS MARGENS
ANO / YEAR 2003 - 2012 2003 - 2012
DURAÇÃO / DURATION LOOP LOOP
TÉCNICA / TECHNIQUE PROJEÇÃO SIMULTÂNEA DE SEIS VÍDEOS, SOM E COR SIMULTANEOUS PROJECTION OF SIX VIDEOS, SOUND AND COLOR
Vídeo de Runo Lagomarsino gravado em Belle Mare, vídeo de David Wells gravado em Perth, Austrália,
Mauritius, em 13 de Abril de 2012, de 11:00 a 12:00hs em 13 de Abril de 2012, de 15:00 a 16:00hs
Imagem: detalhe
TITLE reclassified
Reclasificados consists of the REORGANIZATION
of ads contained in the yellow pages. Instead of
being based on the area of business each compa-
ny is dedicated to, the new classification focuses
on the use of language and the areas of human
knowledge or affection the used words refer to.
Not only the name of each company, but also the
text with which they announce the character and
quality of their business is taken in consideration.
For the existing version, made with the Buenos
Aires catalogue of products and services, the
adverts are reorganized according to the fol-
lowing themes: biology (minerals, vegetables and
animals); family and familiarity (also includes the
house and the domestic); religiosity (with a spe-
cially long list of business under the names of cath-
olic saints); geography (all references to cardinal
directions and especific continents, oceans, coun-
tries and citys); history (including references to
time and the recurrent heroes of independence);
power (political, economical and physical power or
empowerment); and art (with its derivations and
also references to aesthetics, beauty and style).
Image: detail
TÍTULO / TITLE Imposible pero necesario (impossível mas necessário) impossible but necessary
ANO / YEAR 2010 2011
DIMENSÕES / DIMENSIONS variáveis variable dimensions
TÉCNICA / TECHNIQUE 3 frotagens e 12 litografias 3 frottages and 12 lithographies
TÍTULO Imposible pero necesario (impossível
mas necessário)
“Imposible pero necesario” faz parte de um gru-
po de obras recentes que investiga o equilíbrio
instável entre desejo e frustração no processo
representacional. Um equilíbrio entre esforço e
fracasso que acompanha toda tentativa de repre-
sentação de uma experiência, e que pode ser visto
cristalizado [ou adivinhado, latente] nas formas
resultantes, por mais rígidas que aparentem ser.
O projeto foi realizado no memorial soviético do
Treptower Park (Berlim, 1949) e centra-se nas
representações de explosões que podem ser vis-
tas nos relevos do monumento. Os relevos molda-
dos em concreto narram os acontecimentos da II
Guerra Mundial por meio cenas alegóricas apre-
sentadas do ponto de vista ideal. As explosões,
momentos onde a matéria perde a sua forma, são
introduzidas como pontos de abstração nessa
narrativa. Elas são, ao mesmo tempo, estudos for-
mais de projeção imaginativa e indagações, espa-
ços para a ausência de sentido.
Imposible pero necesario: Petrificación é um gru-
po de 12 litografias que reproduzem todas as ex-
plosões representadas nos relevos.
Imposible pero necesario: Après-coup é uma sé-
rie de 3 frotagens feitas em Berlim, como uma for-
ma de apropriação desses fragmentos por meio do
contato direto.
A reprodução dessas imagens, retiradas de seus
contextos originais, reforçam a síntese geométri-
ca que solidifica as explosões, eventos informes,
em figuras quase icônicas. Entra em foco, assim,
o esforço de racionalização, uma busca pelo en-
tendimento através do discurso e da formalização;
um anseio pela linguagem como uma possibilidade
para a elaboração de conteúdos.
Imagens: processo e
Imposible pero necesario: Après-coup, 2010
frottage, grafite sobre papel
50x 70 cm
detalhe
TITLE impossible but necessary
Imposible pero necesario is part of a group of re-
cent works that investigate the unstable balance
between desire and frustration in the represen-
tation process. An equilibrium between eort and
failure that accompanies all attempt of repre-
sentation of an experience, and that can be seen
crystallized (or guessed,latent) in the resulting
forms, however rigid they may appear.
The project was realized in the soviet war memorial
in Treptower park (Berlin, 1949) and it focuses on
the representations of explosions that can be seen
in the reliefs of this memorial. The concrete casted
reliefs narrate the history of the second world war
by means of allegorical scenes depicted from an
ideal point of view. The explosions, moments where
matter loses its form, are introduced as abstrac-
tion points in that narrative. They are, at the same
time, formal studies of imaginative projection and
inquiries, spaces for the void of sense.
Imposible pero necesario: petricación is a group
of 12 lithographs that reproduce all the explosion-
srepresented in these reliefs.
Imposible pero necesario: après-coup is a series
of three frottages made in Berlin, as a way of ap-
propriation of these fragments by direct contact.
The reproduction of these images cut out from
their context reinforces the geometric synthesis
that solidies those formless events in an almost
iconic shape. It also stresses the details that dier-
entiate each of them, due to the arbitrarity allowed
by the object or by the wearing o of time that at-
tributes diverse characteristics to the pieces that
came out of the same cast. The rationalizing eort is
thus focused, a search for understanding through
discourse and formalization; an aim for language
as a possibility for the elaboration of contents.
TITLE PUZZLE
Rompecabezas is a porcelain puzzle hand casted
and painted. The three editions of the work pres-
ent different paintings showing the sky chart of
London, São Paulo and Guadalajara (the city were
it was produced), on september 5th, 2007, at 6 pm.
The 40 pieces it comprises are sold separately.
TÍTULO / TITLE WISH: THE ANTWERP SERIES (DESEJO: A SÉRIE ANTUÉRPIA) WISH: THE ANTWERP SERIES
ANO / YEAR 2006 2006
DIMENSÕES / DIMENSIONS 27 X 35 CM [CADA] 27 X 35 CM [EACH]
TÉCNICA / TECHNIQUE 11 FOTOGRAFIAS 11PHOTOGRAPHS
DETALHE / DETAIL
TÍTULO / TITLE Jogo transparente transparent game
ANO / YEAR 2006 - 2007 2006 - 2007
DIMENSÕES / DIMENSIONS 54 CARTAS - 5.7 X 9 CM CADA 54 CARDS - 5.7 X 9 CM EACH
TÉCNICA / TECHNIQUE SERIGRAFIA SOBRE POLIESTIRENO SILKSCREEN ON CRYSTAL PVC
EXPOSIÇÃO / EXHIBITION VIDA PÚBLICA - FONDO NACIONAL DE LAS ARTES - BUENOS AIRES VIDA PÚBLICA - FONDO NACIONAL DE LAS ARTES - BUENOS AIRES
ARGENTINA [2007] ARGENTINA [2007]
CARTAS DOURADAS / GOLDEN CARDS
CARTAS PRATEADAS/ SILVER CARDS
TÍTULO / TITLE Jogo de memória memory game
ANO / YEAR 2004-2008 2004-2008
DIMENSÕES / DIMENSIONS 6x 6 cm cada, 36 PEÇAS 6x 6 cm EACH, 36 PIECES
TÉCNICA / TECHNIQUE 18 pares de imagens idênticas, IMPRESSÃO SOBRE PAPEL SOBRE PAPELÃO 18 pairs of identical images print on paper on cardboard
TÍTULO jogo de memória
“Jogo de memória” é um jogo de memória formado
por 36 peças de 6x6 cm cada, nas quais estão im-
pressos 18 pares de fotografias de uma piscina
feitas por Amilcar Packer. As imagen são todas
extremamente parecidas, variando um pouco de
acordo com o movimento da água e o brilho do sol,
dificultando o encontro das peças idênticas.
TITLE seats
Assentos (seats) is a project developed in col-
laboration with the architect Keila Costa, who is
responsible for the design of a foldable, modu-
lar, somehow neutral seat. These characteristics
were selected in order to attend to the needs of
institutions that house temporary shows.
TITLE BIBLIOGRAPHY
This project was developed for a group show of
young Brazilian artists at the Centro Wilfredo Lam,
in Cuba, and it intend to send abroad some of the
historical and theoretical bases for the production
that will there be seen.
TITLE PANORAMA
YEAR 2001
DIMENSIONS VARIABLE DIMENSIONS
TECHNIQUE PHOTOGRAPHS ENLARGED FROM GLASS NEGA-
TIVES BELONGING TO THE MUSEU DE AERONÁU-
TICA DA FUNDAÇÃO SANTOS DUMONT; VIEW TO THE
PAVILHÃO LUCAS NOGUEIRA GARCEZ OR PHOTO OF
THIS VIEW TAKEN BY EDOUARD FRAIPONT; FACSIM-
ILE FROM THE COVER OF “ILUSTRADA”, FOLHA DE
S. PAULO, MAY 24, 2000; PHOTOGRAPHIC STUDY BY
ALICE VERGUEIRO MADE AT THE CENTRO MUNICI-
PAL DE CAMPISMO, PUBLISHED AT THE BOOK PAN-
ORAMA DA ARTE BRASILEIRA 2001, PP. 32 TO 41;
SEVEN INTERVIEWS PUBLISHED AT ITEM-5, FEBRU-
ARY 2002, PP. 118 TO 125. COLLECTION MUSEU DE
ARTE MODERNA DE SÃO PAULO
TÍTULO PANORAMA
Este projeto foi desenvolvido para o Panorama da
Arte Brasileira 2001 e originalmente apresenta-
do no MAM-SP, situado em frente à antiga sede
do Museu de Aeronáutica. O projeto pretende
apresentar alguns indícios das relações entre a
coleção retirada dessa sede e abandonada (que
parcialmente recupera) e os interesses políticos
que permearam a remoção do museu do Parque
Ibirapuera. Esse caso específico serve como ex-
emplo para pensar a estrutura política por trás
das decisões que regem os campos da cultura e do
patrimônio. São esses indícios:
Almeida Júnior
Cabeça, 1822
Óleo sobre tela
40 x 32.5 cm
Almeida Júnior
Cabeça (1822)
Oil on canvas
40 x 32.5 cm