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Edição especial Brasil constroi = Special edition Brazil builds / Philip L. Goodwin ; organização Pedro Vieira ; tradução Alberto Dwek ; colaboradores Fernanda Fragateiro, Maura Restiffe, Rafael RG.
- Format:
- Book
- Author/Creator:
- Goodwin, Philip Lippincott, 1885-1958, author.
- Language:
- English
- Portuguese
- Subjects (All):
- Architecture--Brazil--History.
- Architecture.
- Art, Brazilian--21st century.
- Art, Brazilian.
- Physical Description:
- 214 pages : llustrations. ; 29 cm.
- Edition:
- Edição bilingue: português/inglês.
- Other Title:
- rasil constroi : ǂb arquitetura moderna e antiga, 1652-1942 = Brazil builds : architecture new and old, 1652-1942
- Place of Publication:
- São Paulo, Brazil : Ikrek, 2023.
- Language Note:
- Text in English and Portuguese.
- Summary:
- SPECIAL ARTIST BOOK based on the classic book "Brazil Builds: architecture new and old (1652-1942)". The publisher invited, for the special, numbered edition three artists, who look at the volume and propose new interpretative layers: Fernanda Fragateiro (Montijo, Portugal , 1961), Mauro Restiffe (São José do Rio Pardo, SP, 1970) and Rafael RG (Guarulhos, SP, 1986). Ikrek invited artists to intervene in a special edition of the book, as a way of opening discussions around this important volume and themes related to it, which should always be expanded and brought to light. It is not, strictlyspeaking, about questioning the book but, rather, taking it as an exhibition space. Alfred Barr claimed that the Brazil Builds exhibition, shown at the Museum of Modern Art in New York in 1943, was a magnificent advertisement for the catalog book; now, we take an almost opposite path: we take the book as an advertisement for a small exhibition, whose theme is not exactlyBrazilian architecture, ancient or modern. We seek different possible narratives from this existing space of the book that, for better or worse, collaborated in the historiography of architecture in Brazil. Fernanda Fragateiro, Mauro Restiffe and Rafael RG accepted our invitation, and now occupy some spaces in this book with their works. Fernanda has long focused her research on the formal and informational aspects of architectureas an object and built space, but also as a narrative, through the investigation of its historiography and characters. For this edition, Fernanda occupied the double pages on which appear the portraits of architects and personalities mentioned in the book Brazil Builds all white men and the index of works organized by the authorship of the projects. The artistœs proposal was to irrigate this duo (pp. 198-99) with the names of architects and women who were systematically ignored by historiography (something that has been revised, but which is far from reflecting the reality of the countryside). The list opens with Elizabethœs name, which is followed by so many first names, first names. The non-inclusion of the last names may cause, at first, discomfort, but it also suggests their infinity, in addition to the breakdown of a hierarchical and classist system; it also signals the collective construction within the artistic, architectural, and historiographic field. Finally, the list ends with a single surname, that of Elizabeth, who appears discreetly in the presentation of the volume despite her important role within MoMA at the time of the exhibition. * Mauro has increasingly sought to extrapolate the photographic support, creating relationships or dialogues between his photographs and the media or spaces in which they are exposed. Whether images of landscapes, buildings, events or people, each photo is, autonomous, and takes on new meaning as it moves. In 2015, Mauro went on an expedition to the backlands of Piauí with friends, just like George and Philip did when they came to Brazil in 1942. The photos taken by Mauro on this trip were interspersed with the original photos of George present in the book, in two excerpts: in ancient (pp. 42-68) and modern works (pp. 156-182). Expedition, in its etymology, has a sense of displacement and what is outside. What seemed relevant was thinking (and questioning) on what can be deduced from these spatial, temporal, imagistic movements or, even more urgently, what is the outside or what was left out. The dialogs created do not follow a pre-determined pattern of similarity or difference, formal or conceptual. The dialoguesit is always good to rememberserve to initiate some questioning by the public. Other juxtapositions would be possible, and would give rise to other dialogues, also nourished by discussions that go beyond the exhibition space of the book. * Rafael is in constant displacement and it would be imprudent to relate him to some physical space in a perennial way. His pro- duction is very varied in terms of support, and it is undeniable that the textual form is a constant in itunderstood as the production or interpretation of the text and its consequences. Here, Rafael occupies the bookœs guards with the work Boate Pedrita, made in collaboration with Jefferson, in São Luís, MA. The pages that make up the endpapers of a book are used to join the notebooks in the core to the rigid cover of the volume. Metaphorically, it can be said that the guards keep and reveal contents. Beyond the splendor of ancient architecture and the rationality of modern architecture, there is still much to be revealed: it is not a matter of recognizing architectural expressions hitherto neglected by historiography (as Philip himself does with the eclectic architecture of the early 20th century), or considered as vernacular or banal. A bar and its idiosyncrasies. Rafael goes up a ladder and removes the strip that covered (or kept?) what was written on the façade. Inconsistencies and contradictions mark and will continue to mark the guarding and reveal movements of spaces and their narratives. It is important that the movement is constant.
- Contents:
- Indice por obras = Index of buildings
- Apresentação = Foreword / Philip Goodwin
- Antigo = Old
- Moderno = New
- Indice por arquitetos = Index by architects
- Posfácio à edição brasileira = Afterwords for the Brazilian edition
- Brazil builts: finalmente no Brasil = Brazil builds: finally in Brazil / Mônica Junqueira
- Brazil builds: respect a projeção / Martino Stierli
- O mapa do Brasil mudou = The map of Brazil changed / Pedro Vieira.
- Notes:
- "Edição especial com intervenções de Fernanda Fragateiro, Mauro Restiffe, Rafael RG & Jefferson"--Front Cover.
- Originally published on the occasion of an exhibition organized by the Museum of Modern Art, New York, 1943.
- "Edição especial, com obras de [special edition, with works by] : FERNANDA FRAGATEIRO [Montijo, Portugal, 1962] [pp. 198-199] ; MAURO RESTIFFE [São José do Rio Pardo, SP, 1970] [pp. 42, 44-46, 48, 50, 54, 58, 62, 64, 68, 156, 158, 162, 164-168, 170-172, 174, 176, 178, 180, 182] ; RAFAEL RG [Guarulhos, SP, 1986] & JEFFERSON SANTIAGO [São Luís, MA, 1992] [guardas [enasheets]." --Last Page.
- "This new edition of Brazil builds [the first to be published in Brazil], is not a facsimile of the original text, not does it present a survey of the literature concerning the previous edition. While the original English text has been conserved nearly word-to-word, so as to retain the original content and style as much as possible, some changes and updates were necessary in light of the many changes in the map of Brazil and much more, in the 80 years since the book's original release. At the end of this volume, new texts were included that contextualize this new edition, the last of which explains the changes that were made. Despite these updates and the inclusion of new notes, the public should bear in mind that these texts were written in 1943." --Page [11]
- Limited and numbered edition of 1000.
- Includes bibliographical references.
- Other Edition:
- Revision of: Goodwin, Philip Lippincott, 1885-1958. New York, The Museum of Modern Art, 1943.
- ISBN:
- 9786589597094
- 658959709X
- OCLC:
- 1410316746
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