Christy Wyckoff is on a 5 month stay in Sao Paulo, Brazil. His plans include a semester-long residency in the printmaking department of the University of São Paulo, some travels to the south of Brasil to investigate the possibility of a Global Studio in Curitiba and back to São Paulo in January for the opening of my exhibition at the Galerie Gravura Brasileira. Every week in this blog, Christy will update us on his travels. Email Christy your thoughts at .

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Dec 10, 2006

This is my last entry in my Brasil journal. My residency ends this week. Laura has arrived in São Paulo and we will be traveling through southern Brazil for about a month, returning here a day before my exhibition at Gravura Brasileira. After my opening, we are going to Rio de Janeiro for a week to see the exchange show at A Gentil Carioca. We will return to São Paulo and fly back to Portland the last week in January.

On Wednesday of this week, my class will meet at the home of one of my students for our final class. We’ll have a churrasco, a Brazilian barbeque, which usually consists of several types of grilled meat, and grilled vegetables such as onions, zucchini and peppers, plus potato salad (called maionese), a mixed greens salad, rice and fruit such as watermelon, mangoes and papaya.

The members of my class have been working on a collaborative project, a print portfolio that we will distribute at the churrasco. There are fourteen participants and ten of us are working on each other’s prints in a call-and-response fashion.
We each started a print about a month ago and we pass them around weekly to another person who reacts to the print-in-progress and adds something to the print. There will be up to 4 exchanges in these collaborative prints.

I am also finishing up my work for my show that opens at Gravura Brasileira here in São Paulo on January 9, The show will include several screenprints and monotypes that I made here and work that I brought with me from Portland.

Happy Holidays, everyone!

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Dec 03, 2006

I took my class on a field trip this week to see one of the two remaining giant relief presses in São Paulo.

A small printing company uses the press we saw to print lambe-lambe posters that can be seen around the city advertising musical events. “Lambe-lambe” translates as “lick lick”, which alludes to how the posters are affixed to walls. Poster hangers use large brushes to paint glue on the front of the poster. The glue penetrates the thin paper and sticks the poster to the walls.

The posters consist entirely of typography, no images. The printing company has a large collection of wooden type with examples up to nearly two feet high.

The press in operation is an amazing sight. It takes up nearly all of a small and poorly lit workshop. Wooden type is stored along the walls along with stacks of archived posters and on a balcony at the rear of the space. There is barely enough room to walk along either side of the press.

Ink covers every unprotected surface. The press operators stand on its bed and ladle ink onto the rollers. This is definitely something you don’t want to try at home.

It is a crude operation, all in all, but they produce some powerful typographical images that read from a long, long distance.

The press is also a willing collaborator with artists. The print cooperative Espaço Coringa, worked with it on their own lambe-lambe project that I described in an earlier posting—Coringa.

See the press in the new gallery I have just created — Lambe-Lambe.

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Nov 26, 2006

Yesterday afternoon, I went to an opening of a student of mine: two metro stops away from my apartment in Liberdade. I looked outside and could see that the sky had darkened somewhat. That isn’t an unusual occurrence in São Paulo. It rains a lot here. In fact, São Paulo is well known for a special misty and barely-there rain that is called “garoa.” It is the kind of rain that you can ignore and continue on your way without a hat or an umbrella. But lately, that isn’t the kind of rain that the city has been getting.

Recent rains have been a bit more serious: furious storms with high winds, thunder and lightning. So I gave the dark sky more consideration and decided to carry my rain jacket. Out on the street, I had only walked about 50 feet when the rain started to announce itself to be more than “garoa.” The drops got bigger and heavier and more numerous. I gave some thought to returning to my apartment and waiting for the storm to pass. But when I looked in the direction of Liberdade, the sky seemed brighter and I decided to pull on my jacket and keep walking. The safety of the metro station was less than 10 minutes away. So I continued down the street towards the corner where I would turn towards the station. By this time I was committed to getting to the metro station, but the rain increased and I saw some flashes and heard a bit of rumbling that made it even more obvious that this would not be a light mist. By the time I was crossing the bridge to the metro, the rain was pouring from the sky and before I got inside the metro my feet and everything outside my jacket was wet.

At Liberdade, it was raining but not storming, a good thing, because I didn’t exactly know the location of the bookstore, site of the opening. It took me 15 minutes and 2 changes of direction before I walked in the door. I was the first arrival. This was my student’s first solo show and I gave her some advice on label placement and scanned her work, some small prints and photographs. She is going to be a good artist.

Outside the rain increased and so did the sound of thunder. Looking out the window, the rain was so heavy that bags of garbage were floating down the sidewalk. A few more people arrived, amazing considering the weather. We opened a bottle of wine and then noticed water running along the bottom of a beam in the center of the room. Luckily none of the prints were in the path of the water. It was getting late for another engagement I had but the rain was so strong and the lightning so close that it would be a foolish thing to leave the opening, even if there were a few leaks. Finally after about 45 minutes, I decided to chance it since the metro was only 2 blocks away. I forded my way out the door and sloshed up the street as fast as I could, holding my hood around my head.

By the time I came to the stairs leading down to the Liberdade metro, I was completely wet. The stairs were a waterfall on one end but the rain was finally letting up.

To those people coming to Rio, summer is the rainy season. You might want to bring a light rain jacket. Umbrellas are readily available for sale on the street here in São Paulo. I imagine that is so in Rio too. So you may be escaping the cold weather when you come to Brasil, but you probably won’t be escaping rain. See you soon!

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Nov 19, 2006

We are getting close to the end of the semester here at USP. That is just like PNCA, but with one difference. Here in Brasil, it is not only the end of the semester, it is the end of the school year. At the close of this semester, the school breaks for its summer holidays. The second semester doesn’t start until after Carnaval, on February 20.

So graduation is only a few weeks away for USP undergraduates and post graduates.

I’ve been getting a few letters from people who have read my posts and this week I received a particularly interesting one from French artist Julia Rometti whose work I saw at Galeria Vermelho. Her work is a video loop projected on an outside wall at the back of the gallery. I didn’t get to see the video because it is only projected after dark. But there was some other work installed nearby that I mistakenly attributed to her. She wrote me to clear up that confusion.

She was also kind enough to send some information about her video loop, Nova Paraiso. It is a video collage composed from a selection of postcards linked with invented sequences that propose various utopian and apocalyptic possibilities. I am going to have to return in the evening to see what she has envisioned. The photo at the beginning of this piece is a selection from her video.

Meanwhile I am working furiously to finish the projects that I have started. The end of the semester also means the end of my access to the print studios here.

I will be traveling in Brasil during the holiday break and returning to São Paulo in time for my opening at Gravura Brasileira. The show will be a combination of work I brought with me and some work that I have made here. And it will be the initial exhibition in a series of exchange exhibitions that are planned for the next several years.

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Nov 13, 2006

Located in the same Parque de Ibirapuera as the Bienal is Paralela 2006, an exhibition of Brazilian artists who were not chosen for this year’s Bienal. Paralela 2006 includes even more artists than does the Bienial. It’s also installed in a huge space, although not quite as large as the Bienial. The more than 150 artists include Ernesto Neto, who is part of our A Gentil Carioca exchange; Regina Silveira, who will come to PNCA next September for a show in the Feldman and Claudio Mubarac of USP, who will also visit PNCA next year during his show at the Froelick Gallery. My photo of Claudio’s work is of an older print but not the work that he showed in Paralela. He is now combining inkjet photography and drypoint. I need to rephotograph that work.

Go to my new gallery, Paralela 2006, to see photographs of a few pieces that stick in my memory

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Nov 05, 2006

Because of the Finados Holiday this week (Memorial Day here), the highways in São Paulo were filled to capacity as motorists tried to leave the city for the 4 free days. The Folha of São Paulo estimated that 1 1/2 million cars would be leaving the city on last Wednesday and Thursday. Simultaneously , there was a meltdown of air travel due to a work slowdown by air controllers who are attempting to draw attention to their job conditions. I was glad to stay in the city.

I spent most of the time drawing in my apartment but yesterday, I returned to the Pinacoteca do Estado to see the exhibit of León Ferrari and to get another look at the Regina Silveira installation, Observatory. The Pinacoteca do Estado is across the street from the beautiful train station, Luz. It is São Paulo’s first museum of art. It was remodeled nearly 10 years ago and the architect, Paulo Mendes de Rocha, received the Mies Van der Rohe Prize for his design. Regina Silveira’s installation takes good advantage of the huge space that he has created in the center of the building.

This was my third visit to the Pinacoteca since I arrived here. It was worth my time. Some of my colleagues at USP have said that they think that the Pinacoteca do Estado is the best museum in São Paulo. They are enthusiastic about the direction of its temporary exhibits that regularly feature local artists as well as exhibitions like the beautiful “Calder in Brasil” that I saw during the first time I visited the museum.

The exhibition program doesn’t leave prints out of its rotation either. In the last 2 years, they have mounted major shows of Evandro Carlos Jardim, Claudio Muburac, Marco Buti, and Samico, each accompanied by well-produced catalogues. Photography also has an important role in the eyes of the curators of Pinacoteca. Exhibitions of photography have been on display continuously since I have been here.

León Ferrari’s exhibition is engaging. He is an important conceptual artist from Argentina. Intensely political, he was forced to live in exile in Brazil for 15 years starting in 1976. He returned to Buenos Aires in the early 90’s and still lives there. Now over 80 years old, he works in many different media from drawing and collage to three-dimensional assemblages. The Pinacoteca’s show is a survey of his work from all periods of his career.

In the bottom floor I found a beautiful photography exhibit that examined the work of commercial portrait photographers based in the Northeast of Brasil. The portraits were hand-colored and I was struck by the juxtaposition of photography and drawing, something that I have explored in my own work. In this case, the photographer had bleached out a lot of information in the photography leaving just outlines of body and clothing while the faces were untouched. With photo oils, the photographer painted in the clothing nearly from scratch creating a contrast with the photographic information still present in the faces of his subjects. I was really sad to find out that there is no catalogue for this show. León Ferrara’s show, on the other hand, is documented with a large catalogue. You’ll be able to see it in the library next year.

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Oct 29, 2006

Last week I visited the cooperative printmaking studio, Espaço Coringa, at the invitation of Fabricio Lopez. I have already posted some pictures of Fabricio printing giant woodcuts with a spoon.

Espaço Coringa is located right across the street from Galerie Gravura Brasileira. The neighborhood is full of stores and galleries that would not be out of place in the Pearl District. But it also contains some detached housing, against the trend in São Paulo where neighborhoods are being knocked down to build condominiums.

Espaço Coringa is reached by walking up a driveway past another print studio, Atelelier Piratininga. It is housed in a narrow building of two stories with small rooms. The core group consists of 7 artists, mostly friends who connected with each other in art school. They use the studio for their own work, for collabor-ative activities and to teach classes. There are other artists who work in the studio too, on a monthly or project basis.

The studio has facilities for etching and woodcut, a darkroom for photography, and computer and video. They have a phone and they are also connected to the internet. One of the rooms was made into a library that was formed by the individual contributions of its members.

On the day I was there, 5 people were working on various projects in the library and on the computers and one of the artists was putting together a matrix for an offset project.

A big focus of the studio has been its collaborative projects. Some of them are just between members of the studio, but others have been bigger projects that have involved collaboration with the nearby print studio, Atelier Piratininga and with other artists.

A couple of the most interesting ones are Lambe-Lambe and Let’s Engrave Dürer’s Rhinoceros. Lambe-Lambe http://www.artebr.com/lambelambe/ was a large and mostly informal public art project that involved 18 artists who made over 5000 prints from their woodcuts, some of them very large, and posted them on walls alongside the usual posters advertising concerts, dances and stores. Lamber means, “to lick”. So Lambe-Lambe means, “lick-lick”: a reference to how the posters are affixed to the walls. This project was first realized in São Paulo and later was taken to other Brazilian cities.

At the conclusion of the Lambe-Lambe project a few of the artists got the idea to make a reproduction of Albrecht Dürer’s woodcut of a rhinoceros, only the reproduction would be life-size. The print was divided into 15 sections and each artist cut a section. It was then assembled and applied to a wall just as a traditional billboard would be put together. The sections were printed on a commercial press and 250 copies were made. It took a year to complete. I first saw an example of this project on an outside wall of the USP art department. Let’s Engrave Dürer’s Rhinoceros also traveled throughout Brasil and beyond to Mexico, Canada and Europe.

I’ve created a new gallery, Espaço Coringa. In it I’ve posted photos of the studio that I took as well as photos of the two projects, Lambe-Lambe and Let’s Engrave Dürer’s Rhinoceros that were taken by participants in the projects including Ernesto Bonato.

There is a lot of energy, collaboration and community at Espaço Coringa. I think they represent some of the best things about printmaking.

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Oct 23, 2006

The University of São Paulo is a public university and the tution is free if you can qualify to enter the school. There are 30 spaces for entering students and this year over 800 students took an eight-hour test called the vestibular, as the beginning step to acceptance into the freshman class. Out of this first test, 120 were chosen to take a second general scholastic exam. Each test is worth 50%.

This first test has two parts. Each are described below in the translation I have made of the instructions that the candidates received.

Vestibular 2007 for the Department of Art at USP

Drawing Test
The drawing test has as its objective the assessment of the capacity of the candidate to express a visual rationale using the medium of drawing and also of assessing the clarity in which the candidate’s ideas are organized on paper.
You have received a piece of white paper for this test and will have sufficient time to express, in one image only, your vision on the question proposed below. If you wish, you may use the back of the paper (identified with your name) for studies and sketches.
It is neither necessary nor obligatory to use an eraser.

The question:
The photograph has as its basic reference, light. Drawing basis is the deposit of graphite by friction on paper. The material specifics of the two mediums, therefore, are different. The result is that observational drawing and photography register reality in different manners. Observing the reality that surrounds you, show what only drawing, and not photography, is capable of producing.

Written Test
The American theorist, Douglas Crimp, in his book, On the Museum’s Ruins (Martins Fontes, 2005), pointed out coincidences between the growth of the museum and the discipline of art history, beginning with the diffusion of photography throughout the nineteenth century. Develop a composition based on these three elements: the museum of art, the history of art and photography.

12 professors, both full and part-time, read the essays and looked at the drawings to choose the 120 candidates who will go on to the next phase of the vestibular. They all worked together at the same time and in the same room, but I don’t know how much consultation went on between them.

At USP, you have to apply to each program for entrance at the freshman level. If you are accepted into USP’s school of music and subsequently decide you want to study art, you must re-apply and if accepted, start all over. The idea of majors isn’t part of the concept here.

It is interesting to see the difference between the process of USP in choosing its candidates and the process that PNCA undertakes in marketing our program in order to put together a pool of applicants for the larger number of spaces we have to fill each year.

To get into USP, there is the intense pressure of two one-day tests on which everything depends. At PNCA, students can complete their application over a longer period of time in their own workspace. The USP process is under review, but I have been told that in the 5 years since the present system has been used, the quality of students has risen.

Since USP has such a high reputation and tuition is free, there are seldom any transfers into the program. Students enter at the freshman level and don’t usually leave before graduation except in cases of failure. Most students finish in four years although many also work at jobs while going to school.

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Oct 15, 2006

The Bienal isn’t the only art thing going on in town. The galleries and museums still have their normal rotation of exhibitions. The free bi-monthly publication, Mapa das Artes São Paulo, lists 30 museums, cultural centers and other institutional spaces that exhibit art. The Mapa also lists another 37 commercial art galleries. I visited one them, Galeria Vermelho, a week ago.

Galeria Vermelho’s roster consists mainly of contemporary Brazilian artists, but they also represent some artists outside the country including the Danish collaborative team, Superflex that I mentioned in my Bienal photo gallery.

Vermelho’s space can only be described as a compound. One enters it through a driveway that opens up into a courtyard with a small outdoor restaurant on the left, along with another building to the left that the gallery has given for a period of time to emerging artists who have developed it into a series of site-specific installations entitled This is Not a Love Song. Directly ahead is the Galeria Vermelho itself, paradoxically painted green.

Inside, the Rio de Janeiro artist, Rosângela Renno, has put together a very interesting show of photography entitled O Último Foto, the last photograph. Renno bought a lot of old cameras and gave them to other photographers with the instructions to photograph the famous Rio landmark, Christ the Redeemer that stands on top of Corcovado, the huge rock rising high above Ipanema Beach. These were to be the last pictures ever taken with these cameras because afterwards, Renno took back the cameras, blocked their lenses and displayed them in wall-mounted vitrines next to their respective photographs.

The exhibition was fascinating and worked on several levels. First of all, Cristo Redentor has been photographed so many times that it is has been reduced to a cliché, a postcard. Coming up with a new way to see it would be a challenge.

The archdiocese of Rio de Janeiro, given the artist rights by the team of 3 artists who conceived and fabricated the sculpture back in the late 20’s, have recently been attempting to enforce the copyright. So Renno was protesting that action by directing her collaborators to include the statue in their photographs.

And finally, O Último Foto alludes to the decline of film and the growth of digital photography. All of the cameras used for the last time in this project are film cameras.

I bought the catalogue, which will eventually become part of our library’s collection. See the Galeria Vermelho photo gallery to see views of the gallery, some of the works in O Último Foto and other work on display when I visited the space.

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Oct 08, 2006

The Bienial opened this week with not one, not two, but 3 openings. I attended the first one for artists on Thursday evening. The second opening on Friday night was for the sponsors and donors and the final one on Saturday opened the show to the general public.

The Bienal turned out to be the site of several reunions for me. First, of course, was the arrival of Sara Jane Muratori, my student and then print tech at PNCA, who is now at Tyler School of Art in the MFA printmaking program. She was here as a member of the installation crew for Pepon Osório. That installation turned out to be a big surprise. Visit my photo gallery for more on that.

I also got to spend time with my friend Bernadette Panek, who was the director of the Museu da Gravura in Curitiba, Brasil during my 1995 residency there. She still is in Curitiba, but now is the director of post-graduate studies at the School of Belas Artes. She is also a printmaker, but she isn’t making many prints right now because she is completing her doctorate in art history at USP. I went to the opening with her and several of her friends: artists and art historians.

Because I arrived before Bernadette, I had to wait on the steps for her to arrive with the invitation to the opening. As I was waiting, up walked Luciano Mariussi, who exhibited his video installation at the Feldman Gallery in May, 2005. He is newly married. Visit my photo gallery to see a photograph of him and his wife Camille.

Now about the exhibition itself: It has been organized around the theme “How to Live Together”. This departs from recent exhibitions in which the principal curator would invite some of the artists and curators representing various nationalities would invite other artists. This year, Lisette Lagnado headed a team of curators who worked together to configure the exhibition. In addition to newer and lesser-known artists who dominate the show, the curatorial team has included historical figures such as Marcel Broodthaers, Gordon Matta-Clark, Ana Mendieta, Felix Gonzalez-Torres, León Ferrari and Dan Graham. Ten artists were invited to come to Brasil in previous months to make work for the Bienial within the country.

Since the exhibition covers over 119,000 square feet, everyone has a huge amount of room. This is nearly 3 times the size of the last Bienial. With so many artists, most of them unfamiliar to me, and so many works by each of them, I haven’t yet digested the show. I’ve been twice and plan to return and concentrate on it a bit at a time. There is a wide variety of work including installations, video, photography, painting, drawing, printmaking, sculpture and performance. There is also a program of 39 films that includes work by Jean-Luc Goddard and Rainer Werner Fassbinder and a schedule of seminars to discuss issues raised by the Bienial. Overall, photography and installation dominate.

Yesterday, on my second visit, I discovered the work of Laura Lima, one of the artists from A Gentil Carioca. She continues her interest in adornment that you may remember from her chickens with feather extensions that she exhibited at PNCA last September. In this new work, she has constructed clear vinyl costumes. The public is invited to try them on. Mirrors have been provided for the participants to see themselves and many people were putting on the costumes and being photographed by their friends.

I also ran into her colleague at A Gentil Carioca, Marcio Bottner, and spoke to Regina Silveira, who will exhibit at the Feldman next September. Now I am exhausted from seeing too much in too short of a time. Pictures and more stories in my photo gallery.

Until next week,

Christy

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Oct 02, 2006

Greetings from São Paulo! I’ve been here just over a month of a 5 month stay which includes a semester-long residency in the printmaking department of the University of São Paulo, some travels to the south of Brasil to investigate the possibility of a Global Studio in Curitiba and back to São Paulo in January for the opening of my exhibition at the Galerie Gravura Brasileira. I also plan to attend the January opening of Portland artists who will exhibit at A Gentil Carioca in Rio de Janeiro.

I’m living in a small apartment about an hour away from the University using a combination of subway and bus. I’ve set up a small drawing studio in my apartment with a light table that I’ve put together with components from Peg e Faça (Pick and Make), the local equivalent of Home Depot. And I am printing screenprints at the school. I also plan to work in lithography.

Like the city of São Paulo itself (over 17 million people in the metropolitan area), the University of São Paulo is huge both in numbers and in the size of its campus which covers about 11/2 square miles. To help students, faculty and staff negotiate the campus there is a fleet of buses dedicated to making the circuit of roads that connect the various departments, museums and other facilities. There are also numerous bus lines and taxi stops within the campus which connect to other parts of São Paulo.

The university is highly regarded and considered the most prestigious university in Brasil. The art department shares that regard but it is a fairly small unit within the Escola de Communicaçoes e Arte, which includes journalism, design, music, dance and theatre. It includes an undergraduate program and a post-graduate program which leads not only to a master’s degree in fine arts, but also a doctoral in studio or art history. Brasil is one of a small group of countries in the world that offer a doctor’s degree in studio arts. I get a sense of student and professor numbers considerably smaller than PNCA. This semester in the printmaking area, two undergraduate studio courses are being offered, one in screenprinting and the other in woodcut. There is also an advanced graduate print course that is more of a theoretically based seminar. And Claudio Mubarac, who invited me here, is teaching a history of printmaking course.

I am also teaching a class that meets one afternoon a week. The activities of the class include a mixture of studio work and presentations by me and members of the class. We also will do some kind of collaborative project by the end of the semester, a project that has yet to be determined. My 15 students are a very talented group of artists that include 5 graduate students and 10 other participants who are practicing printmakers and professors from various institutions in the city. I think of this class as an extended conference where all of the artists in the group can exchange ideas and possible solutions for the challenges facing printmakers and other artists here and in Portland. We will look at the general climate for printmaking: what do we each confront in trying to pursue creative lives as artists? I am thinking of issues such as making a living, finding time to work, getting access to technology and space in which to work, engaging with the market and establishing a community of support. We will also discuss the education of artists as we have experienced it both as students and professors.

Because not all of the group know each other going into this class I am asking each of them to write a biography and to bring work to the class to introduce themselves to me and to the rest of the group. I did the same at the first meeting. This week the first two members of the group presented their work and it was very strong. Both of these artists work in printmaking especially in woodcut.

One of them, Fernando Vilela, has come to woodcut from sculpture and works in an abstract way with very large shapes of plywood that he prints on paper and then cuts out and attaches to the wall to form large black shapes that respond to the room in which they are shown. He often shows this printed work with his sculpture, cast concrete blocks combined with sheets of metal. I’ll talk more on Fernando later when I can post some photos of his work.

The other presenter was Fabricio Lopez, who is a painter and printmaker. His work responds to the landscape, architecture and the figure with a vigorous raw energy and the liberal use of color. His work is very large, ranging up to nearly 12 feet x 15 feet. He cuts and prints these huge woodcuts by hand! He is a recent MFA graduate of USP and has shown his work in Brasil and also in group exhibitions in France and Canada.
This class is very stimulating to me and to everyone else in the group. I can hardly wait to see the next installment of work this week.

Here’s a preview of the week to come.

First, today (Sunday) is the presidential election in Brasil. If none of the three contenders get 50% of the vote, there will be a second round of voting. Luiz Lula da Silva, known as “Lula” is favored to get more than 50% in today’s first round. He is the incumbent, and a left-wing politician with a background in unions. There is a lot of intrigue including several police investigations of Lula’s campaign that is obscuring the issues that face Brasil. In Brasil, voting is compulsory.

Secondly, this is the week that the São Paulo Bienal opens. It is the second oldest biennial in the world, next to the Venice Bienale. The SP Bienial, which operates on even-numbered years, will be open until sometime in December. One PNCA connection in this regard is Sara Jane Muratori, a 2003 PNCA alum, who also worked as the Print Tech at PNCA for 2 years and is now in the graduate program in printmaking at Tyler School of Art. She is coming to the Bienal this week as an assistant to the Philadelphia artist, Pepon Osório. I am looking forward to getting together with Sara Jane in this unlikely spot for a reunion.

So until next week, ciao!

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