The Museu de Arte do Rio (Museum of Art in Rio) – MAR, under the management of Instituto Odeon, presents The infinite poem of Wlademir Dias-Pino, one of Brazil’s most significant artists. Curated by Evandro Salles, the exhibit brings together over 800 works, among books, posters, objects, photographs, drawings, videos and installations that tell the story of almost 90 years of the artist’s life – the various focuses of his work, his political activity in the foundation formerly known as Universidade da Selva (known today as Universidade Federal do Mato Grosso) and his intense work as design theorist and visual programmer.
Born in Rio de Janeiro, Dias-Pino moved to Mato Grosso as a young child and returned to the capital of Rio de Janeiro State to become one the forerunners of concrete poetry and a relevant reference for neoconcrete precepts. In this context, he realizes that his interest lies less in the meaning or the final form of a poem, but above all in the way a poem can be structured – from its materiality to the participative character of the reader – which stimulates him to create, along with other artists, the poem/process movement (1967-1972). At the same time the two movements that dominated the Rio-São Paulo axis in the 1950’s and 1960’s, Dias-Pino, together with Alvaro de Sá and other artists from states such as Rio Grande do Norte, Pernambuco, Minas Gerais and Mato Grosso, develops this avant-garde method that rethinks poetry beyond its dimension as a linguistic sign, transforming books or any other means in poems that could be symbolically,
structurally, and physically manipulated by the reader.
Four poems make up the central axis of the exhibit: Day of the city, A Ave (The bird), SOLIDA and Numerics. In the first poem, the artist connects verses and lines, describing places in Cuiabá – the geodesic center of South America – and creates a large map, linking issues related to cartography with art. In the second poem, clear pages and lose words present various possibilities of readings, while the third, SOLIDA, appropriates the ambiguity that exists in the Portuguese words solidão (solitude) and sólida (solid) to invite the reader to give form to the poem by manipulating the pages of the book. The last poems is a word play with numerical associations, creating poetry through arithmetic formulations, in a criticism of the whole idea of the artist's inspiration.
In the exhibition, which seeks to amplify the sensorial experience of the works, such book-poems were transformed into large magnetic installations, in which elements will be constructed and rearranged by the visitor. Another highlight of the exhibit is the Visual Brazilian encyclopedia, which the artist has been working on for the last 20 years. Consisting of 1001 volumes, the work intends to present, through planks resulting from allegorical montages of various cultural references, the history of image construction throughout the world.
Wlademir Dias-Pino's work, his biography, main interlocutions, the historic marks in his trajectory, references and main proposals will be assembled and articulated in the exhibition in the most complete chronology ever produced on the artist. Profusely illustrated, presenting documents relative to each point in this timeline, the chronology offers a singular opportunity to contextualize the work of Dias-Pino and perceive in perspective his crucial role in the national and international landscape of art, poetry and visual programming.
The infinite poem of Wlademir Dias-Pino opens on March 1st and, on the same day, at 4 P.M., MAR will welcome the artist for a talk at the exhibition. This curatorship is part of one of the main focuses of the museum’s curatorial program, presenting artists whose work finds little dissemination in the Southeast and revising the narratives of art history. In the past three years, MAR has presented, with this goal, individual exhibits by Berna Reale (PA), Yuri Firmeza (CE), Grupo EmpreZa (GO), Jonathas de Andrade (AL/PE), Rossini Perez (RN/RJ) and Fernando Lindote (RS/SC).