20 Apr. // 22 Jun. 2013

ANA VIDIGAL (juá de vivre)

Sala de Exposições Temporárias | Temporary Exhibitions Room

ART ME UP - vi

Janus’ head has two faces. They look unto opposite directions simultaneously: the one that stands behind and the one that stands before.

Much of what defines us as humans is the horizon we contemplate. Erect, we see further: the look is the center of many commands of civilization. We have already dragged it across the floor and raised our heads - and I do not know if it was here that, in awe, the look freed our hands shackled until that moment to the ground and lifted us by the shoulders to make us stand. Such is the strength of the look that invented the Gothic when it gazed at the skies, with Gothic hands in prayer and dreaming of ascension.
We see. And what is seen becomes a full object, invested of the passion that makes us grow nearer or further apart, grow nearer or further apart. The desire invents the world that will later become life, whether it is the flint or the television. And life, flint and television, reinvents us. Because we are creatures of access to the symbolic, also from this dynamics, from this transit, we may become Janus-faced, since Janus is also the God that guards all passages, doors, even the most internal ones, past and future, of life and death, even of the one of admission to divinity, pointing not only to the opposition, but rather also to the course that is completed: time-eternity, human-divine.
Yes, we are creatures of access to the symbolic: the head is a circle, sun, reason. The father – it is the hat in Magritte. Essential tripod of absence and drive of artistic work:

. Awareness of the conflict between poles and the effort for integration;
. Knowing the darkness that runs underground and allowing the flow of the transpersonal unconscious to come forth, the crest of the wave to shine in the light and the irrational to be expressed rationally;
. The lost father. With each day of this work, the reconquering is auctoritas: whole, non-dual figure.

This auctoritas, in Ana Vidigal, is femina faber and femina ludens: Janus’ head. No, it is not a contradiction. The wholeness is made of something and of its opposite, integrated. The femina faber is the painter, formal, normative. The femina ludens is the artist of the parallel work, informal, nonconformist to the norm. Both are a gatherer, organized, parsimonious, obstinate, working bee. The painting rests on the parallel work. Or is it the painter who rests on the artist? Either way, only one woman sleeps in the bed at night. Nevertheless, two hands, the right one and the left one, act together during the painting and the parallel work: yes, these are Janus’ two faces in a single head.
Now that we have arrived here, we arrive to what I wanted to show you: the present of the future exhibitions of Ana Vidigal Juá (de vivre), at Fundação Júlio Resende, from 20th April to 22nd June and, without jumping over a given Brazil, four paintings with a transatlantic will.
Doors, remember? Circulation, movement, transit. I shall explain.

When entering a gallery, we are confronted with the result of a process and with a path. The latter, defined by the artist, the gallery owner, the curator, and we are manipulated, step by step, piece by piece, in a via lucis or cruces, or both, of enchantment or refusal, or of doubt or everything. This time, I did not want to write the ending mise-en-scène for an exhibition. I wanted the painter painting, the artist performing. I didn’t want myself in front of her painting, talking to me, I wanted her with her. Nor did I want me to grasp, with the eyes, the things of the parallel work, I wanted her with it. I did not want the gallery, I wanted the studio, an open door through which, invisible, one enters – perhaps Janus also keeps keyless locks that from them pend towards us, kind voyeur lovers, we peak. I peaked.
Juá (de vivre) returns to the most uterine intimacy, the abstraction of the concrete family, to blood ties made from shared history: the one we saw in Penelope, a nucleus from which life explodes, the mythical Big Bang of the entire nativity scene. The way, the resources, the language also return, nevertheless, to Austerity (and small smoke signals). However, they are settled in a warm and soft carpet, recuperated from samples collected by the architecture studio of Ana Vidigal’s father – this is life: a salesperson from a carpet company was carrying out the commercial goals of his company by visiting others, presenting functional and decorative professional cosiness of wool and fibre. While dissambeling her father’s studio, the samples came up. Ana Vidigal stored them for some day. The day of Juá (de vivre), when, by making them the bed of affection where austerity lies, lies on the ties, lies on the arms, lies boy and girl at the childhood when the common blood circulates, the eternal place where one grows forever, lies on the inconsumable joy of what does not perish. It lies on Juá to become Juá: all the love we were because they had us, because we had it and still. That flesh thing that later becomes dilated in friendship and expanded in love and it is laughter, that thing that is the net, meaning, the carpet where we taste the joie de vivre: we have less but that doesn’t force us to become less and we can even become more where the exact opposite lies, to which Janus, looking, pointed in Austerity (and small smoke signals).

And of Ana Vidigal there are, under construction of course, Janus-faced, simultaneous to Juá (de vivre), four paintings in the beginning of cut-paste-dry-cut-paste.
Oh, the text grows long. Today, I will not tell you that in four paintings love stories are written.

Eugénia de Vasconcellos

Cortesia Baginski Galeria/ Projectos

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