The preparation of the paint for my work,
begins with the collection
of the natural material around Belo Horizonte
in the mining companies.
And it's brought ...
This is actually a stone, a phyllite
that will be crushed,
so that I can transform this in pigments.
Here we have a pigment, with which I will produce the paint,
it's a slow process
but I like to do it personally,
because it allows me to determine the granulometry of the paint.
So if I grind more, I can have a very fine paint
and if I grind less, I have a rough pigment
which will get very close to the beauty of the natural land.
[AGNALDO FARIAS, Curator] Manfredo is an artist,
carpenter, craftsman.
You see a taste for touch,
for the contact, for cutting,
In Manfredo's case this goes until the grain of the painting.
It goes in the fabric that covers and on the pigment that he manipulates.
My work plays a lot with the dynamics of the form
and its a relationship with space.
The work is built but it really goes ...
its final shape or maybe temporary
is determined by the space where it places.
So a work like this can take different positions
depending where it was placed.
[Curator] I was accustumed and everybody was accustomed
with a delimited paint, that had a frame,
that had the same structure that worked behind the scenes,
this was hidden and the format was square.
Well, and Manfred already broke up with it,
in a line that in Brazil, after studying, I never found...
For me it's a work that must have coherence,
so it can perhaps dialogue with the history of art,
that can dialogue with the work who came before it,
and can emphasize certain directions to the future.
So my work dialogues with the past of art,
with the painting, but also, based on something
which may be in the future.
I believe very strongly that my work is a work
that can offer new bases in the geometry made in Brazil.
In this sense, which is a geometry
linked to the landscape, to the land,
and it has a certain land-based
and although it also has connections,
with certain aspects of the international art.
The fabric in Manfredo speaks up,
it's never a passive support
and it's not there to be eclipsed by the chromatic matter,
no, so much is that the chromatic matter
almost never coats the totality of the fabric,
the fabric speaks, it has its own voice.
[Manfred] Here we have a small form
that I actually worked in a large series
of works within this format,
it's painted on both sides,
so you can use
both sides of the work,
the verse and reverse, that refers a little
with the works I've done in the seventies in Paris,
where the paint crossed the screen
and you actually exposed the back of the screen.
The painting was exactly what the texture
the slime allowed the paint to leak to the other side.
Even for you to determine the form
of how it was going to be cut and enlarged in the space.
There are moments in his painting. that you would say that it's not
even more painting, or almost not,
it's almost not painting,
or it's a drawing, or it's a three-dimensional structure
like a relief.
Because it's when you do not have any trace
of the fabric, almost zero,
and then the formats, they vary,
so what you really see is the wood,
but the painting is placed internally,
there is a process, where the color
is reduced, more and more, until very drastic solutions
of collection, however it is there,
like a germ, as if it had a latency.
[Manfredo] My trajectory is closely linked to Minas Gerais,
because I'm from the Vale do Jequitinhonha
and I went to Belo Horizonte,
and I had that impact of a large city,
compared to the one I had lived in the Vale do Jequitinhonha.
I'm always going to Belo Horizonte,
or to some city of Minas of the Vale do Jequitinhonha,
or even in some places,
because that for me is like to seek a source of energy
that renew you, we can say, maybe the inspiration.
My work needs the pigments,
because I work with this relation of the landscape of Minas Gerais,
of the mountain, and the mountain that generate
the pigments that is the raw material
of my pictorial work.
For me, this coming and going to Minas Gerais
it's a constant go to the source and to nourish.
I believe you work from a background
that you get, that is an experience.
I can never create a work
that is not linked to my childhood
in the Vale do Jequitinhonha, the ceramics I saw and all this.
Even because I remember, when I lived in Paris,
five years later,
I felt totally disconnected
of my roots in Brazil.
And I came back and much of my return,
was motivated by the need of to meet
the primary sources that conditioned
my relationship with the art and culture.
Then, to return to Brazil and Minas,
It's always this come back to a past that fed
my childhood, perhaps my fears,
and that created a history
and that makes a difference in my work.
My first contact with Manfredo's work
was mediated by Valter Zenini.
Valter Zenini was the first person
who I worked, in the field of visual arts
in the Biennial of 81 and 83.
And he said like that: "Farias, the paintings are coming back. "
But he talked about that with a very alarmed air,
the paintings are coming back...
And at the Biennial of 83, the same,
it started to come more painters
and his remark was even bigger.
But I realized that
he brought Manfredo.
He brought Lidia Okomura and Celso Renato.
which were three very different paths
and not aligned with the Neo-Expressionists
and the Italians transvantguarde had been doing.
And among these three artists,
the most eminently painter,
that is, who worked inside of the strict lane of painting,
but reinventing, it was Manfredo.
My work is a work that always dialogued
with the third dimension.
It dialogued in the sense that because I am
an artist who builds things,
that's mean, I'm a builder.
There is even this school called constructivism,
that is the Russian Constructivism,
that was one of the greatest sources of knowledge
that I acquired in Europe.
So, this construction of form
and construction of the chassis,
this has led me to a three dimensional,
so I create works that are sculptures,
some works are sculptures,
but I think even most of them,
were painted sculptures.
So painting is what guides my work.
My relationship with color, with pigment,
and then has this relationship with space
and with the third dimension.
And next to this are these pitchforks, these bifurcations,
these meetings that give a sense of vortex,
give the sense of something that is erratic.
A painting, an expression that
never ends at its own limit.
And in this relationship of three dimensionality
and the uniformity of the work.
I think the painting is the vehicle that transits
between one side and another,
but I consider myself much more painter than a sculptor.
Well, what we have is the following,
I start my work always with a project,
which must be some vestige of my studies of architecture,
and also allows me to make the frame structure
which must be extremely well measured.
So the projects are here,
the works are, they're here,
the angles are measured, the chassis is made up.
This drawing is the project of this white work,
you have the other one on the wall.
This structure of work, it's more or less
from certain doodles, of certain notes I take,
then I'm going to produce the project.
and consequently, the paintings.
The paintings are paintings, but in the bottom
have a whole language, painting, sculpture,
because it plays with the three-dimensionality,
not only with the flatness of the painting
So you have the pictorial surface,
but at the same time, you have
a form that is dynamic, that is fragmented
and through fragments, the totality of the work is built.
And these works also play with material,
with the texture of the canvas holder,
that are linen and jute canvas,
and also plays with the wood and the shape,
and this form is what gives this dynamism of the work in the space.
TAKE A LOOK AT THE MOUNTAINS
This "Take a look at the mountains" sticker
was created by me and a friend of mine,
called Emílio Osório Neto, who was helping me
in the assembly of my first individual exhibition in Belo Horizonte,
this was in 1974,
and we wanted to do something that got the attention
to the exhibition, in addition to the invitation.
And the exhibition was called
"Memory of things that still exist."
And it was a series of drawings I did about the Minas landscape
that I had photographed through slides and documented.
By documenting that landscape, I also got to a sad conclusion
that landscape was being ground, destroyed and exported.
So to get the attention to this problem itself,
of the landscape, around Belo Horizonte
we created this sticker called "Take a look at the mountains"
and completed then on the exhibition that was:
"Take a look at the mountains
to tell your kids how those were".
Because we were already building
a memory of the things that already existed.
and this created, and met an strong appeal
of the people of Belo Horizonte.
I made a hundred stickers, took to the Architecture School,
everybody wanted it, it was crazy,
the next day the whole School asked me.
We made a thousand stickers for the opening of the Exhibition,
and disappeared in a few minutes.
We glued throughout the glass façade of ICBEU,
Brazil-United States Cultural Institute,
the stickers.
"Take a look at the mountains ... Manfredo's advice
sounds melancholic. Look at things well
which still exist and tomorrow will be a simple memory".
What constituted the landscape, the core of it,
it was the color itself,
and could provide me the color of my painting,
so I started to take pieces of the landscape,
the soil, of the stones to the studio, to transform it into pigments,
and make the color and the subject of my work.
Manfredo's work is growing, expanding,
consolidating as decantation,
as a process, that has to do with
the process of the land.
Manfredo's work is a great contribution
for our culture, the Brazilian culture in general.
It has the particularity which is typical of great artists.
He is a great artist because his work is singular.
But at the same time it resonates
in universal terms, undoubtedly.
And it is a great contribution
that the Brazilian culture offers to the world.
script and director PEDRO PAULO MENDES
interview AGNALDO FARIAS
music VALSA SÓ-RONALDO MIRANDA
performance PATRÍCIA BRETAS-PIANO
images LUÍS ABRAMO, BERNARDO NIELSEN
drone BRUNO MISAWA
pictures LUCIANO MATTOS
translation CLÁUDIA PIERSANTI
executive production SARAH DA CUNHA SANTOS
production TECA LACERDA, LUCIANA LACERDA
edition MATEUS RIBEIRO, RAFAEL ANDRADE
kindly
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