Luciana Brito Galeria presents Augusto de Campos’ one man show, Poems and Contrapoems. The exhibition presents a synthetic selection of his poetry in large dimensions, organized by plastic criteria and encompassing six decades of the artist’s production, including from seminal poems to hitherto unseen works produced during the last few years.
Augusto de Campos’ first Contrapoems, works that incorporate implications of protest and contestation, were published in the 1960s in response to the change in the country’s national political context represented by the Military Coup of 1964. They make up part of the exhibition at Luciana Brito Galeria, which includes works like LUXO [LUXURY], from 1965, built over the kitsch typography of a luxury real estate advertising, as well as more recent poems, some of them hitherto unseen. Such is the case of the ready-made Claúsula Pétrea [Stone Clause], which is “the mere transcription of a stone clause included in...the Brazilian Constitution which prohibits anyone from being considered guilty, and therefore deprived of their freedom, before the final decision by a last instance court is taken, a norm that is currently not being respected”, says the poet.
Covering an arch of more than half a century, the show traverses several moments of his poetical evolution, emphasizing the plastic arts. It is a synthetic record of high material quality that intends to be faithful to the poet’s ideals, expressed by aphorisms by two of his favorite artists—Anton Webern: “non multa sed multum”; Emily Dickinson: “Few, yet enough.”
His production has been true to the initial desire of creating a poetry fit to its time. Augusto de Campos, an octogenarian artist that has been producing a prolific body of work for the past seven decades, remains to this day one of the most contemporary authors of present Brazil.
Entrada actualizada el el 13 may de 2019
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