Since 2005, SP–Arte is a global arts event that brings together renowned art and design galleries, representing, in ever edition, over 2,000 artists in the historical Oscar Niemeyer Bienal Pavilion. During the event, local museums and cultural institutions host a strong parallel program including panel discussions, exhibition openings, and special visits that offer an overview of São Paulo’s contemporary art circuit. SP–Arte plays an essential role in Latin America’s art market and strongly contributes with Brazil’s creative economy.

The Other Industrial Revolution
by Theodoro Monteiro

When the Industrial Revolution is mentioned, it's typically linked to Europe's past, particularly the late 18th to early 19th century, marked by the emergence of factories dominating urban landscapes and triggering significant demographic changes. However, it's often forgotten that Brazil experienced a comparable, yet faster and more intense, transformation between the 1950s and 1980s. From being predominantly agrarian, with 80% of its population residing in rural areas and only a minority in cities, Brazil underwent a dramatic reversal within just three decades, becoming predominantly urban.

This industrial revolution deeply influenced the realm of visual arts. Prior to the 1950s, the prevalent works depicted a rural Brazil, exemplified by artists like Portinari and José Pancetti. However, from this period onwards, there was a notable shift towards portraying urban life, industry, and machinery, captured by artists such as Rubens Gerchman, Abraham Palatnik, and Geraldo de Barros. Yet, amidst this transition, many self-taught artists, often termed "popular," were wrongly associated with the past, deemed extra-chronological or even atavistic. This perception couldn't be further from reality. Each artist, in their unique way, offers valuable insights into our societal changes, all while maintaining a certain craftsmanship reminiscent of pre-industrial times.

The current array of artists, spanning from historical figures to contemporary ones, embodies the ethos of Galeria Estação. For two decades, the gallery has strived to integrate popular and self-taught artistic production as a central element of Brazil's artistic landscape, both historically and contemporarily. Consequently, this selection serves as a culmination of extensive research, delving into the persistence of artisanal craftsmanship amidst the era of high technology. It explores the interplay between these seemingly disparate elements, emphasizing their coexistence rather than exclusivity.

Among the historical figures, sculptor Chico Tabibuia emerges prominently. Crafting pieces without joints, meticulously fashioned from tree trunks, he presents statues of human figures with an initially archaic demeanor. However, the artist's focus lies heavily on exaggerated sexual elements, particularly phalluses. Interestingly, references to distant cultures intertwine with contemporary nuances. For instance, a vertical phallus adorned with a human head may sprout wooden wings, resembling a missile. Zoomorphic and anthropomorphic figures meld with clock-like shapes, blending elaborate technologies with ancient sculptural wisdom.

Another intriguing combination is evident in Chico da Silva's gouaches. Within them, monstrous and vividly colored entities engage in near-constant combat, showcasing open mouths and exposed stingers. These peculiar creatures originate from commonly observed animals like lizards, birds, and insects, but within the artist's poetics, they transform into something surreal. While there are nods to mythological themes, the artist draws inspiration from science fiction and horror films, pervasive in cinemas and cultural imagery. Consequently, Chico da Silva adeptly intertwines symbols of mass culture with popular knowledge and legends.

Two other self-taught artists offer significant perspectives on the intricate historical process of modernization in Brazil. One of them hails from the rural realm: José Antonio da Silva. Born in the hinterlands of São Paulo and having spent a portion of his life as a rural laborer, he portrays scenes of countryside life in his paintings, characterized by vibrant colors and dynamic compositions. However, a closer examination reveals that Silva consistently highlights the transformation of the landscape: forests are razed and cleared to make room for monocultures, livestock, and timber extraction. The depopulation of the Brazilian countryside coincided with the expansion of large landholdings and monoculture, a reality that persists today, underscored by the artist's poignant testimony.

Amadeo Lorenzato, conversely, offers an urban perspective of this era. Based in Belo Horizonte, he toiled in the construction industry in the heart of Minas Gerais' capital. In his artistic endeavors, he employed tools traditionally utilized in wall decoration, a craft he honed with mastery. Employing a comb, he fashioned compositions characterized by rough textures, subtle dynamism, and a distinctly artisanal quality. Among his subjects, scenes of the urban landscape of Minas Gerais' capital stand out, particularly those depicting the vibrant life of popular neighborhoods and slums. Lorenzato meticulously captures the characters inhabiting these scenes, as well as the signage and architectural elements, thereby shedding light on the social dynamics of these burgeoning communities, which were increasingly shaping Brazilian cities.

This artisanal legacy, having endured and engaged with the modernity that unfolded in Brazil, continues to captivate contemporary artists. André Ricardo, employing tempera, crafts compositions of striking simplicity. With vibrant hues, he depicts a plethora of subjects on his canvases, ranging from popular toys and symbols of African heritage to contemporary elements such as cars, trucks, and large ships. Yet, Ricardo's approach is elegantly minimalist, capturing only the essence of each subject.

Similarly, Santídio Pereira revisits the technique of woodcut printing through a contemporary lens, infusing craftsmanship and language into the modern era. His preferred subjects often include various plant specimens. While at times we can precisely identify the species depicted, Pereira's method remains refreshingly simple, focusing on fundamental elements that define them: using sparse lines and saturated colors.

Thus, this curated collection of artists serves as a testament to the enduring presence of artisanal craftsmanship within Brazilian production, even amidst the wave of industrial modernization. Moreover, it underscores the fact that this artisanal character not only persevered but also serves as a vital platform for delivering poignant critical commentary.