{"id":1665,"date":"2021-05-08T17:39:57","date_gmt":"2021-05-08T17:39:57","guid":{"rendered":"https:\/\/view.raulmourao.com\/?page_id=1665"},"modified":"2025-06-02T23:47:44","modified_gmt":"2025-06-02T23:47:44","slug":"moto","status":"publish","type":"page","link":"https:\/\/www.raulmourao.com\/en\/expo\/moto\/","title":{"rendered":"MOTO"},"content":{"rendered":"
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MOTO<\/h1>\n\n\n\n

2014 – S\u00c3O PAULO, GALERIA NARA ROESLER<\/h6>\n\n\n\n
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VIEWS<\/a><\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n
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O artista dedica a exposi\u00e7\u00e3o ao seu amigo e parceiro de muitos trabalhos, o designer Andr\u00e9 Stolarski (1970-2013).<\/p><\/blockquote><\/figure>\n\n\n\n

MOTO \u00e9 a segunda exposi\u00e7\u00e3o individual de Raul Mour\u00e3o na galeria Nara Roesler, em S\u00e3o Paulo. Nela, o artista exp\u00f5e um conjunto heterog\u00eaneo de obras: esculturas cin\u00e9ticas, pinturas, desenhos, fotos, v\u00eddeos e uma instala\u00e7\u00e3o em homenagem ao artista popular Jorge Selar\u00f3n (1947-2013). A mostra tem como ponto de partida um livro de mesmo nome, \u00e0 \u00e9poca em desenvolvimento por Mour\u00e3o. <\/p>\n\n\n\n

A grade, o grid: o duplo<\/h2>\n\n\n\n

por Francisco Bosco<\/h4>\n\n\n\n

O motor da obra de Raul Mour\u00e3o \u2013 a partir de certo est\u00e1gio de formula\u00e7\u00e3o em que a obstina\u00e7\u00e3o das quest\u00f5es indicia a consolida\u00e7\u00e3o de um olhar, um gesto, uma singularidade \u2013 \u00e9, no meu entender, uma tens\u00e3o que se poderia nomear, por uma cadeia de oposi\u00e7\u00f5es, como aquela entre o mundo e a forma, o concreto e o abstrato, o significado e o significante, a heteronomia e a autonomia. Essa tens\u00e3o em geral come\u00e7a por se mostrar irredut\u00edvel, sem s\u00edntese, sob a forma de um duplo que instaura um mecanismo de presen\u00e7a\/aus\u00eancia, desdobrado pelo artista em diversas possibilidades, e tende a rumar para a preval\u00eancia do formal. Outras vezes, como no caso de sua conhecida s\u00e9rie sobre o ex-presidente Lula (Luladepel\u00facia, Luladegeladeira, Luis In\u00e1cio Guevara da Silva), essa tens\u00e3o se resolve em obras que sintetizam significado e significante, sentido e sens\u00edvel, coment\u00e1rio social realizado como forma e material. Mas geralmente, repito, prevalece uma esp\u00e9cie de tens\u00e3o, que n\u00e3o separa nem funde seus elementos. Nessa mostra, MOTO, tal tens\u00e3o-motor est\u00e1 recolocada em um conjunto que ilumina o sentido geral de sua trajet\u00f3ria, consolidando-o, aprofundando-o e conferindo-lhe novas inflex\u00f5es. Percorramos os “cap\u00edtulos” da exposi\u00e7\u00e3o, para tornar mais concretas essas observa\u00e7\u00f5es abstratas.<\/p>\n\n\n\n

\u00c9 poss\u00edvel dizer que MOTO come\u00e7a de onde \u00e9 o come\u00e7o de tudo para Raul Mour\u00e3o: a rua, o vivido, o imediato. O primeiro cap\u00edtulo \u00e9 dedicado (tamb\u00e9m no sentido homenageante, in memoriam, da palavra) ao artista chileno Selar\u00f3n, encontrado carbonizado na escadaria azulejada da Lapa que era a sua pr\u00f3pria obra. Suicidaram Selar\u00f3n, chama-se o conjunto. O t\u00edtulo ir\u00f4nico remete o original de Artaud (Van Gogh, o suicidado da sociedade) \u00e0 sua vers\u00e3o brasileira: menos a opress\u00e3o da moral do que a trama c\u00ednica entre a ordem e a desordem (de que a Lapa \u00e9, de resto, o ber\u00e7o hist\u00f3rico no per\u00edodo republicano de nossa hist\u00f3ria), envolvendo pol\u00edcia, traficantes, imprensa, governantes, em cujo jogo sujo o artista foi “suicidado”. In media res, MOTO abre apresentando uma foto do corpo de Selar\u00f3n sendo \u201cvelado\u201d (foto: Bruno C\u00e9sar\/AFP) em todos os sentidos da palavra, pelo olhar acobertador da pol\u00edcia (de que o corpo coberto \u00e9 uma met\u00e1fora), por sua vez inquirido pelo olhar de um cidad\u00e3o, que tem \u00e0 sua esquerda um homem triste vestido em traje social (caracterizando a porosidade de classes da cidade) e, mais \u00e0 esquerda, um homem desolado. Vela ainda o corpo de seu autor a pr\u00f3pria obra de arte p\u00fablica, o assassinato do artista n\u00e3o deixando de ser uma meton\u00edmia do assassinato da arte pelas institui\u00e7\u00f5es pol\u00edticas.<\/p>\n\n\n\n

Como numa esp\u00e9cie de narrativa, ao cap\u00edtulo sobre Selar\u00f3n segue-se o cap\u00edtulo #setaderua, que retoma uma s\u00e9rie explorada por Raul Mour\u00e3o h\u00e1 alguns anos. Se Suicidaram Selar\u00f3n se consagra ao puro imediato, \u00e0 sua viol\u00eancia amorfa (tendo, entretanto, como duplo de fundo a obra de arte e seu mundo da forma), #setaderua introduz mais explicitamente a tens\u00e3o entre o imediato e o meio, o concreto e o abstrato, o sentido e o sens\u00edvel. Em toda a s\u00e9rie, o que vemos s\u00e3o composi\u00e7\u00f5es fotogr\u00e1ficas e pinturas que perfazem varia\u00e7\u00f5es dessa tens\u00e3o, como se o olhar do artista n\u00e3o cessasse de se espantar com a emerg\u00eancia e a perseveran\u00e7a do formal em face \u00e0 sua funcionalidade. Assim, as setas de rua s\u00e3o sentido (fun\u00e7\u00e3o) e sens\u00edvel (forma). Cumprem suas fun\u00e7\u00f5es de desviar, cercar, orientar \u2013 e ao mesmo tempo transcendem essa utilidade, afirmando-se como forma, grafismo, composi\u00e7\u00e3o, e remetendo o olhar aos momentos de maior autonomia formal da hist\u00f3ria da arte moderna.<\/p>\n\n\n\n

Essa ambival\u00eancia entre a fun\u00e7\u00e3o e a forma \u00e9 mais explicitamente colocada sob o mecanismo do duplo, de que venho falando, no cap\u00edtulo #agradeeoar. Retomando sua s\u00e9rie sobre as grades, o artista cria uma rua de m\u00e3o dupla, onde as tr\u00eas primeiras fotografias exp\u00f5em as grades em seu habitat social, mundo dos objetos onde sua forma desaparece na utilidade. J\u00e1 nas esculturas, o processo \u00e9 invertido e agora \u00e9 a utilidade que desaparece, por meio da supress\u00e3o do ambiente, fazendo emergir, em primeiro plano, a forma. Tal como no Vaso de Rubin da Gestalt, h\u00e1 um jogo de presen\u00e7a e aus\u00eancia, de prosc\u00eanio e fundo de cena: a fun\u00e7\u00e3o \u00e9 assombrada por seu duplo, que \u00e9 a forma, e vice-versa. H\u00e1 um outro na imagem, indissoci\u00e1vel, mas fantasm\u00e1tico, como a melodia de uma can\u00e7\u00e3o que toca silenciosa em nossa mente quando lemos uma letra de m\u00fasica; ou, inversamente, uma letra que lemos, no fundo dos ouvidos, quando escutamos assobiada a melodia de uma can\u00e7\u00e3o conhecida.<\/p>\n\n\n\n

O cap\u00edtulo seguinte desdobra e avoluma esse deslocamento de \u00eanfase do significado para o significante, que \u00e9 uma opera\u00e7\u00e3o chamada pela cr\u00edtica Luisa Duarte de “secamento”: uma tradu\u00e7\u00e3o do vivido orientada por uma “assepsia, um enxugamento, um distanciamento do sujeito dessa viv\u00eancia da experi\u00eancia.” A s\u00e9rie das grades, “geometria do medo”, como a chamou o cr\u00edtico Paulo Herkenhoff (portanto forma e afeto, estabilidade e movimento), reencontra sua evolu\u00e7\u00e3o em estruturas de maior escala e j\u00e1 francamente aut\u00f4nomas, como as expostas na mostra do MAM carioca de 2012, Tra\u00e7\u00e3o animal, cujas obras realizam uma “disfuncionaliza\u00e7\u00e3o do funcional”, como observou o cr\u00edtico e curador Luiz Camillo Os\u00f3rio. Como num arranjo orquestral, essas estruturas se somam \u00e0s setas de rua, devidamente “secas”, e incluem ainda o elemento das luzes e sombras para formar o apogeu dessa passagem da grade ao grid, do movimento real ao movimento abstrato, categoria filos\u00f3fica fundamental. N\u00e3o por acaso o artista chama esse conjunto de trabalhos de Obra. Tamb\u00e9m ele se abre com imagens da rua (a foto intitulada Little Richard em homenagem aos artistas Richard Serra e Fernanda Gomes), onde se percebe a mesma tens\u00e3o entre os objetos funcionais e sua forma pura, para logo em seguida enxugar a experi\u00eancia pela forma. Obra, assim, \u00e9 o cap\u00edtulo que re\u00fane os elementos e ilumina o sentido predominante dessa trajet\u00f3ria; \u00e9 o processo e seu resultado; \u00e9 o material de constru\u00e7\u00e3o e o construtivismo; \u00e9, nas palavras do artista, o que “junta diversas experi\u00eancias vividas e as transforma em obras.”<\/p>\n\n\n\n

Live apresenta um \u00fanico registro, incidindo, como o t\u00edtulo indica, sobre o inc\u00eandio do vivido, procurando captur\u00e1-lo no meio frio da fotografia. Por fim, Brog (Brog \u00e9 o nome do blog de Raul Mour\u00e3o) recebe duas imagens de outros artistas (Gustavo Prado e Joshua Callaghan), sugerindo que o motor da aventura existencial \u00e9 tamb\u00e9m os outros, e que n\u00e3o se cria uma obra sem companheiros de olhar. Afinal, como disse um poeta \u2013 habitado, ele, pela tens\u00e3o entre o registro primal do rock e a sofistica\u00e7\u00e3o do concretismo: “n\u00e3o h\u00e1 sol a s\u00f3s.”<\/p>\n<\/div>\n\n\n\n

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Francisco Bosco<\/h2>\n\n\n\n

Fil\u00f3sofo, colunista, ensa\u00edsta, letrista e compositor, \u00e9 doutor em Teoria Liter\u00e1ria pela Universidade Federal do Rio de Janeiro (UFRJ). Membro do comit\u00ea editorial da revista Serrote, do Instituto Moreira Salles (IMS).<\/p>\n\n\n\n

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O artista dedica a exposi\u00e7\u00e3o ao seu amigo e parceiro de muitos trabalhos, o designer Andr\u00e9 Stolarski (1970-2013). MOTO \u00e9 a segunda exposi\u00e7\u00e3o individual de Raul Mour\u00e3o na galeria Nara Roesler, em S\u00e3o Paulo. Nela, o artista exp\u00f5e um conjunto heterog\u00eaneo de obras: esculturas cin\u00e9ticas, pinturas, desenhos, fotos, v\u00eddeos e uma instala\u00e7\u00e3o em homenagem ao […]<\/p>","protected":false},"author":2,"featured_media":0,"parent":302,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_coblocks_attr":"","_coblocks_dimensions":"","_coblocks_responsive_height":"","_coblocks_accordion_ie_support":"","inline_featured_image":false,"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"default","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center 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