On another order of reflection, \u201cJ\u00e1 estava assim quando eu cheguei\u201d (\u201cIt Was Like This When I Got Here\u201d), by Carlito Carvalhosa, seems to allude to migration. Made by a S\u00e3o Paulo artist who moved to Rio, the sculpture is a decapitated Sugarloaf Mountain. Then again, it might refer to colonization: what was here before the westerners arrived was a large rock with another name. To name is to own. However, the work harks back to an even more primordial time than this when it asserts that the rock\u2014a monumental geological accident\u2014\u201cwas there when I got here\u201d and had no name, only form. The artist does not establish any dichotomy between the disparate times of \u201carrival\u201d and \u201cbeing there before\u201d. Rather the work addresses the constitutive moment of the sentient subject. This difference between the ego and the world (that was \u201calready\u201d there) is consciousness itself. The affirmative title creates a point of suspension, prior to the stage of expressive intensification of its attack on the problem of artwork construction: that of keeping the unnamed in a mutating formal state. Merleau-Ponty\u2019s ontology of the visible (it, or that geographical mass, \u201cwas there when I got here\u201d\u2026 it was already visible before my gaze) is considered from the perspective of C\u00e9zanne. If the French philosopher still dabbles in metaphysics, Carvalhosa dispenses the cultural memory of the cliff (his symbolic history of the nation) and perhaps a Bachelardian phenomenology of the order of La Terre et les r\u00eaveries de la volont\u00e9. However, he knows that, essentially, he finds himself before a Merleau-Ponty confrontation that is allusive to C\u00e9zanne: constructed humanity (the producer-subject of art: the artist) suspends its habits (such as that of considering the landscape as something given in painting) and reveals \u201cthe base of inhuman nature upon which painting has installed itself\u201d. If Carvalhosa\u2019s memory derives from the sensorial apparatus, its unfolding in his work has its eye on the history of art. \u201cThe landscape thinks itself in me, and I am its consciousness\u201d, wrote C\u00e9zanne. Like Mount Sainte-Victoire in C\u00e9zanne, the Sugarloaf is a mere worldly (pre-worldly) given through which Carvalhosa pits the specificity of sculpture against primordial nature (Husserl\u2019s Erde). Between the opacity of memory and non-knowing, Carvalhosa reveals his chiasmus: what comes from the thing (and was \u201calready there\u201d) and what derives from himself in his work.
<\/p>\n\n\n
\n<\/p><\/body>","protected":false},"excerpt":{"rendered":"","protected":false},"author":2,"featured_media":0,"template":"","meta":{"nf_dc_page":"","footnotes":""},"decada":[5],"class_list":["post-4061","texto","type-texto","status-publish","hentry","decada-5"],"_links":{"self":[{"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/texto\/4061","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/texto"}],"about":[{"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/types\/texto"}],"author":[{"embeddable":true,"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/users\/2"}],"version-history":[{"count":4,"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/texto\/4061\/revisions"}],"predecessor-version":[{"id":8179,"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/texto\/4061\/revisions\/8179"}],"wp:attachment":[{"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/media?parent=4061"}],"wp:term":[{"taxonomy":"decada","embeddable":true,"href":"https:\/\/acervocarlitocarvalhosa.com.br\/en\/wp-json\/wp\/v2\/decada?post=4061"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}