Zara Arshad, Alessandro Rolandi & Bruno Porto_ photo by Caue Ferraz

At the opening of the poster exhibition “Discover the Brazilian Cinema” presented at the 2nd Brazil Film Festival in Beijing, its co-curator Bruno Porto was joined by British designer Zara Arshad and Italian multimedia artist Alessandro Rolandi in an panel to address the relation between moving and still images: movies and its posters. The trio discussed aspects of contemporary marketing and promoting techniques – in which target audiences may only see a poster when they reach the theater, long after they’ve watched the trailer and read about it online – that subvert the original role of the poster, changes in technology that liberate the poster from paper, as well as its collectible aspects, and some of the “style formulas” specific genres use.

The debate and the exhibition were some of the parallel events of the 2nd Brazilian Film Fest in China, that took place at the Broadway Cinematheque MOMA in Beijing from November 17-22. It also featured a concert by musician, actor and soundtrack composer André Abujamra and a Q&A session with André Klotzel, director of Reflections of a Blender, the movie that won the festival Judge’s Choice Award. The international jury was composed by directors Xie Fei, Liu Jiayin, Sam Voutas and Vicky Mohieddeen & movie critic Raymond Zhou.

Descubra o Cinema Brasileiro poster exhibition_

Curated by graphic designers Billy Bacon and Bruno Porto, “Discover the Brazilian Cinema” features works by 30 graphic artists from diverse backgrounds, generations and parts of Brazil that encourage – through curiosity, beauty and witty visual solutions – the Chinese audience to enjoy Brazilian films. The show had been presented before at the 10th Shanghai International Film Festival in 2007 and the Pernambuco Design Salon in 2008. It was also selected for the 9th Brazilian Graphic Design Biennial, that traveled to Mexico and China in 2009.

Broadway Cinematheque MOMA_ Beijing

Posters by André Stolarski, Batman Zavareze, Billy Bacon, Bruno Porto, Claudio Reston ‘Haroldinho’, Daniel Bueno, Eduardo Denne, Felipe Muanis, Manifesto (Guto Lins / Adriana Lins / Fernando Arruda), Itamar Medeiros, Kako, José Bessa ‘Elesbão’, Leonardo Buggy, Leonardo Eyer, Lilian Granado, Marcello Rosauro, Marcelo Martinez, Marck Al, Mariana Ochs, Orlando Pedroso, Rafael Ferreira, Rafo Castro, Renato Faccini, Ricardo Cunha Lima, Ruth Klotzel, Walter Vasconcelos, Yomar Augusto and Ziraldo.

Broadway Cinematheque MOMA_

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Ziraldo's poster for "Discover the Brazilian Cinema" exhibition

Ziraldo Alves Pinto (Caratinga, Minas Gerais, 1932 – ). Draughtsman, caricaturist, cartoonist, illustrator, journalist and writer. He presented his first drawing at the age of 7 in the newspaper Folha de Minas, in 1939. In 1949, he moved to Rio de Janeiro, where he contributed to the children’s publications Vida Infantil, Vida Juvenil and Sesinho, and began to publish works in the magazine, A Cigarra. In 1952, he entered the Faculty of Law of the Universidade Federal de Minas Gerais [Federal University of Minas Gerais (UFMG) ] and contributed monthly to the magazine, Era uma Vez.

In 1954, he replaced the caricaturist Borjalo (1925 – 2004) on the daily Folha de Minas and contributed to the magazine Binômio. In 1957, he moved to Rio de Janeiro, and in the following year, began to work on the magazine, O Cruzeiro, where, two years later, he created the character, Pererê. With the success of this character, the company O Cruzeiro began to publish a monthly magazine consisting exclusively of his stories.

In 1963, he began to work for the Jornal do Brasil, and in 1964, for the magazine Pif-Paf, edited by Millôr Fernandes (1923-). In 1967, he edited the Sunday supplement, Cartum JS, of the Jornal dos Sports. In the following year, he gained international recognition and saw his drawings published in foreign magazines. He became a member of the founding team of the magazine, O Pasquim, launched in 1969.

Since then, he has devoted himself to the publication of children’s books, with many titles, most notable among which are Flicts (1969), O Menino Maluquinho [The Crazy Kid] (1980) and O Bichinho da Maçã [The Little Apple Worm] (1982). In 1982, he left the editorial of Pasquim to devote himself mainly to children’s literature. In 1999, he founded the magazines Bundas [Bums] – a parody of the society magazine, Caras and Palavra. In 2002, he began to publish a new magazine called Opasquim21.

via Ziraldo (1932).

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Website of "Discover the Brazilian Cinema"

The Discover the Brazilian Cinema poster exhibition was presented in Art Scene Gallery in Shanghai from June 15-27, 2007 featuring original posters by 30 Brazilian visual artists and 10 Chinese visual communication students.

The exhibition was curated by Billy Bacon and Bruno Porto on the occasion of the 10th Shanghai International Film Festival, which honored Brazil with a special film selection named Mostra Foco Brasil.

Artists:
André Stolarski
Batman Zavareze
Billy Bacon
Bruno Porto
Claudio Reston ‘Haroldinho’
Daniel Bueno
Eduardo Denne
Felipe Muanis
Manifesto (Guto Lins / Adriana Lins / Fernando Arruda)
Itamar Medeiros
Kako
José Bessa ‘Elesbão’
Leonardo Buggy
Leonardo Eyer
Lilian Granado
Marcello Rosauro
Marcelo Martinez
Marck Al
Mariana Ochs
Orlando Pedroso
Rafael Ferreira
Rafo Castro
Renato Faccini
Ricardo Cunha Lima
Ruth Klotzel
Walter Vasconcelos
Yomar Augusto
Ziraldo

Students (Raffles Design Institute – Shanghai)
‘Allen’ / ‘Gavin’ / ‘Joe’
Irene Kuswardi
‘Jimmy’
‘Sam’
‘Sanal’
Stephen Tedjakusuma
‘Terry’
‘Zoe’

This exhibition, accompanying the Focus on Brazil (the Brazilian film exhibition taking place within this week’s tenth Shanghai International Film Festival) is a true visual carnival. The idea was to take forty designers, artists, illustrators, and photographers spanning all generations and regions of Brazil, and ask them to create an original collection of posters for famous Brazilian films. The collection in turn aims to introduce China, a country with an equally distinctive cultural flavor, to the richness and beauty that Brazilian cinema has to offer.

Ziraldo's poster for "Discover Brazilian Cinema" exhibition

Naturally green and yellow, the colors of the Brazilian flag, are widely incorporated in the designs, which includes interpretations of a projection room light by Shanghai based Itamar Medeiros and São Paulo visual designer André Stolarski. In others, symbols such as classic 1950s 3D effect glasses, tourist sights, film, draft beer glasses, folkloric or movie characters, cameras, and a dragon are all juxtaposed to create a series of reflections on what defines Brazilian film. One of the most arresting design comes from national legend Ziraldo, who has worked as an illustrator, graphic designer, children’s book author, playwright, and talk show host for over 50 years. His poster presents a face with a Mona Lisa smirk and an open eye appearing as the Brazilian flag.

If the sum of all the parts seems to be cobbled together in a rather haphazard fashion, that’s the beauty of it. It’s exactly the mix and clash of colors, ideas, traditions, and artists that makes this collection so striking.

(SH Magazine, June 2007)

Read Also:

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• Cannes Lions 2011 Design category to be presided by Brazilian brand specialist
• London Design Festival’s “Brazil Illustrated”, featuring Bruno Kurru, Wagner Pinto and Eduardo Recife

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