Rogério Duarte's poster for Glauber Rocha's movie "Deus e o Diabo na Terra do Sol", 1964

Rogério Duarte started his career as a graphic designer in the 1960s. He had begun his formation in this area by taking the experimental course offered by Museu de Arte Moderna do Rio de Janeiro MAM-RJ (‘Rio de Janeiro’s Modern Arte Museum’).

He worked with Aloísio Magalhães between 1961 and 1962. He was the art director of the Maurício Vilela Laboratory (1963), coordinator of the Visual Arts Department of União Nacional dos Estudades – UNE (‘National Students Union’) and director of the Editora Vozes (‘Vozes Publishing House’) from 1966 to 1968, director of DIA Desenho Industrial Audiovisuais –(‘Audiovisual Industrial Design’) (1972-1975), art director of Designio (1976 – 1978), and art director of Salvador’s City Hall (1985 – 1989).

Rogério is a multi-disciplinary artist. He is a poet, a musician and a graphic artist. He is famous for his collaborations with the musicians of the Tropicália movement, especially Caetano Veloso and Gilberto Gil, his book covers and movie posters. In the latter field, he designed the poster of the movie “Deus e o Diabo na Terra do Sol” (1965) of Glauber Rocha, one of his most famous works.

Holding convictions that went fervently against the dogmatism of the School of Ulm, Rogério Duarte skillfully joined constructive principles acquired during his studies of design with elements of Brazilian popular culture, making a real visual anthropophagy during the period of military dictatorship in Brazil.

Rogério Duarte also holds two titles of Notório Saber em Artes Gráficas e Desenho Industrial (‘Notorious Knowledge in Graphic Arts and Industrial Design’) awarded by the Universidade de Brasília – UNB [ National University of Brasília] and by the Federal Education Council of MEC.

Currently, Duarte teaches in the School of Communications at UFBA (the Federal University in the state of Bahia).

via :: REDE DESIGN BRASIL ::.

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Helio Oiticica's "Homage to Mondrian" (Photo by Michael Stravato for The New York Times)

Hélio Oiticica (Rio de Janeiro, 1937 – idem, 1980). Together with his brother, César Oiticica, Hélio began studying painting and drawing with Ivan Serpa at the Museu de Arte Moderna do Rio de Janeiro – MAM/RJ [Museum of Modern Art of Rio de Janeiro], in 1954. In the same year, he wrote his first text on the visual arts, after which, his recording in writing of reflections on art and his output became a habit. He took part in the Grupo Frente [Frente Group] in 1955 and 1956, and in 1959, became a member of the Neoconcrete Group. He abandoned his two-dimensional works and created spatial reliefs, bolides [fireballs/meteors], capes, standards, tents and penetrables.

In 1964, he began to make the so-called Manifestações Ambientais [Environmental Demonstrations]. At the opening of the Opinião 65 [Opinion 65] show, at the MAM/RJ, he protested when entry to the museum was denied to his friends, members of the Mangueira samba school, and he was expelled from the museum, holding a collective demonstration in front of it, in which the Parangolés were worn by his samba school friends. He took part in the Opinião 66 [Opinion 66] and Nova Objetividade Brasileira [New Brazilian Objectivity], presenting the Tropicália environmental demonstration. In 1968, he held the collective demonstration, Apocalipopótese [Apocalypopothesis] on the Aterro do Flamengo [Flamengo Land Reclamation Project], which included his Parangolés and Lygia Pape‘s Ovos [Eggs]. In 1969, at the Whitechapel Gallery, in London, he realised what he called the Whitechapel Experience, presenting the Éden [Eden] project.

For most of the 1970s, he lived in New York, during which period, he was a visiting scholar of the Guggenheim Foundation, taking part in the Information show, at the Museum of Modern Art – MoMA. He returned to Brazil in 1978. After his death, the Projeto Hélio Oiticica [Hélio Oiticica Project] was created in Rio de Janeiro, in 1981, with the aim of preserving, analysing and promoting his work, under the direction of Lygia Pape, Luciano Figueiredo and Waly Salomão.

Between 1992 and 1997, the Projeto HO staged a major retrospective that was presented in the cities of Rotterdam, Paris, Barcelona, Lisbon, Minneapolis and Rio de Janeiro. In 1996, the Secretaria Municipal de Cultura do Rio de Janeiro [Municipal Secretariat of Culture of Rio de Janeiro] established the Centro de Artes Hélio Oiticica [Hélio Oiticica Centre for the Arts], to house the entire collection of the artist and open it to the public.

via Oiticica, Hélio (1937 – 1980).

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Rogério Duarte, a graphic designer, musician, composer, poet, philosopher and professor, is considered to be the one of the main intellectual forces behind the Tropicália/Tropicalismo movement. Duarte co-wrote songs with key figures of the movement including Gilberto Gil and Caetano Veloso and produced the album covers for other great names in Brazilian popular music, such as Gal Costa, João Gilberto and Jorge Ben.

The Brazilian artistic movement ‘Tropicália’ arose in the late 1960s, during a time of international cultural and political upheaval, with civil rights movements and anti-Vietnam protests in the US, riots in Paris, and the 1964 military coup in Brazil. The movement was truly global in its perspective, reflecting the chaos and anti-authoritarianism that seemed to be sweeping the world. The movement redefined Brazilian arts and re-shaped Brazilian society.

Although the original movement was crushed by an authoritarian regime, the influence and irrepressible spirit of Tropicália is far reaching. Many musicians including David Byrne, Beck and Kurt Cobain cite the influence of Tropicália on their work, and the ground breaking nature of the visual arts has only recently begun to be fully appreciated.

Tropicália launched the careers of many of Brazil’s most famous musicians and was Duarte’s closest association with fame. A true polymath, his work spans numerous fields and decades but he is best known as a designer of record covers for many of the great names of Brazilian popular music, such as Veloso, Gilberto Gil, Gal Costa, João Gilberto and Jorge Ben, posters for some of the signal films of Brazilian cinema, including Black God, White Devil, as well as book covers and works in other media. This exhibition showcases the range of Duarte’s creative endeavors in Brazil during his period.

As part of the 2009 Melbourne International Arts Festival, the exhibition will be launched on Thursday October 15 at 6pm and will continue until Saturday November 14.

ROGÉRIO DUARTE
OPENS 6PM THURSDAY OCTOBER 15 2009
Curated by Warren Taylor and James Hibberd

The Narrows
Level 2 | 141 Flinders Lane
Melbourne Victoria – Australia 3000
P + 61 03 9654 1534
www.thenarrows.org
info@thenarrows.org

Warren Taylor has an ongoing interest in the work of Rogério Duarte and as founder and director of The Narrows, has initiated, curated and toured exhibitions by distinguished graphic artists such as Ronald Clyne (2007), Experimental Jetset (2007), Roma Publications (2007), Ed Fella (2008), John Melin (2008) and Tobias Frere-Jones (2009).

James Hibberd has a longstanding interest in Tropicália specifically, and South American cultures more broadly, including history, literature, indigenous cultures and music.

Poster for the film Deus e o Diabo na Terra do Sol, 1964

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• DINGBATS BRASIL

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