Iberê Camargo
Sem título, 1975
Exhibition
Encounters with the Roberto Marinho Collection
Apr 24 to Jun 22
R. Cosme Velho, 1105
Rio de Janeiro, RJ
Exhibition
Encounters with the Roberto Marinho Collection
Apr 24 to Jun 22
R. Cosme Velho, 1105
Rio de Janeiro, RJ
Iberê Camargo
Sem título, 1975
Back in the 1980s, when I began studying art, I discovered works that deeply moved me. Each discovery brought me a feeling of ecstasy, something to be absorbed, lived, sometimes shamelessly copied. The freedom of innocence.
Little by little, I found my own path, drawing on information and influences from what was happening around the world in the 1970s and ‘80s, while always drinking from the wellsprings of the past, from Brazil and the world, engaging in conversation with the dead. Each captivating work presents a challenge: you look, think, attempt to recreate it in your own way, continue exploring. This conversation couldn’t be merely celebratory — it needed to be close, intimate, irreverent.
Initially, my work was gestural abstraction. One day, I got interested in drawing a statue that was on loan in my house. It was a replica of the mannerist sculpture The Rape of the Sabine Woman by Giambologna. Without quite realizing it at first, I had thus begun my Sabinas and Laocoonte series; these series address a method of teaching art that involved copying classical paintings and sculptures to learn through a repetition of the past works.
I entered the lineage of student-artists through the academy’s front door, but by abstracting, by bringing mannerism into my interest in gesture, body, and the perception of space. Art communicates across its infinite sequence — even today, the prehistoric object converses with modern and contemporary sculpture. My work engages in a dialogue wih art history.
My dialogue with the Roberto Marinho Collection begins with Iberê Camargo and Jorginho Guinle. Roberto Marinho formed his collection with his own discerning eye, and also by accompanying artist friends on visits and acquisitions.
I began collecting by exchanging works with colleagues and friends. There was an element of partnership and admiration, and the desire to have works close to me. Some of my friends are gone now, but I maintain their presence through their works. Collecting is an immense pleasure — good works acquire more and more meaning over time.
Collecting is also a conversation, when works are placed side-byside. In 2021, I participated in a project at Casa Roberto Marinho titled A Escolha do Artista [The Artist’s Choice], curated by Lauro Cavalcanti. I chose from the collection a group of Ripas by Ione Saldanha. This dialogue resulted in a unique exhibition, where I created a free arrangement of the Ripas, opening a new path in my work. Despite the wide separation of these artworks in art history, the contemporary gaze updates their reading, keeping them alive.
This dialogue of artworks in the exhibition “The Inconstancy of Form” at Casa Roberto Marinho is a journey to the origins of my artistic interests, to the images that shaped me, to the ideas and forms that I borrowed from, to the epiphanies and discoveries I got from seeing works from different times. At this moment of revisiting my trajectory, I invite the public to share my personal vision in a connection between works that speak to the heart. Works arranged not with an educational aim, but rather as a dive into love and freedom which is also, I hope, thought-provoking.
Elizabeth Jobim
Alfredo Volpi
Sem título, déc. 1940
tempera on canvas, 53,2 x 33 cm
Coleção Roberto Marinho | Instituto Casa Roberto Marinho
Iberê Camargo
Garrafas, 1957
oil on canvas, 65 x 100 cm
Coleção Roberto Marinho | Instituto Casa Roberto Marinho | © Iberê Camargo – Fundação Iberê
Alberto da Veiga Guignard
Sem título, 1955
oil on wood, 38,4 x 32,5 cm
Coleção Roberto Marinho | Instituto Casa Roberto Marinho
Tunga
Eixo Exógeno, 1996
wood and bronze, 198 x 33 x 33 cm
Coleção Elizabeth Jobim | © Instituto Tunga, Rio de Janeiro.
Iberê Camargo
Sem título, 1975
weaving with dyed synthetic fibers, wool, silk, and cotton on cotton canvas, 127 x 191 cm
Coleção Roberto Marinho | Instituto Casa Roberto Marinho | © Iberê Camargo – Fundação Iberê
Ismael Nery
História de Ismael Nery - Bissexual, 1932
china ink on paper, 15, 5 x 22,5 cm
Coleção Roberto Marinho | Instituto Casa Roberto Marinho
Jorge Guinle
O riacho, 1986
oil on canvas, 200 x 200 cm
Coleção Roberto Marinho | Instituto Casa Roberto Marinho
Casa Roberto Marinho
Rio de Janeiro - DEC 14 TO MAR 30 2025
Trusteeship: Lauro Cavalcanti
Casa Roberto Marinho
Rio de Janeiro - AUG 15 TO NOV 17 2024
Trusteeship: Cristina Canale
Casa Roberto Marinho
Rio de Janeiro - AUG 15 TO NOV 17 2024
Trusteeship: Pollyana Quintella
Casa Roberto Marinho
Rio de Janeiro - MAY 11 TO JUL 21 2024
Trusteeship: Lauro Cavalcanti, Marcia Mello e Victor Burton
Casa Roberto Marinho
Rio de Janeiro - AUG 25 TO NOV 12 2023
Trusteeship: Paulo Venancio Filho
Casa Roberto Marinho
Rio de Janeiro - APR 28 TO JUL 16 2023
Trusteeship: Lauro Cavalcanti
Casa Roberto Marinho
Rio de Janeiro - APR 28 TO JUL 16 2023
Trusteeship: Alexandre Dacosta
