Versão HTML básica
162
possibility of overcoming the crisis, the real life, out of the caves to the world will be possible not to lose what
similarly unite us and define and us as equals.
To the difference of things and nature man is subject, expensive, for that capable of acting, to draw, and what
the eyes see can become alike of what the mind thinks. Because of being many, we do not have to drown in
the mass of inidentidades[sic] (unknown) that makes life a victim. At home or on the beach we will change the
world in our feature and the affections and features, the affections.
Sergio Santeiro
(Rio de Janeiro, 1944) is the author of several short films and documentaries, including
OGuesa
(1969),
Viagem Pelo Interior Paulista
– 1975),
Ismael Nery
(1979), and
Encontro com Prestes
(1987). All these assembled in
the series
Brasilianas
, n. 10 (Rio de Janeiro: Funarte, 1989) and recently released in DVD. He participates actively in
the foundation and administration of the Associação Brasileira de Documentaristas (ABD). With a Degree in Sociology
and Politics from PUC-RJ (1967), he teaches at Escola de Artes Visuais do Parque Lage between 1975 and 1979,
period in which Rubens Gerchman was the school principal. Since 1975, acts as a film professor at the Universidade
Federal Fluminense (UFF).
O CORAÇÃO MANDA: É TEMPO DE PINTURA
(1986)
1
Frederico Morais
Along of one’s Gerchman paintings, in his studio, I find this sentence of Guimarães Rosa: “When the heart
is ordering, all the time is time.” I do not know of what text it was pulled out that is, its precise meaning
escapes to me. Nor could ask to the artist why was it there, armed with letters of newspaper. When I went
to see his new paintings, those which are exposed here, Gerchman was traveling and who assisted me was
his son, Micael.
Now here, I emphasize the words
heart and time
still not knowing what to write about the new works of
Gerchman, excellent as always. Maybe because he has an exceptionally deep intimacy with his work, owing
in my memory, clear, the whole iconography gerchmanian. Actually it follows me for about 20 years and, in
my mind, this imagistic stream, constantly self-renewable, intertwined with the own image of Brazil, with its
failures and triumphs, because Gerchman is an artist on duty before the events that have moved this country
in the last two decades. And like any true artist, sometimes not even waits to happen, he anticipated himself,
do his time. Nothing escapes from him; he binds to everything and gives his testimony of participating artist.
In this sense, as I wrote elsewhere, the importance of hiswork, goes beyond the aesthetic field. This overflowing
1
MORAIS, Frederico.
The Heart Orders: is Time to Paint
. In: Rubens Gerchman. Exhibition catalog. São Paulo: Galeria Montesanti,
1986. (N.O.).