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all this is increasingly present in all what I do.” – commented the artist. In the works influenced by the struc-
turalist anthropologist, Gerchman uses of visual schemes, photographs, etc. to inquire himself about the
destruction of a culture.
But in the mid-70s, after these experiences, Gerchman seems to refute, somewhat, his New Yorker poem,
especially with regard to non-geographic spaces. There is a geographic and sentimental space that brings
out the poetic gerchmanian: the venue is urban and its geography has a name: the city of Rio de Janeiro. In
‘77, bounce his original phenomenology: the development of the city mysteries. Come the loves of the “banco
de trás”, the motels with neon gas, the eroticism lived in a place and a particular space. Jaime Mauricio is ri-
ght when wrote about his exhibition of 1977, in the gallery Paulo Bittencourt, “I did not want to speak about
sociology of the road as the artist’s highway is essentially urban he retreats to radiate its atmosphere or to
pluck elements – labels of drop, a case – that integrate into the urban complex, and render it to Carioca way.”
Gerchman had, near the end of the decade, rediscovered his true anthropology. It was in the decoding and the
representation of the signs and the desires of a city.
Wilson Coutinho
(Rio de Janeiro, 1946-2003) was journalist, curator and art critic. Write in newspapers such as the
Jornal do Brasil
(1980-1986), in where he was founder and editor of
Caderno Ideias
(1989-1992) and in
O Globo
(1994-
2003), and in magazines such as
Arte Hoje, Gávea e Veja
. He was curator of MAM-RJ (1997). Among its curatorial
projects highlights
Do Moderno ao Contemporâneo in Coleção Chateaubriand
(Chateaubriand Collection – MAM-RJ
and Fundação Calouste Gulbenkian, Lisbon, 1982) with Fernando Cocchiarale and
Opinião 65
: 30 Anos. He coordi-
nated the publications of RIOARTE (1993-2003). About his work, please see the book
Imediações: a Crítica de Wilson
Coutinho
organized by Izabela Pucu (Rio de Janeiro: Funarte, 2008).