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that was the clash between sensuality and criticism. Observed the sensuality of a mouth increased to the
detail. The pill, he painted it as the image of freedom of the mind, and portrayed a football team looking at a
picture that froze the moment of triumph.
If the passion for cinema were rampant interested him also to study the proposal of Gauguin because this
artist had achieved what most interested him at that moment: the tropical sensuality and simplification of
the planes of color.
Anna Maria Escallón
(Bogotá, 1954) is journalist, curator and Colombian art critic. Studies Sciences of the Social
Communication at the Universidad Jorge Tadeo Lozano and have a Masters in History of Latin American from the
Universidad de Georgetown. She was director of the Museum of Contemporary Art at the Organization of American
States, in Washington. She is a collaborator of
El Espectador
, of magazines
Credencial and Arte en Colombia
and digital
magazine www.kienyke.com. Among his works, see
Antonio Seguí, Urban Man
, (Washington D. C.: Art Museum of the
Americas, 1996);
Botero: New Works on Canvas
(Bogotá: Villegas, 1997) and
Roberto Matta: Architect of Surrealism
(Washington D. C.: Art Museum of the Americas, 2003).
RETALHOS DA CIDADE
1
Rubens Gerchman
I have lived in many cities. They bring me uncoordinated images, devoid of chronology. To me they are open
maps. All, however, of great importance in the confection of my work.
At the age of 20 I learned to navigate the maps of New York. I soon discovered the colorful maze of their
transports. In the Metro, I remember the hipper monkey of Torres García painted with the name of the streets
of Manhattan. I quickly learned to get around with considerable speed and to reach the most distant objects
accurately. Gradually I arrived where I wanted. I was delighted with this easy mobility. I took three or four
different lines, changing levels several times, into unknown stations by jumping to wait for new subways. I
became a sort of “rat of the underground” and, improved reader of the colorful maps, promptly knew by heart
the names of almost all of the stations, the value of an “A train” or an “F train”.
A long time later, when I sold some works and put my life on time, I took a taxi and covered the entire island
of Manhattan, slowly, retracing the subway underground routes. Also later I realized that the reading of
so many maps encouraged me to create conceptual works like
Nova Geografia
, of 1970 and
Você é Cru ou
Cozido?
, of 1972.
1
GERCHMAN, Rubens.
Shreds of the City
. Printed document, n. p. [Rio de Janeiro], n.d. [1995]. Writings of the artist as part of the
creative process for his column in the
Caderno Opinião
of newspaper
O Globo
, Rio de Janeiro, 1995. (N.O.).