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175
Sensationalcity
Satiety
Violencity
Dispercity
Glimpsecity
Veracity
Clipcity
(In small smithereens to be collected and assembled)
Profilecity
Black bodies
Light of profile
White bodies
Night falls
The city sleeps
FIGURES OF THE IMPERATIVE URBAN
[LINDONÉIA]
(1998)
1
Paulo Sérgio Duarte
Lindonéia is a music title of Caetano Veloso
2
, directly inspired by a work of Rubens Gerchman:
Lindonéia, a
Giocanda dos Subúrbios, of 1966. Lindonéia
, the painting
3
, is an excellent symptom of the differences between
American pop and New Brazilian Figuration.
The portrait of the young woman is simplified, suggests a bad printed newspaper photograph, but does not
detract the graphic process. In contrast, it is painted with expressive imbalance. Her mouth, with lips slightly
displaced from each other, is not serious, nor smiling; but there is nothing of enigmatic: her physiognomy im-
plies just one of those poses where one seeks to identify the emotions into the photograph in a three by four
in a “lambe-lambe” of the public square. Lindonéia certainly is not white, not black. She is mulatto, mestizo,
probably: almond eyes, wide nose, short hair indefinite cut, and in its bureaucratic chips of identity should be
included: “dark greyish-brown color”. But the imaginary photograph was enlarged by the artist, her identity
expanded, and over the monochrome mustard background, which greatly exceeds the central face, is the
1
DUARTE, Paulo Sérgio.
Figures of the Imperative Urban
[
Lindonéia
]. In:
Anos 60
:
Transformações da Arte no Brasil
. Rio de Janeiro:
Campos Gerais, 1998. (N.O.).
2
Gerchman, in conversation with the author, reports that Caetano wrote the song from a description of Nara Leão, and would only
see the work, for the first time, some time later. (N.A.).
3
Also according to Gerchman, originally
Lindonéia
was not a “painting”, but an object, designed to be shown with supports that would
present it as a picture frame, with the surface slightly sloped. However, it was never been exposed as such. (N.A.).