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a kind of collages continuity and paintings made on cigar boxes,
the Caixas de Fumaça
2
.
Let alone stereotyped our desires are, the more they camouflage themselves as if they were private and indivi-
dual. In a society like ours where everything, including sex, is transformed into a commodity and that the mo-
ney seems to be the main element that enables the fulfillment of wishes, even though many of our desires are
created by artificial appearances technically produced, maybe the sex as the Hindu tradition understands it,
bounded to love and a spiritual dimension, whether the few holdouts which resist to the fascination produced
by the commodity aesthetics. Here there is no satisfaction caused by the consumption so quickly replaced by
a dissatisfaction and discontent. However, the works are nonetheless also goods available for consumption.
Like most of pop art known to benefit of contradiction and elimination trough opposition between mass cul-
ture and erudite art, these works of Gerchman problematize the relationship between the sacred and the
profane, not to dangle either side, reestablish an ambiguity and the art itself, something between an escape
from this Western world like a rediscovery of self, a self-irony and, at the same time, an inevitable accession
to the world of commodities.
Cauê Alves
(São Paulo, 1977) is a master and doctorate in philosophy from the Faculdade de Filosofia, Letras e
Ciências Humanas – FFLCH-USP at the University of São Paulo, institution in which he also actuates as professor. He
was assistant curator of the 8th Biennial of Mercosul (2011) and 32nd Panorama da Arte Brasileira of MAM-SP (2011),
aside from the exhibitions
Mira Schendel
:
Avesso do Avesso
– São Paulo: IAC (2010) and
Quase Líquido
– São Paulo:
Itaú Cultural (2008). Since 2006, is curator of Clube de Gravura of MAM-SP.
2
Caixa de Fumaça
. Exhibition catalog. Rio de Janeiro: Centro Cultural Banco do Brazil, 2001. (N.O.).