Futebol de salão: a coletiva

CILDO MEIRELES, RUBENS GERCHMAN, FRANÇOIS MORELLET, DANIEL BLAUFUKS, RAUL MOURÃO, LULA WANDERLEY AND JULIO LEITE

From Jun 15 to Jul 15 2010

Well, football.

Well, one could connect three points without an apparent link but in tune with the imagination, although it seems this vision speaks louder when these three points actually have something in common. It's as if an ordinary nose or a pair of bulging eyes, shared between two entities, would allow us to come up with a voice that, even when dissonant, finds reasons to talk.

Well, this is primarily an exhibition of curatorial imagination, that is, its meaning depends on a physiognomic anticipation of the curator in order to say that, in letting three points alone in space, these will be linked on sympathy. Shouldn?t it remind us that we are facing football matches? Shouldn?t it remind us that football matches share a common language?

Something very attractive connects the rotation of players on the field?s rectangle and running areas after an object, where its movement is both determinate and indeterminate. Something is very attractive because of the lack of a predictable future. Here is what the curatorial imagination has to grasp, for there is also something that differs indoor from outdoor football. The reduced space increases the speed, so now there is an unexploited comfort in its dialogue with the curatorial imagination, since there is a theoretical enunciator, but absent, that is not defined by the authority, but still gives consistency, when consistent.

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There is something quite philosophical behind that curatorial imagination that we look to. If you get Mourão?s sculptural traits, Blaufuks? breaks and Morellet?s advancement in time, there is a strong inseparability of thought of any form of life and composition study. Well, if we have the fields and its forms, why not think about the lines of the field? Why not think about black over white with lines? Why not exchange this order for some hidden logic? Why not hide this logic? This desire is actually hidden behind the curatorial imagination, across every football field, there is in its abstract form, a plan that, while pictorial is also of utterance plain, and therefore, it?s always, since always, been the plain, the field, the plain that involves us with the will to see established, a plan of sculpture.

Cesar Kiraly