{"id":359176,"date":"2024-01-12T10:00:07","date_gmt":"2024-01-12T13:00:07","guid":{"rendered":"https:\/\/anba.com.br\/in-dialogue-between-art-collections-works-by-mona-hatoum\/"},"modified":"2024-03-22T17:11:03","modified_gmt":"2024-03-22T20:11:03","slug":"in-dialogue-between-art-collections-works-by-mona-hatoum","status":"publish","type":"post","link":"https:\/\/anba.com.br\/en\/in-dialogue-between-art-collections-works-by-mona-hatoum\/","title":{"rendered":"In \u2018dialogue\u2019 between art collections, works by Mona Hatoum"},"content":{"rendered":"

S\u00e3o Paulo \u2013 The latest Casa Roberto Marinho Institute exhibition in Rio de Janeiro promotes a dialogue between its collection and invited collectors\u2019 works. \u201cConversas entre Cole\u00e7\u00f5es\u201d [loosely translated as \u201cDialogues between Collections\u201d] runs until March 24, with 256 works by 127 artists belonging to the invited collectors, in addition to those from the Marinho family itself. Among the works of Brazilians Adriana Varej\u00e3o, Vik Muniz, Iber\u00ea Camargo (1914-1994), Di Cavalcanti (1897-1976), Chinese Ai Weiwei, and many other names, two pieces by Palestinian Mona Hatoum are also on display. Pictured above, room with Paulo Vieira\u2019s collection and Hatoum\u2019s works.<\/em><\/p>\n

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Tapestry: One of Hatoum\u2019s works<\/em><\/figcaption><\/figure>\n

The 2008 Baluchi<\/em> (multicolored<\/em>) tapestry represents a world map in bas-relief. Another creation, Projection<\/em> (2006), represents another map made of cotton and dried leaves of the bac\u00e1 tree. The two are part of the collection of Paulo Vieira, executive director of Rio de Janeiro\u2019s Museum of Modern Art (MAM-RJ) and chair of the Tate International Council, an institution that manages three British museums, including Tate Modern, in London.<\/p>\n

The director of Casa Roberto Marinho and general coordinator of the exhibition, Lauro Cavalcanti, explained to ANBA that Vieira\u2019s collection stands out for its cutout of maps, cities, and urban landscapes. \u201cAmong the pieces [from Vieira\u2019s collection], there are two beautiful works by Hatoum. One is the rugs she used to make the world map. And the other one, on the wall, which she wore out with cardboard to make a different map. These two works are highlights of the exhibition,\u201d he said.<\/p>\n

Born in Beirut, Lebanon, in 1952, Hatoum is the daughter of Palestinians who sought refuge in the neighboring country. She moved to London in 1975, when what was supposed to be a brief visit turned into living in a new country due to the Lebanese Civil War (1975-1990). Hatoum said that her life story ends up causing a sense of displacement in her creation.<\/p>\n

Different collections, different looks<\/strong><\/p>\n

The exhibition unfolds in many ways from the perspective of the guest collections. It has different rooms for the collections of Andrea and Jos\u00e9 Olympio Pereira, Monica and George Kornis, Luciana and Luis Antonio de Almeida Braga, Marcia and Luiz Chrysostomo, Mara and Marcio Fainziliber and Paulo Vieira. The displayed works were selected by the guests and reflect their perspective and relationship with the Casa Roberto Marinho collection. The Marinho family and Cavalcanti made the invitation to them.<\/p>\n

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Another piece by the Palestinian artist: A sense of displacement expressed in the creative process<\/em><\/figcaption><\/figure>\n

Andrea and Jos\u00e9 Olympio Pereira selected from their collection works by living contemporary artists whose creations few people could access. M\u00f4nica and George Kornis chose to exhibit new pieces there. Luciana and Luis Antonio de Almeida Braga concentrated their exhibition on works by Lasar Segall and Rubens Gerchmann, while Marcia and Luiz Chrysostomo divided the collection into three axes defined as \u201cThemes,\u201d \u201cArtists,\u201d and \u201cNarratives.\u201d Mara and Marcio Fainziliber sought to promote dialogue between the different artists in their collection and pieces by Brazilians and foreigners. In addition to Hatoum, Vieira took works by the Brazilian Leonilson (1957-1993), the Englishman Jonathan Callan, and the Slovenian Marjetica Potrc, among others.<\/p>\n

Cavalcanti said that the idea of the exhibition was precisely to show the general public works of art from private collections that are not easy to access. An essential part of this initiative, he said, was housing these pieces in an institution that also owns a private collection.<\/p>\n

\u201cCasa Roberto Marinho is an example of a collector\u2019s children creating a cultural space to make the work their father collected available to the public. Even before having the cultural space, they always held traveling exhibitions to show the works to the public. Five years ago, I was invited to design the cultural space, and we opened the house with great success among critics and the public. And then the idea came up \u2013 why not invite other collections so the public can see them?\u201d said Cavalcanti.<\/p>\n

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The house keeps stories of Rio and now brings pieces from private collections<\/em><\/figcaption><\/figure>\n

After extensive renovations to the mansion where the journalist, businessman, and founder of communications network Globo, among other companies, lived until he died in 2003, the children and partners of the Globo group housed the Casa Roberto Marinho Institute there in 2018. The house sits in the Cosme Velho neighborhood, in a historic region of Rio. It is located next to the newly restored Largo do Botic\u00e1rio. Both are under the arms of one of the country\u2019s main postcards \u2013 the statue of Christ the Redeemer.<\/p>\n

There, Roberto Marinho received Brazilian and foreign artists, politicians, and businesspeople at events that moved the Rio scene. On the initiative of his sons Roberto Irineu Marinho, Jo\u00e3o Roberto Marinho, and Jos\u00e9 Roberto Marinho, in 2014, the house began to be restored and take the current shape it presents today, five years after its opening. Check out more information about the exhibition here<\/a>.<\/p>\n

Translated by El\u00fasio Brasileiro<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"

Rio\u2019s Casa Roberto Marinho promotes a dialogue between its collection and works from invited collectors. One of the artists is the Palestinian of Lebanese origin.<\/p>\n","protected":false},"author":2317,"featured_media":357842,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[89],"tags":[339,14712,10587,5898,47122,47123,6524,47180,47124,47125,47181,2591,3424,32444,8635,47126,4184,10647,47127,34670,29300,537,27568,47128],"class_list":{"0":"post-359176","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture","8":"tag-lebanon","9":"tag-acervo","10":"tag-brasileiros-ar-2","11":"tag-brazilians","12":"tag-casa-roberto-marinho","13":"tag-colecoes","14":"tag-collection","15":"tag-collections","16":"tag-convidados","17":"tag-dialogos","18":"tag-dialogues","19":"tag-estrangeiros","20":"tag-exhibition","21":"tag-exposicao-en-2","22":"tag-foreigners","23":"tag-globo","24":"tag-guests","25":"tag-libano-ar","26":"tag-mona-hatoum","27":"tag-mostra-en","28":"tag-palestina-en-2","29":"tag-palestine","30":"tag-rio-de-janeiro-en-2","31":"tag-roberto-marinho"},"wps_subtitle":"Rio\u2019s Casa Roberto Marinho promotes a dialogue between its collection and works from invited collectors. One of the artists is the Palestinian of Lebanese origin.","_links":{"self":[{"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/posts\/359176","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/users\/2317"}],"replies":[{"embeddable":true,"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/comments?post=359176"}],"version-history":[{"count":0,"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/posts\/359176\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/media\/357842"}],"wp:attachment":[{"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/media?parent=359176"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/categories?post=359176"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/anba.com.br\/en\/wp-json\/wp\/v2\/tags?post=359176"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}