Draw to design and design to draw. "Lina Bo Bardi Drawing" exhibition at Fundació Joan Miró

28/04/2019. Exhibition [BCN] Spain 15.02 > 26.05.2019
metalocus, ÁLVARO MUÑOZ

Fundació Joan Miró display a selection of lina bo bardi´s drawings, and the importance of them in the life and work of the Italo-Brazilian architect. From February 15 to May 26 2019.

View of the installation Lina Bo Bardi Drawing in Fundació Joan Miró, 2019. Image courtesy of Fundació Joan Miró.

View of the installation Lina Bo Bardi Drawing in Fundació Joan Miró, 2019. Image courtesy of Fundació Joan Miró.

Study for the exhibition hall of the Museu de Arte de São Paulo, ca. 1947. Watercolour and graphite pencil on card stock, 34.4 x 51.2 cm. Image courtesy of Fundació Joan Miró.

Drawing of a display case, ca. 1940. India ink on card stock, 17.5 x 27.9 cm. Image courtesy of Fundació Joan Miró.

View of Naples from the ship, 1946. India ink on offset paper, 23.1 x 24.2 cm. Image courtesy of Fundació Joan Miró.

Praça Getulio Vargas, Rio de Janeiro, 1946. Watercolour and India ink on paper, 24.2 x 22.3 cm. Image courtesy of Fundació Joan Miró.

Study of maypoles for the Caipiras, Capiaus: pau-apique exhibition, 1984. Felt pen marker and gouache on offset paper, 21.5 x 31.5 cm. Image courtesy of Fundació Joan Miró.

Sketches for the Bardi Bowl chair, 1951. Ballpoint pen, graphite, India ink and wax crayon on offset paper, 28.6 x 47.5 cm. Image courtesy of Fundació Joan Miró.

Interior for the Casa de Vidro, São Paulo, 1951. Series of four drawings. Colour pencil and India ink on paper, 10.9 x 11.8 cm. Image courtesy of Fundació Joan Miró.

Self-portrait, 1933. Watercolour and pencil on card stock, 28 x 18.9 cm. Image courtesy of Fundació Joan Miró.

Frei Egydio Chair, 1986. Watercolour and pencil on tracing paper, 22 x 15.8 cm. Image courtesy of Fundació Joan Miró.

Mezza macchia n. 27”. Light and shadow study, 1929. Watercolour, graphite pencil, colour pencil and grease pencil on letter stock, 24.5 x 18 cm. Image courtesy of Fundació Joan Miró.

Study for a staircase, Museu de Arte de São Paulo, 1957-1968. Watercolour and pencil on tracing paper, 31.7 x 18.3 cm. Image courtesy of Fundació Joan Miró.

Set design study for Caligula at the Castro Alves Theatre, Salvador, Bahia, 1960. Watercolour, pencil and India ink on card stock, 38.5 x 50.5 cm. Image courtesy of Fundació Joan Miró.

Image courtesy of Fundació Joan Miró.

Costume study for Calígula, Salvador, Bahia, 1961. Watercolour, gouache and pencil on paper, 32.5 x 21.6 cm. Image courtesy of Fundació Joan Miró.

Study for housing and shops on the Ladeira da Misericórdia, Salvador, Bahia, 1987. Watercolour, ballpoint pen, gouache, graphite pencil and India ink on card stock, 29.4 x 118 cm. Image courtesy of Fundació Joan Miró.

Furniture designs for the Mondadori House, Milan, 1945. Watercolour, gouache, graphite pencil and India ink on card stock, 37.7 x 53.8 cm. Image courtesy of Fundació Joan Miró.

View of the installation Lina Bo Bardi Drawing in Fundació Joan Miró, 2019. Image courtesy of Fundació Joan Miró.

Study for SESC – Fábrica da Pompeia, 1983. Watercolour, pencil and India ink on card stock, 50 x 35.2 cm. Image courtesy of Fundació Joan Miró.

Study for jewelry – Earrings, brooches, bracelets with packaging, 1947. Watercolour, gouache and pencil on paper, 26.9 x 20.7 cm. Image courtesy of Fundació Joan Miró.

View of the installation Lina Bo Bardi Drawing in Fundació Joan Miró, 2019. Image courtesy of Fundació Joan Miró.

Bob Wolfenson Lina Bo Bardi, 1978 IBCV Archives. Image courtesy of Fundació Joan Miró.

Fundació Joan Miró. Image courtesy of Fundació Joan Miró.

La Fundació Joan Miró presents Lina Bo Bardi draws, the first exhibition that specifically examines the role of drawing in the life and work of the Italo-Brazilian architect.

The exhibition brings together a careful selection of a hundred drawings from the Lina Bo Institute and P. M. Bardi, which attest to the importance of drawing in all stages of Bo Bardi's multi-faceted career. It is a project curated by the also architect, artist, researcher and international expert in the figure of Bo Bardi Zeuler Rocha Lima, who has had the collaboration of the Banco Sabadell Foundation.

Description of project by La Fundació Joan Miró

Throughout his life, Lina Bo Bardi captured his imaginative visions and creative processes in numerous sketches, so much so that they have managed to keep more than six thousand sketches and drawings in their personal files, currently housed in the Lina Bo Institute. PM Bardi, in São Paulo, Brazil. This exhibition sheds light on a concise and careful selection of a hundred of them, in charge of the commissioner Zeuler Rocha Lima. Lina Bo Bardi draws is a constellation of images that invites the visitor to discover the relevance of drawing in the trajectory of this singular architect, and to establish free associations between the multiple facets of his work. The drawings, made with different techniques, reveal, at the same time, his wide conception of design and architecture, accessible to everyone, in which he mixes different artistic sensibilities, nourished directly from nature and everyday life.

The exhibition Lina Bo Bardi draws is divided into four thematic areas: space, understood as a setting for living and for seeing and observing objects and small everyday realities; the plants like attrezzo, and the people, authentic protagonists of these spaces.

"His drawings are very personal. They are an emotional exercise and not just an intellectual practice [...]; it is evident that, in his hands, the drawing was a search for knowledge and intimacy. That it was an act of love And, like all forms of love, it was full of challenges, contradictions and ambiguities ».

«Through drawing, he observed, imagined and aspired to understand and transform reality, both externally and internally. It projected a better world to live, for herself and for others».

-Rocha Lima

The exhibition begins with the area dedicated to the imaginary of the natural world in Lina Bo Bardi's drawings. The plants were present in Bo Bardi's drawings from his childhood, as a symbol of the cycles of life and nature. In 1956, when visiting Barcelona, Bo Bardi discovered the work of Antoni Gaudí, whose interest in plants and organic forms forever transformed the language of the Italo-Brazilian architect.

The representation of people was a constant theme in his drawings. The sample He goes on to address this aspect through a set of pieces in which the human body appears not only as a physical object or reference, but also as a way of being in the world, individually and collectively.

"Lina Bo Bardi built an unusual image of the relationships of people with each other, with space, architecture and cities, nature, as well as with the objects of daily life. Bo Bardi produced some drawings and sketches [...] that are among those that are rarely associated with the mainstream architects of the 20th century. Bo Bardi painted joy and humanity".

-Rocha Lima

Through the continued exercise of the drawing, Lina Bo Bardi created an original visual culture that is the object of the next scope of the exhibition. Thanks to his editorial experience, Bo Bardi learned how to use images to promote values and to generate innovative ways of seeing. After settling in Brazil in 1946, he articulated this knowledge in the field of graphic design with
popular culture, its recognition of spontaneous forms of expression and the different traditions in which it participated.

The whole of his work conveys his conviction that life should be at the center of the way of conceiving objects, buildings and spaces, as the last area of the exhibition depicts. "His drawings," the curator says, "remind us that daily life is polyhedral and full of possibilities, a place to work and dream, for individual and social existence." The exhibition concludes with the screening of the video Lina Bo Bardi, curator, that Zeuler Rocha Lima himself originally produced for the Lina Bo Bardi 100 exhibition at the Architekturmuseum in Munich, in 2014, on the occasion of the centenary of the architect's birth.

"When we design, even as students, it is important that our building has a purpose and includes the connotation of use. It is necessary that the work does not fall from the sky on its inhabitants, but that it expresses its needs [...]. In short, one should always pursue the ideal and decent object project, which could also be defined with the old term "beautiful".

-Lina Bo Bardi

To underline the impact of Gaudí's work in the language of Lina Bo Bardi, the foyer of the Fundació Joan Miró hosts in parallel a selection of images from the photographic series that Joaquim Gomis dedicated to Gaudí's architecture. Also, during the exhibition you can admire, in the participatory space, the sketches of the original design of the exhibition, also by Zeuler Rocha Lima, which constitute a tribute to the particular spirit that Lina Bo Bardi he printed his initiatives as curator and his exhibition designs. Complete the project a specific program of activities and a paper signed by the Commissioner himself, an international expert on the figure of Bo Bardi, and co-published by the Joan Miró Foundation and Princeton University Press for English edition.

Lina Bo Bardi draws the story of a woman who was guided by ethics and modesty as an artist, and the architect who based her language on the principle of simplification. A principle he shares with Joan Miró. Both artists understood drawing as a daily practice that neither of them ever abandoned.

"Given the loss of prominence of the skill in hand drawing in the arts in general and in practice In particular, the drawings of Lina Bo Bardi continue to be an ever refreshing confirmation of the permanent importance and value of free and authentic thought and of skilled and educated hands ».

Zeuler Rocha Lima

More information

Curator

Zeuler Rocha Lima

Dates

From February 15 to May 26 2019

Venue

Fundació Joan Miró. Parc de Montjuïc, s/n, Barcelona. Spain

Lina BO BARDI

Achillina Bo was born on December 5, 1914 in Rome, Italy. Lina was the oldest child of Enrico and Giovana Bo, who later had another daughter named Graziella. In 1939, she graduated from the Rome College of Architecture at the age of 25 with her final piece, "The Maternity and Infancy Care Centre". She then moved to Milan to begin working with architect Carlo Pagani in the Studio Bo e Pagani, No 12, Via Gesù. Bo Bardi collaborated (until 1943) with architect and designer Giò Ponti on the magazine Lo Stile – nella casa e nell’arredamento. In 1942, at the age of 28, she opened her own architectural studio on Via Gesù, but the lack of work during wartime soon led Bardi to take up illustration for newspapers and magazines such as Stile, Grazia, Belleza, Tempo, Vetrina and Illustrazione Italiana. Her office was destroyed by an aerial bombing in 1943. From 1944-5 Bardi was the Deputy Director of Domus magazine.

The event prompted her deeper involvement in the Italian Communist Party. In 1945, Domus commissioned Bo Bardi to travel around Italy with Carlo Pagani and photographer Federico Patellani to document and evaluate the situation of the destroyed country. Bo Bardi, Pagani and Bruno Zevi established the weekly magazine A – Attualità, Architettura, Abitazione, Arte in Milan (A Cultura della Vita).[4] She also collaborated on the daily newspaper Milano Sera, directed by Elio Vittorini. Bo Bardi took part in the First National Meeting for Reconstruction in Milan, alerting people to the indifference of public opinion on the subject, which for her covered both the physical and moral reconstruction of the country.

In 1946, Bo Bardi moved to Rome and married the art critic and journalist Pietro Maria Bardi.

In Brazil, Bo Bardi expanded his ideas influenced by a recent and overflowing culture different from the European situation. Along with her husband, they decided to live in Rio de Janeiro, delighted with the nature of the city and its modernist buildings, like the current Gustavo Capanema Palace, known as the Ministry of Education and Culture, designed by Le Corbusier, Oscar Niemeyer, Lucio Costa, Roberto Burle Marx and a group of young Brazilian architects. Pietro Bardi was commissioned by a museum from Sao Paulo city where they established their permanent residence.

There they began a collection of Brazilian popular art (its main influence) and his work took on the dimension of the dialogue between the modern and the Popular. Bo Bardi spoke of a space to be built by living people, an unfinished space that would be completed by the popular and everyday use.

Zeuler Rocha Lima Zeuler Rocha Lima

Architect and associate professor at the University of Washington, Zeuler Rocha Lima has thirty years of experience in teaching and research in the United States, Brazil, Japan and Europe. His research and international publications include studies on modernity and cultural exchanges and globalization in Architecture and urbanism. He studied at the School of Architecture and Urbanism of the University of São Paulo, and obtained a postdoctoral fellowship in Comparative Literature at the University of Columbia. As a designer, educator, academic and writer, he has a great interest in a humanistic approach to the built environment.

During the last two decades, Rocha Lima has been dedicated to the study of the life and work of Lina Bo Bardi. Among other essays, he is the author of the acclaimed biography Lina Bo Bardi (Yale University Press, 2013). In 2007 he won the Bruno Zevi Prize for history and architectural criticism for his work on Italo-Brazilian architecture. As an academic, Rocha Lima has made numerous publications in national and international journals, catalogs of Museums and book editions.

As an architect, between 1986 and 1996, Rocha Lima co-directed the architectural firm Projeto Paulista de Arquitetura in São Paulo, and won several national prizes and awards for architecture, landscaping and urban design competitions in Brazil, including the project for the Assembly building. Legislative of the Federal District in the Monumental Axis in Brasilia (2010).

On the other hand, Zeuler Rocha Lima has participated in several exhibitions on architecture and art, in a show about Lina Bo Bardi and Albert Frey at the Art Museum of Palm Springs (2017-2018), and has been a member of several curatorial advisory committees , among them the MoMA (New York), the Museum of the Brazilian House (São Paulo), the Los Angeles County Museum of Art (Los Angeles), the Architekturmuseum (Munich) and the Johann Jacobs Museum (Zurich).

In his artistic side, Rocha Lima has focused on the language of drawing and conceptual art, and has starred in exhibitions such as The Architecture of Drawing (Architecture Museum, São Paulo, Brazil / SRISA Gallery, Florence, Italy, 2012); Becoming Drawing (Embassy of Brazil in Rome, Italy, 2016), or Found in Translation (Embassy of Brazil in Tokyo, Japan, 2018 and Bonsack Gallery, St. Louis, 2019), among others.

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Draw to design and design to draw. "Lina Bo Bardi Drawing" exhibition at Fundació Joan Miró

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