Daniela Lorenzi Projeto Ateliê de Gravura Visanet, 2006/ 2007
Training courses for school teachers and NGOs, with a theoretical and practical programme, Instituto Tomie Ohtake, São Paulo, Brazil.
Ateliê de Gravura project. Ricardo Ohtake. Director, Instituto Tomie Ohtake
Ateliê de Gravura (Printmaking Studio) project. Excerpt from the catalogue text:
[...] Printmaking is one of the oldest forms of artistic expression. In the United States too, the first images were those of Hans Staden [...]
[...] This tradition has suffered long interruptions, owing to the very discontinuity of art practised in Brazil. However, from the 1920s until around 1970, and again over the last 15 years, printmaking has reached an exceptional level of development. Carlos Oswald, Oswaldo Goeldi, Dvia Abramo, Marcelo Grassmann, the social printmakers of Rio Grande do Sul, Poty, Fayga Ostrower, Anna Letycia, Maria Bonami, Evandro Carles Jardim and Claudio Mubarac are some of the printmakers who have explored this language in extraordinary depth. [...]
[...] The Istituto Tomie Ohtake and VisaNet Brasil decided to use fine art printmaking in the training of young people and art teachers. These courses focus on teaching through the development of technique [...]
[...] teachers from state and private schools, NGOs and young students took part. During the course, participants had access to a retrospective exhibition of woodcuts by the master Livio Abramo, as a way of engaging with the printmaker's research. The works produced during the courses were exhibited at the Institute, the same venue where all the teaching activity was successfully carried out [...]
[...] VisaNet Brasil has shown in this project that it understands the scope of social, educational and cultural work, undertaking, with the Istituto Tomie Ohfake, the art education of numerous teachers and young people, who will be able to pass this knowledge on to the students who come through their classrooms and workshops. [...]
Ateliê de Gravura project. Stella Barbieri. Director of educational activities
Ateliê de Gravura (Printmaking Studio) project. Excerpt from the text by Stella Barbieri in the catalogue:
“The Printmaking Studio Project aims to connect technical procedures with the personal expression and experience of the participants through practical exercises, the reading of images and texts, dialogue and reflection.
Printmaking offers the possibility of recording a gesture by removing material. The printing body – challenged by air and by gravity itself – catalyses a kind of expressive synthesis through movement. It records not only certainties but also hesitation, delicacy and brutality. Every gesture marks, and carries within it, what is in the body, amplifying it. According to Walter Benjamin, our entire biography is contained in every gesture.
Technically placed form is empty; it must be imbued by the person who prints.
This is not a literal discourse or pamphlet content, nor art with a prescription, but the genuine expression and reproducibility of the gesture, of the image with tension and tenacity.
We believe that the group of people we chose to work with has a great deal to say about their own experiences, and we want them to have the opportunity to make these accessible: aesthetic vigour was evident in the work produced by the students and in the reflections of coordinators and teachers, and can be appreciated in this publication.
In its first edition, the project involved around 200 participants, including educators, young people from NGOs and primary school teachers, in a studio suitably equipped for printmaking. Coordinators, teachers and artists were invited to give courses and lectures: highly skilled professionals, actively engaged in artistic production or in the training of new generations.
The training courses for educators were divided between printmaking workshops proper and, more specifically, teaching workshops, establishing an integration of process, product, content and form. This enabled the educators who attended the course to broaden their knowledge, bringing printmaking to the NGOs and schools where they work.
To promote, analyse and study printmaking, an exhibition was mounted with important works by the great Brazilian artist Livio Abramo, which made it possible to observe their details and subtleties.
Ateliê de Gravura project. Flavia Ribeiro. Coordinator of the printmaking workshops
Text by Flavia Ribeiro from the catalogue: [...] The Printmaking Project/Studio sets out to explore an undervalued field: the sensibility experienced and developed through contact with art, and more specifically with that extremely complete language, fine art printmaking.
The aim of the project is, first, to offer young people the opportunity to begin training in fine art printmaking, starting with woodcut, a language with which they felt great empathy and which generated new configurations and relationships through group work.
Second, it gives priority to the training of professionals working in NGO workshops and of art teachers from various schools in the city, as a means of deepening their knowledge and experience in the field of fine art printmaking and enabling them to work more consciously.
Woodcut is built from absence and darkness: every gesture with the tool, every cut, produces light. It is a language that requires concise, albeit highly elaborate, drawing, bound to cutting and to the simplification of information, which makes it difficult to construct stereotyped images. [...]
Marisa Szpigel. Coordinator of the theoretical/teaching workshops
Text by Marisa Szpigel from the catalogue: Considering an institute of contemporary art as a place of debate among educators, whether from the third sector or art teachers, we developed three strands – Theory and Practice of Art Education, Studio Practice and History of Art – which, linked together, can foster training and the broadening of ideas for personal development and professional practice.
In Theory and Practice of Art Education, we addressed teaching from a contemporary perspective, forming a field of readings, analyses and perspectives for acquiring knowledge that could support and point to new paths in thinking about art education aimed at education in its various spheres. We set out on journeys through the History of Art and contemporary art, connecting everyday aspects to the teacher's practice and reflecting on how art can redefine the conceptions of how it is taught today. To this end, we focus on drawing. Without any concern for chronology, we move through research, "representational" and "abstract" modes, and procedures that break with the flat surface, presenting possibilities of spatialisation.
It is essential for teachers who work with art with their students to experience an artistic practice. In Studio Practice, proposals are devised so as to stimulate and provoke students and teachers, broadening the repertoire for artistic making and thinking.
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