Carlos Martins (Araçatuba SP 1946)
recorder, draftsman, museologist, curator, teacher.
In the 1960s, he moved to São Paulo. He graduated in Architecture from Universidade Presbiteriana Mackenzie, in 1969. Three years later, he studies drawing and painting at Escola Brasil:. Between 1973 and 1977, he travels to Europe and attends metal engraving courses at the Chelsea School of Art, at Sir John Cass School of Arts and at the Slade School of Arts in England. In Italy, in Urbino, he attends the Raffaelo academy. Back in Brazil, in 1978, he participated in the 1st National Salon of Plastic Arts, at the National Museum of Fine Arts - MNBA. He exhibits at the 2nd Iberoamerican Biennial, held by the Instituto Cultural Domecq, in Mexico, in 1980. In 1982, he received the award for best recorder by the São Paulo Association of Art Critics - APCA. In 1986, he travels to New York to study Monotype. Upon returning to Brazil, he teaches engraving at the Pontifical Catholic University of Rio de Janeiro - PUC/RJ and at the Ingá Historical Museum, in Niterói, Rio de Janeiro. In 1984, he founded the engraving office of the National Museum of Fine Arts and, between 1991 and 1995, directs the Castro Maya Museums, in Rio de Janeiro. Alongside Valéria Piccoli, she becomes the curator of the Brasiliana collection by Jacques Kugel, in 1996. Acquired by the English Foundation Rank-Packard, this collection comes to Brazil, on a loan basis, under the responsibility of the Estudar Foundation, And, in 2002, it is donated definitively. In 2006, with Valéria Piccoli and Eddy Stols, he published the book The Diplomat and Designer Benjamin Mary and Belgium's Relations with the Empire of Brazil.
Critical Comment
Carlos Martins uses allegorical procedures that point to changes in the thematic character of the engravings. With techniques such as armored water, ink, monotype, creates empty spaces, landscapes carried out in Brazil and melancholic interiors that are opposed to the engravings of social or abstract themes.
In their works, you see small houses, pine trees, rocks, that are drawn based on the figure of a triangle, stable and structuring shape of the composition. This sign, a striking element in its engravings, is often used to compose allegories that bring as a reference to literature, as in the series O Guarany, 1986, based on the work of the writer José de Alencar.
Martin's works They reveal an intimate, personal tone that is confused with memory fragments or something similar to a travel diary. Photographic-based realism is rearticulated in order to inject a certain mystery into the real. In some works, the characters are portrayed in backlight, making their identities known only through the shadows of their bodies.
In small formats, the artist operates from the suggestion, by indications that allow the observer to elaborate different narratives. They are fragments that, due to the singularity of repetition, retain part of a particular artist's experience.
Criticism
"In 1985, Frederico Morais correctly defined the result of this provision: 'Carlos Martins knows Discover, in each object, its formal structure, but also what it has to reveal in terms of memory, loneliness, silent communication between subject and object. There is no coldness in its engravings: there is a control that does not exclude emotion. Carlos Martins is allied to an impregnation of the atmosphere by subtle vibrations, suspensions of time in the wide silence, the affirmation of inconsistent presences, underground passages between the visible and the invisible, magics of the strangely crystallized real. be in front of the spread. There is a constant side of diary in these engravings, chamber music for which color noise is usually dispensed with. Phantasmatic geometry, objects seated on a definitively emptied table, paintings that held contours after being seen on the walls of museums. Visits, finally, between the visited and the visitor, as if one and the other, in a specular relationship, could no longer distinguish themselves". School of Visual Arts of Parque Lage, 1992. Folha Doubled Il. P. B.
Testimonies
"Obviously, we do not free ourselves from ourselves. The architecture I studied is present in my craft as a plastic artist: formally in some works and only in a referential way in others. It appears as a subject or through perspective, it comes directly from the type of training. [...]
The ideal of classicism is very present in my work. But there is an underlying prank on all of this. The image I give to the spectator is of a cult of canonical rigor, but what goes behind is precisely the questioning of this rigor. [...]
I make a point of, alongside technical, artisanal, instrumental knowledge, showing my students the importance of history, questioning one's own image, the strengthening of a internal collection that constantly allows the growth of artistic expression".
Carlos Martins A Susana S. Espindola - August 11, 1983
"In the images I choose always have elements of architecture, without a doubt. But I don't know why I chose the engraving. I already made watercolor and drawing. In England, where I went to do my master's degree in architecture, just out of curiosity I started an engraving course. I remember that, in the beginning, I wanted to nullify the architect's past in the images and I couldn't. It came so naturally. . . Talking to a teacher at John Cass School of Arts, he told me: 'But that's right. If you chose architecture as a profession, it is because you have a deeper connection with it. Instead of denying it, you should face it to see what results'. And from then on I couldn't resist this influence of architecture in my work anymore. [...]
It is the engraving that commands me, without a doubt. I usually say that engraving is ready when she wants it, not when I want to. I don't send anything. I'm just doing it. [...] of coup, nothing comes out. I give up a few tiny sketches, I erase a lot. I scrape the matrix, redo things on top, change the image. It is in the execution process that the image matures. I sometimes come to take twenty proofs of state from a single engraving. When it gets to a point where I find the image resolved, I leave it aside. After a few days, I look again. Then she tells me if she's ready or not. And that takes a very long time. [...]
A first reading of my work has this aspect of technical precision that is closely linked to reason. And that's it. But, there is a second reading, this rational gives way to memory material, emotions, that Proust thing... Once, I was polishing a metal plate to record and a student watched me and said: 'Oh! There is Carlos preparing another little mirror of his'. I think this observation is perfect. The plate was so polished that it mirrored, but it can also be understood as the perception that the artist's work is his mirror, the revelation of his experiences. [...]
Contemporary art is what is done today and that has a substance, a structure. Because fad is modern but not contemporary. Furthermore, I don't think it has a Renaissance plastic vision, because I use two techniques that hadn't even been invented at that time: the black way, which emerged in the 17th century, and the ink that is from the end of the 18th century".
Carlos Martins - August 1983
Individual exhibitions
1977 - London (England) - Individual, at the Jordan Gallery
1977 - Paris (France) - individual, Galerie André Biren
1978 - São Paulo SP - Individual, at Galeria Luisa Strina
1980 - Rio de Janeiro RJ - Individual, at Galeria Engraving Brasileira
1980 - São Carlos SP - Individual UFSCar
1981 - London (England) - Individual, at the Jordan Gallery
1981 - São Paulo SP - Individual, at the Luisa Strina Gallery
1981 - Rio de Janeiro RJ - Individual, at the gallery Brazilian engraving
1983 - Porto Alegre RS - Individual, at Cambona Centro de Arte
1984 - Washington (United States) - Individual, at the Brazilian-American Cultural Institute
1984 - Resende RJ - Individual, at MAM/Resende
1984 - Vitória ES - Individual, at the UFES Art and Research Gallery
1984 - Illinois (United States) - Individual, at the Krannert Museum of Art
1984 - Rio de Janeiro RJ - Individual, at Galeria Artespaço
1984 - Ottawa (Canada) - Individual, at the National Library of Canada
1984 - Quebec (Canada) - Individual, at the Institute Canadian
1984 - Quebec (Canada) - Individual, at the Recreation Center
1985 - Toronto (Canada) - Individual, at First Canadian Place
1985 - London (England) - Individual, at the Brazilian Center Gallery
1985 - Barcelona (Spain) - Individual, at the Brazilian Studios Center
1985 - São Paulo SP - Individual, at the Luisa Strina Gallery
1986 - Rio de Janeiro RJ - Individual, at Galeria Artespaço
1986 - Brasília DF - Individual, at Galeria Espaço Capital
1986 - São Paulo SP - Individual, at Galeria Luisa Strina
1986 - Porto Alegre RS - Individual, at the Cambona Art Center
1988 - Hannover (Germany) - Individual, at the Sprengel Museum
1988 - Ouro Preto MG - Individual, at the Inconfidência Museum
1988 - Juiz de Fora MG - Individual, at the UFJF Gallery
1988 - British Columbia (Canada) - Individual, at Malaspina College
1988 - Alberta (Canada) - Individual, Medicine Hat and multi-cultural
1989 - British Columbia (Canada) - individual at Hazelton
1989 - Fort Smith (Canada) - Individual, at the Northern Life Museum & National Exhibition Center
1989 - Manitoba (Canada) - Individual, at the University of Winnipeg
1991 - Lisbon (Portugal) - Individual, at the Difference
1992 - Rio de Janeiro RJ - Trajectory of 15 years of the artist, at EAV/Parque Lage
1992 - City of Praia (Cabo Verde) - Individual, at the Center for Brazilian Studies
1992 - Rio de Janeiro RJ - Route by the artist, in the Gráfica Imagem, on the EAV/Parque Lage and in the Sala Candido Portinari/UERJ
1995 - Lisbon (Portugal) - Individual, at The British Council Gallery
1995 - Pelotas RS - Individual, at the Leopoldo Gotuzzo Art Museum
1996 - Porto (Portugal) - Individual, at Galeria Degrau Arte
1996 - Rio de Janeiro RJ - Exhibition and scenarios for the commemorative concert of the centenary of Carlos Gomes, at the Municipal Theater
1996 - Buenos Aires (Argentina) - Individual, at Fundación Centro de Estudios Brasileños
1998 - Rio de Janeiro RJ - Os Amigos da Engravura, at the Museu Chácara do Céu
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving: Carlos Martins, at the Correios Cultural Space
Collective exhibitions
1974 - Lisbon (Portugal) - 8 Brazilian artists, at the Grafil Art
1976 - London (England) - East London Open Exhibition, at the Whitechapel Art Gallery
1976 - London (England) - Summer Exhibition, at the Royal Academy of Arts
1976 - Nuremberg (Germany) - Graphics in Kleinformat, at Albert Durer Gesellschaft
1976 - São Paulo SP - 7th São Paulo Contemporary Art Salon, At Paço das Artes - Acquisition Award
1977 - London (England) - 3 new recorders, at the Everyman Foyer Gallery
1977 - London (England) - Summer Exhibition, at the Royal Academy of Arts
1977 - London (England) - The London Group, at the Camden Arts Center
1977 - New York (United States) - International Miniature Print Competition, at Pratt Graphics Center
1978 - Curitiba PR - 1st Annual Engraving Exhibition City of Curitiba - Awarded
1978 - London (England) - Summer Exhibition, at the Royal Academy of Arts
1978 - Niterói RJ - 1st year of workshop, at the Ingá Museum
1978 - Rio de Janeiro RJ - 1st National Salon of Plastic Arts, at MNBA
1978 - Rio de Janeiro RJ - 2nd Carioca Salon of Art - 2nd Gravura Prize
1978 - São Paulo SP - Metal engravings, at Galeria Luisa Strina
1979 - Buenos Aires (Argentina) - 1st Latin American Engraving Triennale
1979 - Mendonza (Argentina) - 27 Brazilian engravers, at the Museum of Modern Art
1979 - Rio de Janeiro RJ - 3rd Carioca Salon of Art - Special Mention of the Jury
1979 - San Juan (Porto Rico) - Bienal de San Juan del Grabado Latino-Americano y del Caribe - Guest Artist
1980 - Mexico City (Mexico) - 2nd Iberoamerican Art Biennial, at the Domecq Cultural Institute - Acquisition Award
1980 - Curitiba PR - 3rd Annual Engraving Exhibition City of Curitiba
1980 - London (England) - 3rd World Art Exhibition, at the British Library
1980 - Maryland (United States) - Twelve Brazilian Printmakers, at Patners of the Americas
1980 - Rio de Janeiro RJ - 6th The Face and the Work, at the Ibeu Gallery
1981 - Buenos Aires (Argentina) - Art and Architecture, at the Zurbaran Gallery
1981 - Ljubljana (Yugoslavia - current Slovenia) - 14th International Engraving Biennale
1981 - Piracicaba SP - 14th Contemporary Art Salon of Piracicaba, at Casa das Artes Plásticas
1981 - Rio de Janeiro RJ - 4th National Salon of Plastic Arts
1981 - Rio de Janeiro RJ - Panorama da Brazilian Art - Gilberto Chateaubriand Collection, at MAM/RJ
1982 - Bradfort (England) - 7th British International Print Biennale
1982 - Cali (Colombia) - 12 artists Graphics, at the La Tertulia Modern Art Museo
1982 - Kyoto (Japan) - International Impact Art Festival 82
1982 - Mexico - Graphics of Brazil, at the Contemporary Art Forum
1982 - Rio de Janeiro RJ - The house, at Galeria Engraving Brasileira
1982 - São Carlos SP - 1st Art Salon - Special Room, at Senac
1983 - Ljubljana (Yugoslavia - current Slovenia) - 15th International Engraving Biennial
1983 - Montevideo (Uruguay) - 1st Bienal de Engraving
1983 - Niterói RJ - 6 artists and the small format, in the Galeria da UFF
1983 - San Juan (Porto Rico) - Bienal de San Juan del Grabado Latino-Americano y Del Caribe - Guest
1984 - Bogotá (Colombia) - The Brazilian engraving Contemporary
1984 - Brasília DF - Collective, at the Paulo Figueiredo Gallery
1984 - Philadelphia (United States) - 60th International Exhibition, at The Print Club
1984 - Rio de Janeiro RJ - Pau, stone, fiber and metal, at EAV/Parque Lage
1984 - São Paulo SP - 15th Panorama of Current Brazilian Art, at MAM/SP
1984 - São Paulo SP - Panorama de Arte Current Brasileira, in the MAM/SP
1984 - Vitória ES - Metal engravings, at the UFES Art and Research Gallery
1985 - Ljubljana (Yugoslavia - Current Slovenia) - 7th International Engraving Biennial
1985 - Rio de Janeiro RJ - D'Après, at the UFF Gallery
1985 - Rio de Janeiro RJ - Meetings. Tribute to Maria Leontina, at Petite Galerie
1985 - São Paulo SP - 18th São Paulo International Biennial, at the Bienal Foundation
1986 - Cali (Colombia) - 1st Engraving Biennial de Cali
1986 - Cali (Colombia) - 5th American Biennial of Graphic Arts
1986 - Ottawa (Canada) - Contemporary Brazilian engraving at the Galerie Front
1986 - Rio de Janeiro RJ - 1st Exhibition of the Brazilian Art Book, at Galeria Villa Riso
1986 - San Juan (Porto Rico) - 7th Bienal de San Juan del Grabado Latino-Americano y Del Caribbean
1986 - São Paulo SP - 12 years of joint work, at Galeria Luisa Strina
1987 - California (United States) - Open Studio. Contemporary Brasilian Art, at Barbara Lorimer Fine Arts
1987 - Rio de Janeiro RJ - 10+10, at the Solar Grandjean de Montigny
1987 - Rio de Janeiro RJ - to the collector: to Gilberto Chateaubriand , at MAM/RJ
1987 - São Paulo SP - 18th Panorama of Current Brazilian Art, at MAM/SP
1988 - Curitiba PR - 8th Engraving Exhibition City of Curitiba
1988 - Montevideo (Uruguay) - 1st International Meeting del Grabado, at Club del Grabado
1989 - Rio de Janeiro RJ - Brazilian engraving: four themes, at EAV/Parque Lage
1990 - Mexico City (Mexico) - Brazilian engraving, at the Museo del Grabado
1990 - São Paulo SP - Indigenous Traps, at Masp
1990 - São Paulo SP - Panorama of Current Art Brazilian, at MAM/SP
1991 - Santiago (Chile) - Brazilian engraving, at the Museo Nacional de Bellas Artes
1991 - São Paulo SP - A Mata, at MAC/USP
1992 - Curitiba PR - 10th Engraving Exhibition City of Curitiba/Mostra América, at the Engraving Museum
1992 - Rio de Janeiro RJ - Brazilian engraving: Proposal for a mapping, at CCBB
1992 - Zurich (Switzerland) - Brasilien, at Kunsthaus of Zurich
1993 - Rio de Janeiro RJ - Gilberto Chateaubriand Collection, at MAM/RJ
1994 - Beijing (China) - Contemporary Art in Brazil - Works on Paper, at The Yaw Huang Art Museum
1994 - Mexico City (Mexico) - 9th Ibero-American Art Biennial, at the Domecq Cultural Institute
1994 - Rio de Janeiro RJ - Poetics of the Resistance: Aspects of Brazilian Engraving, at MAM/RJ
1994 - São Paulo SP - 20 years of Brazilian art, at MASP
1994 - São Paulo SP - Bienal Brasil Centério 20th, at the Fundação Bienal
1996 - Rio de Janeiro RJ - Imaginary facades. Art in the Arcos da Lapa
1998 - São Paulo SP - The Collectors - Guita and José Mindlin. Matrices and engravings, at the SESI Art Gallery
1999 - Rio de Janeiro RJ - Exhibition Rio Engravura. Brazilian modern engraving: Collection National Museum of Fine Arts, in the MNBA
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving. Trajectory: 46 years of engraving teaching, at EAV/Parque Lage
2000 - São Paulo SP - Investigations. The Brazilian engraving, at Itaú Cultural
2000 - São Paulo SP - new work, at MAC/USP
2001 - Brasília DF - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - São Paulo SP - Trajectory of light in Brazilian art, at Itaú Cultural
2003 - Rio de Janeiro RJ - Brazilianart project, at Almacén Art Gallery
Source: Itaú Cultural
