The public on Avenida Europa, an important road corridor in the city where the MuBE headquarters is located, can enjoy the works exhibited in the external area of the Museum, which are part of the exhibition "Amilcar de Castro: in the fold of the world". Drivers, public transport passengers and pedestrians walking along the sidewalk can appreciate works of art from a distance, even without entering the Museum. Below, complete information about the exhibition and the artist, with videos, curator comments, educational material, art education activity, information about scheduling visits and much more. And even if you're not in São Paulo, a unique opportunity to immerse yourself in the artist's work. Enjoy!

Brazilian Ministry of Tourism and MuBE present

Amilcar de Castro:
in the fold of the world 

Assembly of the artwork Amilcar de Castro, Untitled (Uberaba), 1999. Steel. 16.00 x 3.20 x 0.05 m, weight 27 ton. Universidade de Uberaba collection, MG.

Amilcar de Castro at MuBE, by Paulo Mendes da Rocha. A fundamental meeting between two giants of Brazilian art. Sculptures that carry an expressive public vocation, in the outdoor area interact with an open terrace. Square crossed by a large prestressed concrete marquee, which gives it scale and builds visual markers for the sculptures. In the case of Amilcar: corten steel sheets that, through the action of cutting and bending, are transformed into space, in unstable, angular planes of balance, which are fine-tuned to touch the ground in reduced points.

Guilherme Wisnik, exhibition curator   

Guilherme Wisnik, curator of  "Amilcar de Castro: in the fold of the world" comments on the exhibition

In the artist's black and white, as in the architect's gray, there are no sentimental or cordial concessions. Sober and challenging, their artistic responses are based on the virtuous concept of project. A project understood as an affirmation of wishes that are carried out in accordance with technique and material. Thus, figuring out the idea of a society capable of planning its future and measuring the consequences of its actions, taking responsibility for them. Something that, in Brazil today, has an urgent meaning again.

 

Guilherme Wisnik, exhibition curator   

​Internal area of the exhibition "Amilcar de Castro: in the fold of the world"

The beginning of this trajectory took place in the 1940s when Amilcar, a young man and a law student at UFMG - Federal University of Minas Gerais (graduated in 1945), began to attend the Guignard School where, for several years, he had classes with the artist Alberto da Veiga Guignard... The 50s were decisive and important. He found friends, was part of the Neoconcrete movement along with Ferreira Gullar, Hélio Oiticica, Lygia Clark, Lygia Pape, Aluísio Carvão and Franz Weissmann. And in 1952 he made the copper “star”, a sculpture that inaugurated the discovery of the plate's fold and gave the direction to everything that would come later...

 

Rodrigo de Castro, exhibition co-curator   

Rodrigo de Castro, co-curator of the exhibition, comments the Historical Nucleus of  "Amilcar de Castro: in the fold of the world"

A long trajectory of over fifty years of art, producing sculptures, paintings, drawings and prints. And experimenting with different materials besides iron to make sculptures in wood, glass, granite and stainless steel... One day, talking to Amilcar about life and how things have changed since he was born in a small town in the interior of Minas Gerais (Paraisópolis), he said: "You have to believe. Always believe and until the end..."

Rodrigo de Castro, Rodrigo de Castro, exhibition co-curator   

Galciani Neves, co-curator of the exhibition and chief curator of MuBE, comments on "Matéiria-Linha" in the chapter of the exhibition "Amilcar de Castro: in the fold of the world" that promotes dialogues between contemporary production and the work of Amilcar de Castro

To enter this historical moment of Brazilian artistic production is to deal with the complexity of some of the processes that radicalized our ways of thinking, producing and experiencing art. And in this sense, being in contact with Amilcar's work, at MuBE, in a retrospective celebrating its centenary, sparks thoughts about speculations with non-Euclidean geometries, objections to passive reading of the work, non-instrumentalized conceptions of space, of phenomenological practices with the line. Thus, with the matter-line chapter, we propose a context of flows and counterpoints between the constructive line of Amilcar's drawings, graphic work and sculptures and his plural presence in contemporary Brazilian works..

 

Galciani Neves, exhibition co-curator and MuBE chief curator   

Bastidores

Ary Perez, engenheiro responsável por criar as soluções que possibilitaram a vinda da obra de grande porte de Uberaba e a colocação das esculturas de grande peso na área externa do MuBE, para a exposição "Amilcar de Castro: na dobra do mundo"

Marcelo Palmério, Reitor da Uniube, proprietária da obra de grandes dimensões de Amilcar de Castro de Uberaba-MG, conta a história da obra, desde o convite ao artista, até seu empréstimo para a exposição no MuBE. 

Preparação de estrutura de proteção da obra de grandes dimensões Amilcar de Castro, sem título (Uberaba), em Uberaba - MG.
Transporte e manuseio: quando uma obra de arte se torna carga excedente (carga indivisível que tem dimensões de largura, altura e comprimento maiores que o padrão). Julio Cesar da Silva, Cesarmaq, São Paulo - SP.
Modelo: estudo de estrutura de travamento para proteção da obra durante movimentação e transporte concebida por Ary Perez
Como foi feita a fixação da obra de grandes dimensões Amilcar de Castro, sem título (Uberaba) no MuBE. Marinalva Pascutti, Soldas Milênio, São Paulo - SP.
Planejamento: Simulação de içamento com maquete, escala 1:25, para estudo do comportamento da obra. José Sergio Borges, encarregado, e Jorge Antunes, engenheiro, Guindastes Triângulo, Uberlândia - MG. 

ações educativas

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No vídeo acima, o educador Lucas apresenta uma pequena biografia de Amilcar de Castro, onde é mostrada parte de sua vasta produção.
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Tendo como referência as esculturas de Amilcar de Castro, venha aprender a fazer cortes e dobras em papéis, que se sustentem sozinhos, em nosso Ateliê a Distância.
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Inspirado na obra de Amilcar de Castro, neste ateliê vamos explorar diferentes maneiras de pintar, com instrumentos incomuns.
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Em diálogo com a mostra “Amilcar de Castro: na dobra do mundo”, partindo de formas geométricas básicas como círculo, quadrado, retângulo e triângulo, este ateliê é um desafio de desenho de transferência. Vamos lá?
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Material Educativo para conhecer um pouco mais sobre a obra e o processo criativo de Amilcar de Castro.
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