Dialogues: Museu Casa do Pontal and Jacaranda Art Club

Adriano Jordão, Carlos Vergara, Dadinho and Manoel Galdino dialogue with the permanent works of the Villa Aymoré collection.

Artists: Adriano Jordão, Carlos Vergara, Dadinho e Manoel Galdino

Dates: 20/09 – 22/12/19

Local: Galeria Aymoré

Jacaranda Art Club and Museu Casa do Pontal


An intrigued conversation: put in contact José Bechara, Arjan Martins, Fraklin Cassaro, Henrique Oliveira and Carlos Vergara, from Jacaranda Art Club, and the artists Dadinho, Galdino and Adriano, whose works are part of the Pontal Museum’s collection. In addition to affirming Jacaranda’s broad commitments to the arts and the city, the show is also a call for action towards the renewal of the new Pontal Museum headquarters, which will house nine thousand sculptures in safety.

In April 2019, the Pontal Museum suffered an unprecedented flood. The largest collection of popular art in Brazil was under serious threat. The losses were immense, forcing the closing of the institution. In response, a support campaign was launched, which mobilized hundreds of enthusiasts of the country’s popular art and culture, demonstrating we Brazilians care about our heritage. After the successful fundraising campaign, the museum has reopened. However, it cannot remain where it is since 1976, because of an urban reform in its surroundings, which was built without proper urban planning, making the area vulnerable to further flooding.

It is not by chance that Carlos Vergara, one of the artists of the Jacaranda Art Clube, invites the Museum. Already in 1972, in a retrospective held at MAM-Rio, Vergara denounced the absence of the public-mass in art galleries. He then created the installation “Rice with beans”, in a simultaneous reference to the symbolic aspects and the concrete of the thing itself, of the rice-bean culture, the great silenced, and the video performance FOME (hunger), in which the word was written with seeds of Black beans on a damp cotton bed. During the exhibition, the beans germinated and the word HUNGER disappeared. In a trend mosaic, seeking to broaden borders, he also invited artists who composed his references, among them Dona Cícera, a popular ceramist he had met while travelling to the Northeast.

Jacques Van de Beuque’s collection occupied the same MAM as Carlos Vergara, just four years after that show. It was one of the initial steps in the understanding of popular art as a field of plural art, opening the way to think about the authorship and subjectivity of artists, seen at the time as collective subjects. Jacques inaugurated the Pontal Museum in 1976, as soon as the exhibition of his collection of popular art at MAM came to an end.

At that time, these initiatives were a cutoff, as hitherto the fact that outskirts talked with outskirts, in a perverse inbreeding feedback. Today, this small exhibition celebrates those inaugural gestures. And mark directions again.

This temporary exhibition opens the new space of the Aymoré Gallery, expanding and creating other meanings for conversations about art in contemporary Brazil.


Angela Mascelani