Museu Carmen Miranda, a concrete pavilion designed by Affonso Eduardo Reidy in 1962, as a children and recreational pavilion in Flamengo Park, and transformed into the Carmen Miranda's museum in 1976, 21 years after her dead.
Donald Urquhart, I'm Not Really from Brazil!, 2010
courtesy Maureen Paley, London and Herald Street, London
exhibition views, with Ernesto Neto's Coco Pavilion at the forefront
diorama containing Carmen Miranda's bahiana dress and dress that she wore in Down Argentine Way, next to diorama Night at Tropicana containing Miranda paraphernalia and works by Roberto Jacoby
Donald Urquhart, I'm Not Really from Brazil, Poster
Roberto Jacoby (Pagan Images Undress in Dreams), Carmen Miranda's Bahiana dress, Robert Smithson photocopy
Robert Smithson, Homage to Carmen Miranda, 1964 (digital print done at photocopies joint, original: acrylic on canvas, 216 x 121 cms)
BANANAS IS MY BUSINESS: from global trade to cold war in the tropics
Weekend in Havana, Uma noite no Tropicana (diorama)
Documentos de arquivo:
Fotos de Carmen Miranda no Clube Tropicana, Havana, 1955
Carmen Miranda, publicidade do Rio Cola
Weekend in Havana record box
Coleção Museu Carmen Miranda
and
Roberto Jacoby
Serie 1968 El culo te abrocho, 2008
Impresão sobre papel
Cortesia do artista e Galeria Baró
Carmen Miranda, publicidade do Rio Cola
in the background Roberto Jacoby (A guerilla fighter doesn't die to become a poster on the wall)
Carmen Miranda, performing at Cabaret Tropicana in La Havana, a month before her death
Wilfredo Prieto, Scale of Values, 2001
Rio de Janeiro version: whiskey, cachaca, beer, coconut water, water, plastic cups
courtesy of the artist and Nogueras Blanchard, Barcelona
MINHA EMBAIXADA CHEGOU: diorama transcultural:
Documentos e artefatos do arquivo:
Fotografia Carmen Miranda
Joias em madeira, estilo baiano
Foto de Carmen Miranda na World’s Fair de 1939 em Nova Iorque (Macy’s Nut Show)
Condecoração en forma de Coco das ilhas de Hawai
Coleção Museu Carmen Miranda
Pablo Helguera, Las aventuras de Olmeco Beuys, 2010
Donald Urquhart, Frida Miranda (what would have happened if baby Carmen had immigrated to Mexico instead of Brazil), 2011
replica of statue of Cuauhtemoc, gift of Mexico to Brazil during the World Fair of Rio de Janeiro in 1922, commemorating the centenary of Independence of Brazil
assume vivid astro focus
Untitled (Woman), 2006
cinco colagens da série
Cortesia Casa Triângulo
Sapatos de Carmen Miranda
Coleção Museu Carmen Miranda
view of the exhibition, SOMETHING FOR THE BOYS transgender diorama at front
Milton Machado
Hotel Tropical na Baia de Guanabara construido pelo Sistema dos Arcos Descascantes, 1978
Estudio e reprodução, grafite e lapis sobre papel
Cortesia do artista e galeria Nara Roesler
Alberto Baraya's Carmen Miranda artificial dissections
Alberto Baraya
Frutales Carmen Miranda: Mandarina Miranda, 2011
objetos encontrados e lápis sobre cartão
Cortesia Galeria Nara Roesler
Alberto Baraya
Frutales Carmen Miranda: Banana Miranda, 2011
objetos encontrados e lápis sobre cartão
Cortesia Galeria Nara Roesler
Alberto Baraya
Frutales Carmen Miranda, 2011
objetos encontrados e lápis sobre cartão
Cortesia Galeria Nara Roesler
view of curated vitrines, each one titled after a Carmen Miranda film and evidencing different ideological constructions
BANANAS IS MY BUSINESS: from global trade to cold war in the tropics
Documentos de arquivo:
Publicidade do sabonete Lux
Carmen Miranda promovendo produtos brasileiros e outros na World’s fair de 1939
Carmen Miranda assinando um contrato com produtores de Hollywood
Carmen Miranda na capa da revista CRUZEIRO
Coleção Museu Carmen Miranda
Fernando Bryce, Américas, 2009
Livro de artista, Cortesia do artista
open on the pages related to the Guatemalan
images of:
The “Banana Man" Sam Zemurray from the United Fruit Company and CIA Director, Allen Dulles. When Guatemalan President Jacobo Arbenz decided to expropriate part of the unused lands of the United Fruit in Guatemala, the company with headquarters in Boston, asked the CIA to overthrow Arbenz. CIA Director, Allen Dulles, planned the "Operation Success" which was responsible of overthrowing Jacobo Arbenz in 1954.
THE SOUTH AMERICAN WAY: south of the border
Down Argentina Way to Serenata Tropical
Documentos de arquivo:
Carmen Miranda veste-se de baiana por primeira vez no filme Banana da Terra, 1938
Carmen Miranda conversa com Walt Disney sobre o personagem de Zé Carioca
Aurora Miranda com Zé Carioca no filme The Three Caballeros, 1944
Publicidade dos filmes de Carmen Miranda com os nomes de cidades e lugares da America do Sul
Publicidade da Down Argentina Way onde se evidencia a mudança de nome do filme depois de ter sido proibido na Argentina
Coleção Museu Carmen Miranda
MINHA EMBAIXADA CHEGOU: transcontinental
Bombshells for the War Effort
Documentos de arquivo:
Condecorações da Força Aérea Norteamericano e do Departamento de Tesouraria dos Estados Unidos
Fotografias de Carmen Miranda con militares e tropas norteamericanas durante a Segunda Guerra Mundial
Coleção Museu Carmen Miranda
MINHA EMBAIXADA CHEGOU: transcontinental
Diplomacia Cultural
Documentos de arquivo:
Chave da cidade, Hawai
Fotos de Carmen Miranda em viagens como embaixadora de boa vontade
Coleção Museu Carmen Miranda
e
Carla Zaccagnini
Evidências de uma farsa: Carmen e Gisele, 2011
Impresão a jato de tinta sobre papel (4 folhas)
Cortesia Galeria Vermelho
MINHA EMBAIXADA CHEGOU: transnacional
Carmen Miranda: Brasileira ou Americana?
Documentos de arquivo:
Carmen Miranda na sua casa de Beverly Hills
Carmen Miranda vestida de Texana
Pistolas do espetáculo Texano de Carmen Miranda
Artigos de jornais e revistas
Coleção Museu Carmen Miranda
SOMETHING FOR THE BOYS: transexual transgender
Documentos de arquivo:
Reproduções de caricaturas de Luiz
Poster do filme Uma Noite no Rio, 1941
Mickey Rooney vestido de Carmen Miranda, no filme de Busby Berkeley, Babes on Broadway, 1941
Coleção Museu Carmen Miranda
Laercio Redondo
Carmen Miranda: uma ópera da imagem, 2010
Instalação, materiais diversos
Cortesia Galeria Silvia Cintra
view of the exhibition from Laercio Redondo's installation
Ernesto Neto, Coco Pavilion, 2011
Instalação
Cortesia do artista
Ernesto Neto's 'Agua de Coco' infomercial inside the 'Coco Pavilion'
Ernesto Neto, 'Agua de Coco, 2008, video
Manifesto in defense of traditional coconut sale and drinking and against pre-packaged coconut water.
Film Programme, fragment of Carmen Miranda films with artist videos inserted in between
Carmen Miranda, O que e que a Baiana tem?, 1939
A very rare document. This is the only segment left out of the Brazilian film "Banana da Terra" (1939). Nothing else survived the time. It's the first time Carmen Miranda ever appeared wearing a Bahiana outfit in a movie.
Carmen Miranda, 'Chica Chica Boom Chic', 1941
Carmen Miranda, 'The Lady in the Tutti Frutti Hat' from the 1943 film 'The Gang is Here'
Chiquita Banana film commercial from the 1940s, done by Walt Disney Studios for the Chiquita Banana Company
David Lamelas, El dictador, 15 min, 1978
Cortesia do artista e Henrique Faria Fine Art
Mauricio Lupini, Repeat after Reading (Sa Ba Da Ba), 3 min, 2011
Alexander Apóstol, Prehispanica, 2008
Cortesia do artista
Terence Gower, New Utopias, 17:45 min, 2010
Cortesia do artista e Henrique Faria Fine Art
Catherine Petitgas with PLB wearing Karin Schneider's 'New Domestic Architecture: Gio Ponti's Villa Planchart' transformed into a cigar vending tray held by a neck strap, like the ones cigarette girls used to sell cigar's in cinemas and casinos in Carmen's casino and cinema days....
Wilfredo Prieto
Pollitically Correct, 2009
square watermelon
courtesy of the artist and Nogueras Blanchard, Barcelona
Julia Rometti / Víctor Costales
Ediciones del Exotismo Ordinario Internacional Neotropical, 2011
publicação
Cortesia dos artistas
a fake Erika Verzutti outside a fake miniature pre-Helio Oiticica Magic Square, next to the Carmen Miranda Museum
Unfortunately not in the exhibition:
Erika Verzutti, Three Amigos, 2007
bronce sculptures
Rivane Neuenschwander, Zé Carioca, 2004
panels and speech balloons of Walt Disney's Ze Carioca comnic filled in to empty them of North American ideology.
Alberto Baraya, proposal to dress Carmen Miranda mannequin with the cape of the Emperor,
Manto da Ordem Imperial do Cruzeiro, done with yellow feathers from Amazon toucans, between 1801 and 1850 by Inacio Joaquim dos Santos, and located at the Museu Imperial in Petropolis. To be exhibited next to white feather dress used by Carmen Miranda in the film Greenwich Village (Serenata Boemia) in 1944.
Amigos at the opening of the exhibition:
Carla Zaccagnini
Ernesto Neto e Felipe Mujica
Rio de Janeiro art curator Bernardo Mosqueira and Pablo Leon de la Barra
Pablo Leon de la Barra and Paulo Herkenhoff
BANANAS IS MY BUSINESS:
THE SOUTH AMERICAN WAY
an exhibition at the Museu Carmen Miranda, Rio de Janeiro
curated by Julieta González and Pablo León de la Barra
with Alberto Baraya, avaf, Carla Zaccagnini, Donald Urquhart, Ernesto Neto, Fernando Bryce, Julia Rometti + Victor Costales, Karin Schneider, Laercio Redondo Milton Machado, Pablo Helguera, Wilfredo Prieto
and videos by Alexander Apostol, David Lamelas, Mauricio Lupini, and Terence Gower
On occasion of the exhibition ‘Bananas is my Business: The South American Way’ at the Museu Carmen Miranda we have invited a series of artists to make punctual interventions in the museum's displays and collections with the idea of shedding new and different readings of the objects and artifacts in the museum’s archive and holdings, as well as proposing a new curatorial re-reading of such material. In doing so, we were interested in addressing issues such as the construction of a "tropical iconography" during the years when Latin America was undergoing a fast and profound process of modernization, the United States' backyard policy, and the idea of "cultural diplomacy" during the Cold War." Other ideas were also put in dialogue such as the relationship between the natural and the artificial, the construction of a national and trasvestite identitie, and the political implications of the construction of the the tropical including the idea of auto-exoticisation and the domestication of the other.
*****
Esta exposição parte do desejo de colocar em diálogo o arquivo do Museu Carmen Miranda com a produção de artistas contemporâneos. Dividida em eixos temáticos, a mostra explora e expõe questões tais como a relação entre natureza e artifício, a construção de identidades nacionais e de gênero, a construção de uma iconografia tropical e suas implicações políticas e econômicas, assim como a auto-exotização e a domesticação do exótico.
exhibition done with the support of Art Rio
with thanks to the participating artists and their galleries, and special thanks/obrigado to the Museu Carmen Miranda, its staff, and its director Cesar Balbi.
Posts
No comments:
Post a Comment