The opposite.
Is Araujo depicting a spider or a human being?
A spider catches its prey in a cowardly manner; by catching it in a net and by paralyzing if. Aranha Moema is not cowardly but dangerous.
How does Araujo feel about a human? We see at both sides a kind of cimeter with red scales. With these two weapons an effective attack is possible in two directions.
The human as a dangerous attacking creature. Do we recognize that? Than humans would be destructive. By destruction nothing will remain what is beneficial to the human: enthusiasm, willpower, confidence, love maybe. Destruction will lead to self-destruction. And that's exactly where the warning of Emanoel Araujo is about.
We see that humans have a certain degree of self-defense, otherwise we wouldn't exist. Araujo point out that we have enthusiasm, willpower, confidence, love maybe. These are elements that are the opposite of self-destruction.
Emanoel Araujo has a funny way of pointing at the opposite of self-destruction.
By Theo, www.artatsite.com
Vertaling
Het tegendeel.
Beeldt Araujo een spin of een mens uit?
Een spin vangt zijn prooi op een laffe manier: door het te vangen in een net en dan te verlammen. Aranha Moema is niet laf maar gevaarlijk.
Hoe ziet Araujo dan een mens? Wij zien aan twee kanten een soort van kromzwaard met rode schubben. Met deze twee wapens is het mogelijk om effectief aan te vallen in twee richtingen.
De mens als gevaarlijk aanvallend wezen. Herkennen wij dat? Dan zou de mens destructief zijn. Door destructie zal uiteindelijk niets overblijven wat enige nut heeft voor de mens; enthousiasme, daadkracht, zekerheid, liefde misschien. Destructie zal tot zelfdestructie leiden. Dat is precies hetgeen waarvoor Emanoel Araujo waarschuwt.
We zien dat mensen enige mate van zelfbescherming hebben, anders zouden wij niet meer bestaan. Araujo wijst erop dat wij enthousiasme, daadkracht, zekerheid, misschien liefde hebben. Dit zijn allemaal elementen die het tegendeel zijn van zelfdestructie.
Emanoel Araujo heeft een gekke manier gevonden om juist te wijzen op het tegendeel van zelfdestructie.
Door Theo, www.artatsite.com
www.arteforadomuseu.com.br:
Aranha
Emanoel Araújo
Rua do Ibirapuera - Moema, Sào Paulo, 04094-000, Brazil
Em uma estrutura de aço-carbono pintado, o artista baiano Emanoel Araújo criou a obra Aranha. Nessa escultura, o vermelho confere leveza a um objeto de grande volume. Vale destacar que o uso de cores fortes remete à arte africana, elemento bastante valorizado pelo artista em sua carreira.
Translation:
In the structure of the mild steel, painted, artist, bahia Emanoel Araujo, created in the work of the enemy. In this sculpture, with the red gives the lightness of an object's volume. It should be noted that the use of the bright colors takes us to the arts of africa, an element which is highly valued by the artist in their careers.
www.fcs.mg.gov.br:
É uma obra tridimensional com caracteràsticas duplas, pois ao mesmo tempo em que é geometrizada é também uma representaçào infantilizada de uma aranha, com quatro patas e nào oito, como o animal real. A aranha dloga diretamente com a natureza, com os prédios e com os brinquedos do parque. Por causa das quatro patas e de uma de suas partes em vermelho que lembra uma tromba, nào é incomum crianças acharem que se trata de um elefante em vez de uma aranha.
Translation:
This is a work of three-dimensional features of the dual, as in the same time, it is geometrizada it is also a representation of infantilizada of a spider with four legs and not eight, as a real animal. The spider-Emmanuel speaks directly to the nature of the buildings and rides in the park. Because of the four-legged, and one of its parts, in red, that looks like a trunk, it is not uncommon for children to feel that it's an elephant instead of a spider.
www.fcs.mg.gov.br:
O atual diretor executivo e curatorial do Museu Afro Brasil (MAB), Emanoel Araújo, tem uma carreira que perpassa todo o sistema das artes. Nascido em 1940, em Santo Amaro da Purificaçào (BA), começa sua carreira nas artes em 1959 e, desde entào, transita pocaminhos nesse sistema como: gestor de grandes equipamentos culturais nos Estados de Sào Paulo e da Bahia, professor, colecionador de obras de arte africanas, escritor de livros sobre arte, teatrólogo, curador, editor, pesquisador. Isso sempre tendo como escopo principal de atuaçào o combate ao racismo e a valorizaçào da história da arte afrodescendente brasileira e da arte africana.
Como gestor cultural experiente em Sào Paulo, destacase o fato de ter sido diretor da Pinacoteca do Estado de Sào Paulo por dez anos (1992-2002), equipamento cultural que, em sua gestào, mudou sua polàtica de aquisiçào de obras, passando a ter em seus acervos obras de artistas contemporâneos afrodescendentes, além de providenciar uma reforma do espaço fàsico, o que possibilitou a realizaçào de grandes exposições de arte. Em relaçào à s mostras marcantes desse recomeço da Instituiçào, destaca-se a exposiçào 'Vozes da Diáspora', as comemorações do centenário de Mário de Andrade e os cento emo idealizador do MAB e único diretor executivo e curatorial desde 2003, Emanoel Araújo pensou uma instituiçào que se dedicasse à memória do afrodescendente e à s contribuições desses artistas para a arte brasileira. Como artista visual, Emanoel Araújo concebeu obras a partir de múltiplas linguagens. Mais conhecido como escultor, desenvolveu também uma ampla produçào em desenho, gravura e outras linguagens.
Conhecido por suas obras tridimensionais, geométricas e de cores vivas, é notabilizado por obras com tamanhos e formatos variados. Dentre suas obras tridimensionais, várias podem ser catalogadas como construtivistas. Outra caracteràstica marcante nas obras de Emanoel Araújo é a diversidade de materiais, passando pelo uso de diferentes madeiras e metais, e de técnicas.
Translation:
The current executive director and the curators of the Museum of African, Brazil (MAB), Emanoel Araujo, has a career that spans the whole of the system of the arts. Born in 1940 in Santo Amaro da Pazil, started his career in the fine arts in 1959, and since then, it moves through the various ways that the system as a manager in the major cultural centers in the States of Sào Paulo and in the state of Bahia, a teacher, a collector of works of art and the african writer of books on art, playwright, curator, editor, researcher. This is always important as the scope of the main activities in the fight against racism and the appreciation of art history, of african descent, brazilian, and african art.
As a manager, a cultural expert in Sào Paulo, we highlight the fact that it has been a director of the Pinacoteca do Estado de Sào Paulo for the next two years (1992 to 2002), cultural building, which, in its management, changed its policy for the acquisition of works by their collections of works by contemporary artists of african descent, as well as providing a retirement of the space, which allowed for the completion of the great exhibition of the art. In relation to the exhibits remarkable that the rart of the Institution, is a highlight of the exhibition 'Voices from the Diaspora, the celebration of the centennial of Mário de Andrade and one hundred and fifty years-by Marc Ferrez.
As the founder of the AREA, and a single chief executive officer, and curatorial project in 2003, Emanoel Araujo, he thought, an institution devoted to the subject of the memory of the afro-descendant, and the contributions of these artists to the arts in brazil.
Is Araujo depicting a spider or a human being?
A spider catches its prey in a cowardly manner; by catching it in a net and by paralyzing if. Aranha Moema is not cowardly but dangerous.
How does Araujo feel about a human? We see at both sides a kind of cimeter with red scales. With these two weapons an effective attack is possible in two directions.
The human as a dangerous attacking creature. Do we recognize that? Than humans would be destructive. By destruction nothing will remain what is beneficial to the human: enthusiasm, willpower, confidence, love maybe. Destruction will lead to self-destruction. And that's exactly where the warning of Emanoel Araujo is about.
We see that humans have a certain degree of self-defense, otherwise we wouldn't exist. Araujo point out that we have enthusiasm, willpower, confidence, love maybe. These are elements that are the opposite of self-destruction.
Emanoel Araujo has a funny way of pointing at the opposite of self-destruction.
By Theo, www.artatsite.com
Vertaling
Het tegendeel.
Beeldt Araujo een spin of een mens uit?
Een spin vangt zijn prooi op een laffe manier: door het te vangen in een net en dan te verlammen. Aranha Moema is niet laf maar gevaarlijk.
Hoe ziet Araujo dan een mens? Wij zien aan twee kanten een soort van kromzwaard met rode schubben. Met deze twee wapens is het mogelijk om effectief aan te vallen in twee richtingen.
De mens als gevaarlijk aanvallend wezen. Herkennen wij dat? Dan zou de mens destructief zijn. Door destructie zal uiteindelijk niets overblijven wat enige nut heeft voor de mens; enthousiasme, daadkracht, zekerheid, liefde misschien. Destructie zal tot zelfdestructie leiden. Dat is precies hetgeen waarvoor Emanoel Araujo waarschuwt.
We zien dat mensen enige mate van zelfbescherming hebben, anders zouden wij niet meer bestaan. Araujo wijst erop dat wij enthousiasme, daadkracht, zekerheid, misschien liefde hebben. Dit zijn allemaal elementen die het tegendeel zijn van zelfdestructie.
Emanoel Araujo heeft een gekke manier gevonden om juist te wijzen op het tegendeel van zelfdestructie.
Door Theo, www.artatsite.com
www.arteforadomuseu.com.br:
Aranha
Emanoel Araújo
Rua do Ibirapuera - Moema, Sào Paulo, 04094-000, Brazil
Em uma estrutura de aço-carbono pintado, o artista baiano Emanoel Araújo criou a obra Aranha. Nessa escultura, o vermelho confere leveza a um objeto de grande volume. Vale destacar que o uso de cores fortes remete à arte africana, elemento bastante valorizado pelo artista em sua carreira.
Translation:
In the structure of the mild steel, painted, artist, bahia Emanoel Araujo, created in the work of the enemy. In this sculpture, with the red gives the lightness of an object's volume. It should be noted that the use of the bright colors takes us to the arts of africa, an element which is highly valued by the artist in their careers.
www.fcs.mg.gov.br:
É uma obra tridimensional com caracteràsticas duplas, pois ao mesmo tempo em que é geometrizada é também uma representaçào infantilizada de uma aranha, com quatro patas e nào oito, como o animal real. A aranha dloga diretamente com a natureza, com os prédios e com os brinquedos do parque. Por causa das quatro patas e de uma de suas partes em vermelho que lembra uma tromba, nào é incomum crianças acharem que se trata de um elefante em vez de uma aranha.
Translation:
This is a work of three-dimensional features of the dual, as in the same time, it is geometrizada it is also a representation of infantilizada of a spider with four legs and not eight, as a real animal. The spider-Emmanuel speaks directly to the nature of the buildings and rides in the park. Because of the four-legged, and one of its parts, in red, that looks like a trunk, it is not uncommon for children to feel that it's an elephant instead of a spider.
www.fcs.mg.gov.br:
O atual diretor executivo e curatorial do Museu Afro Brasil (MAB), Emanoel Araújo, tem uma carreira que perpassa todo o sistema das artes. Nascido em 1940, em Santo Amaro da Purificaçào (BA), começa sua carreira nas artes em 1959 e, desde entào, transita pocaminhos nesse sistema como: gestor de grandes equipamentos culturais nos Estados de Sào Paulo e da Bahia, professor, colecionador de obras de arte africanas, escritor de livros sobre arte, teatrólogo, curador, editor, pesquisador. Isso sempre tendo como escopo principal de atuaçào o combate ao racismo e a valorizaçào da história da arte afrodescendente brasileira e da arte africana.
Como gestor cultural experiente em Sào Paulo, destacase o fato de ter sido diretor da Pinacoteca do Estado de Sào Paulo por dez anos (1992-2002), equipamento cultural que, em sua gestào, mudou sua polàtica de aquisiçào de obras, passando a ter em seus acervos obras de artistas contemporâneos afrodescendentes, além de providenciar uma reforma do espaço fàsico, o que possibilitou a realizaçào de grandes exposições de arte. Em relaçào à s mostras marcantes desse recomeço da Instituiçào, destaca-se a exposiçào 'Vozes da Diáspora', as comemorações do centenário de Mário de Andrade e os cento emo idealizador do MAB e único diretor executivo e curatorial desde 2003, Emanoel Araújo pensou uma instituiçào que se dedicasse à memória do afrodescendente e à s contribuições desses artistas para a arte brasileira. Como artista visual, Emanoel Araújo concebeu obras a partir de múltiplas linguagens. Mais conhecido como escultor, desenvolveu também uma ampla produçào em desenho, gravura e outras linguagens.
Conhecido por suas obras tridimensionais, geométricas e de cores vivas, é notabilizado por obras com tamanhos e formatos variados. Dentre suas obras tridimensionais, várias podem ser catalogadas como construtivistas. Outra caracteràstica marcante nas obras de Emanoel Araújo é a diversidade de materiais, passando pelo uso de diferentes madeiras e metais, e de técnicas.
Translation:
The current executive director and the curators of the Museum of African, Brazil (MAB), Emanoel Araujo, has a career that spans the whole of the system of the arts. Born in 1940 in Santo Amaro da Pazil, started his career in the fine arts in 1959, and since then, it moves through the various ways that the system as a manager in the major cultural centers in the States of Sào Paulo and in the state of Bahia, a teacher, a collector of works of art and the african writer of books on art, playwright, curator, editor, researcher. This is always important as the scope of the main activities in the fight against racism and the appreciation of art history, of african descent, brazilian, and african art.
As a manager, a cultural expert in Sào Paulo, we highlight the fact that it has been a director of the Pinacoteca do Estado de Sào Paulo for the next two years (1992 to 2002), cultural building, which, in its management, changed its policy for the acquisition of works by their collections of works by contemporary artists of african descent, as well as providing a retirement of the space, which allowed for the completion of the great exhibition of the art. In relation to the exhibits remarkable that the rart of the Institution, is a highlight of the exhibition 'Voices from the Diaspora, the celebration of the centennial of Mário de Andrade and one hundred and fifty years-by Marc Ferrez.
As the founder of the AREA, and a single chief executive officer, and curatorial project in 2003, Emanoel Araujo, he thought, an institution devoted to the subject of the memory of the afro-descendant, and the contributions of these artists to the arts in brazil.