Art@Site www.artatsite.com Bruno Giorgi The Candangos Brasilia
Artist:

Bruno Giorgi

Title:

The Candangos

Year:
1959
Adress:
Praca dos Tres Poderes
Website:
www.midcenturia.com:
Bruno Giorgi's monumental bronze sculpture known as Os Guerreiros (The Warriors) or Os Candangos was created in 1959 and measures 8 meters tall. It is the centerpiece of Brazil's governmental plaza, Praça dos Três Poderes (Three Powers Plaza), located in the capital city of Brasilia. Os Candangos was erected to pay homage to the thousands of workers who built Brasilia. The sculpture has become the symbol of the city.

www.guiajuanluishermida.com.br:
The artist Bruno Giorgi synthesized and immortalized the Exodus of people to Brasilia in the sculpture Warriors of the Candangos Series, but known as Candangos which is in the Square of the Three Powers. Between 60 up to 80 thousand people, came from all regions of the country to build Brasilia.
According to the Anthropologist James Holston, the world Candango is from African origin and was use by the Negros in the 17th and 19th Centuries to refer to the Portuguese, lord and sovereigns. Originally it will identify the lucest castes.
Over time, it has fallen into disuse to resurface in the desert, especially in the northeast. The meaning has change and to continue to refer to a group of people from the more modest social category.
We cannot say when the word Candango came to the construction site of the new capital, or used for the first time. The truth is that its use is widespread. At first applied to workers of humble origin, soon came to designate workers, teachers and engineers, directors and managers.
In this context, the word distinguished and honored those who have fraternized and sympathized in the struggle of the construction of the city, the men who launched the almost impossible task of accomplishing, the mission of raising Brasilia. Then the word symbolizes the pioneer, the man of courage and the daring builder of the new capital.

Article by Vagner dos Santosa, Gelya Frankb, Ana Mizuec:
Candangos: occupational reconstruction as a tool to understand social problems and transformative action in the utopian city of Brasà­lia.
Candangos: teoria da reconstruçào ocupacional como uma ferramenta para a compreensào de problemas sociais e ações transformativas na utópica cidade de Brasà­lia.
Teaching an occupational therapy agenda of social transformation in Brazilian universities is an ongoing project. In this article we (1) Introduce the theory of occupational reconstructions; (2) Contextualize the candangos' '' those who built the country's new utopian Brazilian capital, Brasà­lia - situation based on published literature; (3) Describe reforms to expand social inclusion at University of Brasà­lia, Brazil; and (4) Discuss how occupational reconstruction served as a frame for teaching, research and practice. Occupational reconstruction theory explains social transformation as part of the philosophy and knowledge base of '˜occupation'.
The theory was useful to guide the students' experiences and reach learning outcomes. During the course, students began by recounting their hitacting their elders to find out how the candangos dealt with problematic social conditions in Brasà­lia's early days. They were challenged to present a case of the occupational reconstruction as an example of literatura de cordel'' a low-budget printed booklet; thus, moving the candangos' stories into the public sphere.
The paper concludes with a critical reflection on the advantages, limitations, and possible future applications of the curriculum.

www.wikipedia.org:
Bruno Giorgi (13 August 1905, Mococa '' 1993, Rio de Janeiro) was a Brazilian sculptor, from a small town in the interior of Sào Paulo state called Mococa. His works are displayed at several national sites. Although born in Brazil he spent much of his youth in Europe as his family returned to Italy when he was six and he did not return to Brazil until 1939.

www.midcenturia.com:
Bruno Giorgi was born to Italian immigrant parents in Mococa, Brazil on August 13, 1905. His family moved to Italy in 1911, where th in Rome. Bruno became interested in art at a young age and by 15 was already studying sculpture and drawing. His life as an artist was interrupted in 1931 after being sentenced to seven years in prison for participating in the anti-facist movement. In 1935 after only serving part of his sentence, he was extradited to Brazil with the help of the Brazilian ambassador to Italy. Bruno once again could continue to pursue his love of art.

www.wikipedia.org:
Bruno Giorgi (Mococa, 13 de agosto de 1905 '' Rio de Janeiro, 7 de setembro de 1993) foi um escultor e professor brasileiro.
Filho de imigrantes italianos, em 1911 vai à  terra de seus pais e, em Roma, dedica-se à  escultura. Na década de 1920, durante o fascismo italiano, Bruno Giorgi torna-se membro da resistência e é preso em Nápoles.
Participa na Guerra Civil Espanhola ao lado dos republicano"no interesse da própria lu", permanece em Paris (1937) e frequenta a Académie de la Grande Chaumià¨re e a Ranson, tendo sido, nessa última, aluno de Aristide Maillol, que passa a orientá-lo. Conviveu com Henry Moore, Marino Marini e Charles Despiau.
Em 1939, de volta a Sào Paulo, integra-se ao movimento modernista brasileiro ao lado de Vitor Brecheret e Mário de Andrade. Trabalhou com os artistas do Grupo Santa Helena e participou da exposiçào do grupo Famà­lia Artà­stica Paulista.
Em 1942, a convite do ministro Gustavo Capanema, participou da equipe que decorou o prédio do Ministério da Educaçào e Saúde (atual Palácio da Cultura), no Rio de Janeiro. Seu trabalho foi feito para o jardim do ministério, planejado pelo paisagista Burle Marx.
Na década de 1950, suas obras passaram a valorizar o ritmo, o movimento, os vazios e a harmonizar linhas curvas e formas angulares. Já no fim dessa década, Giorgi passou a usar o bronze, criando figuras delgadas, em que os vazios sào parte integrante da escultura, predomisobre as massas. Em 1960, ele fez o Monumento ao Padre José de Anchieta, em San Cristóbal de La Laguna, Tenerife, Espanha. Foi financiada pela cidade de La Laguna e pelo Governo do Brasil.
Na década seguinte, duas inovações apareceram em sua obra: a forma geométrica, em lugar das figuras, e o mármore branco, em lugar do bronze.