Surprise.
How do you make a metro ride attractive? Can you avoid that ugly images give you associations to even more ugliness? How do you prevent feeling boredom while you see that the time is ticking away?
Could you between all the ugliness rejoice in something cheerful, in something beautiful? Could you during the standard routines stay open for an unexpected discovery or surprise?
Something similar could happen with Ventre Vida by Denise Milan. In the middle of a dull concrete wall, this is opening! Instead of a smooth wall, you see structures that repeat themselves. If you look inside, you see depth. In the dull gray walls, you see gold.
Could this ugly predictable metro station be a special place? Could this be a valuable place, with golden walls?
Maybe this artwork could help us to see beauty, to have associations of more beauty, to rejoice in a next wonderful surprise.
By Theo, www.artatsite.com
Vertaling
Verrassing.
Hoe maak jij een rit met de metro aantrekkelijk? Kun je voorkomen dat je door de lelijke beelden associaties krijgt van nóg meer lelijks? Hoe voorkom je dat je verveling voelt bij het zien dat de tijd wegtikt?
Kun je tussen alle lelijkheid verheugen op iets vrolijks, op iets moois? Sta je tussen de standaard handelingen ervoor open als er een onverwachtse ontdekking of verrassing aandient?
Iets dergelijks zou kunnen gebeuren bij Ventre Vida van Denise Milan. In het midden van een saai betonnen muur, gaat deze open! In plaats van een gladde wand, zie je structuren die zich herhalen. Als je naar binnen kijkt, zie je diepte. In de saaie grijze muur, zie je goud.
Zou dit lelijke voorspelbare metrostation een bijzondere plek kunnen zijn? Zou dit een waardevolle plek kunnen zijn, met wanden van goud?
Misschien kan dit kunstwerk helpen dat wij schoonheid zien, associaties hebben met nog meer schoonheid, ons doen verheugen op een volgende mooie verrassing.
Door Theo, www.artatsite.com
www.arteforadomuseu.com.br:
Ventre da Vida
Denise Milan
Metrà´ Clànicas - Avenida Doutor Arnaldo - Cerqueira César, Sào Paulo - SP, Brasil.
Ventre da Vida, é uma escultura pública feita pela artista Denise Milan e com coautoria Ary Perez.
Translation:
The Womb of Life is a sculpture by the public, made by the artist, Denise Milan, and with the co-Ary Perez.
www.denisemilanstudio.com:
o sol das entranhas
rebenta
no ventre da vida
na calota urbana
acesso ao mundo subterrâneo
Translation:
0 the sun of the belly
bust
in the womb of her life
in the hood, urban
access to the underground world!
www.artenalinha.wordpress.com:
A estaçào Clànicas do Metrà´ de Sào Paulo (SP) conta com a instalaçào 'O Ventre da Vida', da paulistana Denise Milan (1954) e do goiano Ary Perez (1954), obra de 1993 com 1,50m de diâmetro, localizada no corredor de acesso ao Hospital das Clànicas. Dentro de um buraco na parede, tampado comé possível ver brilhantes pedras (cristais de quartzo) de vários tamanhos. A obra é um desdobramento de uma instalaçào exibida pela dupla na 21ª Bienal de Sào Paulo (1991), chamada Gruta de Maquiné , nome inspirado em um fragmento do poema homônimo de Guimaràes Rosa (1908-1967): A gruta de Ali-Babá ainda existe, / graças a Deus ainda existia, / quando eu disse: / Abre-te, Sésamo! & / na fralda da serra, / e fui entrando (&) .
A obra fica em um local de concentraçào de unidades hospitalares, o IML, faculdade de medicina e cemitérios. Nesse corredor da estaçào circulam pessoas com ou em contato com doenças. A dor está presente e ativa. Como amenizá-la? Abrir um buraco na parede sugere uma abertura em nossas resistências, barreiras e estágios de uma consciência que pode nos oferecer outro sentido, nào tangível, cuja orientaçào pode seguir uma nova ordem, uma ordem cristalina. Nos reenvia à interiorizaçào. A profundeza da Terra é a metáfora da profundeza do ser , explicaram Denise e Ary por email.
Translation:
The station of the Clinical center of Sao Paulo (SP) is the 'Womb of Life' is in the sào paulo and Denise Milan (1954), and the lands Ary Perez (1954), a work in 1993, 1.50 m in diameter, located in the corridor leading to the Hospital from the Clinic. The inside of the hole in the wall, covered with glass and light, it is possible to see the shining stones (quartz crystals) are of different sizes. The project is an offshoot of the installation is displayed by the duo in the 21st Bienal de Sào Paulo (1991), called the 'Gruta de Maquiné', a name inspired by a fragment of a poem of the same name by joào Guimaràes Rosa (1908-1967): 'on The island, There is a Nanny, too, / and thanks to God there was, / I: / '' Open, Sesame! ... / in a napkin on the mountain / and I was going (...)'.
'The project is located on a site of a merger of hospitals, the FAVOUR of the medical school level. In the corridor of the station to circulate in people with or comes into contact with the diseent and active. How to minimize it? To open a hole in a wall suggests a gap in our resistance, barriers, and stage of consciousness, which may provide us with in another sense, it's not a tangible, which could build a new order, an order crystal-clear waters. We will resend the space. In the depths of the Earth, it is a metaphor for the depth of his being,' explained Mike and Ari by e-mail.
www.revistaprojeto.com.br:
Com inàcio em novembro, esculturas, murais e painéis assinados por ilustres nomes da arte contemporânea brasileira e instalados no Metrà´ de Sào Paulo passarào por processos de limpeza, conservaçào e proteçào. Idealizado pelo produtor Eduardo L. Campos e realizado em parceria com o escritório Julio Moraes Conservaçào e Restauro, o projeto conta com patrocànio da Bombril e apoio do Programa de Açào Cultural (ProAC) e da Secretaria Estadual de Cultura e Economia Criativa do Estado de Sào Paulo.
Ao todo sào 21 obras que integram a lista de recuperaçào '' de art, Denise Milan, Francisco Brennand, Geraldo de Barros, Gilberto Salvador e mais -, iniciada pela Estaçào Clànicas sobre a instalaçào O Ventre da Vida, de Denise Milan e Ary Perez. Dentro desta primeira etapa também estào inclusos os trabalhos situados nas Estações Trianon-MASP, Santos-Imigrantes e Paraàso com a conservaçào das quatro: as esculturas Passáro Rocca (1990) de Francisco Brennand; Esfera (2009), de Marcos Garrot; O Equilàbrio (1989), de Renato Brunello; e o painel O Paraàso (1995), de Betty Millan. Cada trabalho receberá cuidados especàficos, feitos de acordo com o estado de preservaçào, e ao final do processo a obra receberá uma camada protetora, que prolonga o peràodo de proteçào, e facilita limpezas futuras.
Translation:
Beginning in November, sculptures, murals, panels, signed by the renowned names in contemporary brazilian art, and installed the Subway to Sào Paulo will be taken through the processes of cleaning, care and protection. Conceived by producer Edward out in collaboration with the office of Julius Paris as well as in the Conservation and Restoration of the project with the support of Bombril, and the support of the Programme of Action and the Cultural (ProAC), and the Secretary of State for Culture and the Creative Economy of the State of Sào Paulo in brazil.
In total, there are 21 in the works that are part of the list of recovery of artists such as Claudio Tozzi, Denise Milan, san Francisco Brennand, Geraldo de Barros, Paul Salvador, and started for the Station, the Clinic on the installation of the Belly of The Life of Denise Milan e Ary Perez. In this first stage are also included in the works are situated in the Stations of the Trianon-MASP, the Saints, Immigrants, and the Paradise with the conservation of the four sculptures Passáro Rocca (1990), Francisco Brennand; Ball (2009), Mark Garrot, The Balance (1989), Wallace Brunello; and, in the pane on The Paradise (1995), Betty Millan. Each and every job will receive the specific care, carried ouin accordance with the state of preservation, and, at the end of the process, the piece you receive a coating, which prolongs the period of protection, and makes it easier cleanings in the future.
How do you make a metro ride attractive? Can you avoid that ugly images give you associations to even more ugliness? How do you prevent feeling boredom while you see that the time is ticking away?
Could you between all the ugliness rejoice in something cheerful, in something beautiful? Could you during the standard routines stay open for an unexpected discovery or surprise?
Something similar could happen with Ventre Vida by Denise Milan. In the middle of a dull concrete wall, this is opening! Instead of a smooth wall, you see structures that repeat themselves. If you look inside, you see depth. In the dull gray walls, you see gold.
Could this ugly predictable metro station be a special place? Could this be a valuable place, with golden walls?
Maybe this artwork could help us to see beauty, to have associations of more beauty, to rejoice in a next wonderful surprise.
By Theo, www.artatsite.com
Vertaling
Verrassing.
Hoe maak jij een rit met de metro aantrekkelijk? Kun je voorkomen dat je door de lelijke beelden associaties krijgt van nóg meer lelijks? Hoe voorkom je dat je verveling voelt bij het zien dat de tijd wegtikt?
Kun je tussen alle lelijkheid verheugen op iets vrolijks, op iets moois? Sta je tussen de standaard handelingen ervoor open als er een onverwachtse ontdekking of verrassing aandient?
Iets dergelijks zou kunnen gebeuren bij Ventre Vida van Denise Milan. In het midden van een saai betonnen muur, gaat deze open! In plaats van een gladde wand, zie je structuren die zich herhalen. Als je naar binnen kijkt, zie je diepte. In de saaie grijze muur, zie je goud.
Zou dit lelijke voorspelbare metrostation een bijzondere plek kunnen zijn? Zou dit een waardevolle plek kunnen zijn, met wanden van goud?
Misschien kan dit kunstwerk helpen dat wij schoonheid zien, associaties hebben met nog meer schoonheid, ons doen verheugen op een volgende mooie verrassing.
Door Theo, www.artatsite.com
www.arteforadomuseu.com.br:
Ventre da Vida
Denise Milan
Metrà´ Clànicas - Avenida Doutor Arnaldo - Cerqueira César, Sào Paulo - SP, Brasil.
Ventre da Vida, é uma escultura pública feita pela artista Denise Milan e com coautoria Ary Perez.
Translation:
The Womb of Life is a sculpture by the public, made by the artist, Denise Milan, and with the co-Ary Perez.
www.denisemilanstudio.com:
o sol das entranhas
rebenta
no ventre da vida
na calota urbana
acesso ao mundo subterrâneo
Translation:
0 the sun of the belly
bust
in the womb of her life
in the hood, urban
access to the underground world!
www.artenalinha.wordpress.com:
A estaçào Clànicas do Metrà´ de Sào Paulo (SP) conta com a instalaçào 'O Ventre da Vida', da paulistana Denise Milan (1954) e do goiano Ary Perez (1954), obra de 1993 com 1,50m de diâmetro, localizada no corredor de acesso ao Hospital das Clànicas. Dentro de um buraco na parede, tampado comé possível ver brilhantes pedras (cristais de quartzo) de vários tamanhos. A obra é um desdobramento de uma instalaçào exibida pela dupla na 21ª Bienal de Sào Paulo (1991), chamada Gruta de Maquiné , nome inspirado em um fragmento do poema homônimo de Guimaràes Rosa (1908-1967): A gruta de Ali-Babá ainda existe, / graças a Deus ainda existia, / quando eu disse: / Abre-te, Sésamo! & / na fralda da serra, / e fui entrando (&) .
A obra fica em um local de concentraçào de unidades hospitalares, o IML, faculdade de medicina e cemitérios. Nesse corredor da estaçào circulam pessoas com ou em contato com doenças. A dor está presente e ativa. Como amenizá-la? Abrir um buraco na parede sugere uma abertura em nossas resistências, barreiras e estágios de uma consciência que pode nos oferecer outro sentido, nào tangível, cuja orientaçào pode seguir uma nova ordem, uma ordem cristalina. Nos reenvia à interiorizaçào. A profundeza da Terra é a metáfora da profundeza do ser , explicaram Denise e Ary por email.
Translation:
The station of the Clinical center of Sao Paulo (SP) is the 'Womb of Life' is in the sào paulo and Denise Milan (1954), and the lands Ary Perez (1954), a work in 1993, 1.50 m in diameter, located in the corridor leading to the Hospital from the Clinic. The inside of the hole in the wall, covered with glass and light, it is possible to see the shining stones (quartz crystals) are of different sizes. The project is an offshoot of the installation is displayed by the duo in the 21st Bienal de Sào Paulo (1991), called the 'Gruta de Maquiné', a name inspired by a fragment of a poem of the same name by joào Guimaràes Rosa (1908-1967): 'on The island, There is a Nanny, too, / and thanks to God there was, / I: / '' Open, Sesame! ... / in a napkin on the mountain / and I was going (...)'.
'The project is located on a site of a merger of hospitals, the FAVOUR of the medical school level. In the corridor of the station to circulate in people with or comes into contact with the diseent and active. How to minimize it? To open a hole in a wall suggests a gap in our resistance, barriers, and stage of consciousness, which may provide us with in another sense, it's not a tangible, which could build a new order, an order crystal-clear waters. We will resend the space. In the depths of the Earth, it is a metaphor for the depth of his being,' explained Mike and Ari by e-mail.
www.revistaprojeto.com.br:
Com inàcio em novembro, esculturas, murais e painéis assinados por ilustres nomes da arte contemporânea brasileira e instalados no Metrà´ de Sào Paulo passarào por processos de limpeza, conservaçào e proteçào. Idealizado pelo produtor Eduardo L. Campos e realizado em parceria com o escritório Julio Moraes Conservaçào e Restauro, o projeto conta com patrocànio da Bombril e apoio do Programa de Açào Cultural (ProAC) e da Secretaria Estadual de Cultura e Economia Criativa do Estado de Sào Paulo.
Ao todo sào 21 obras que integram a lista de recuperaçào '' de art, Denise Milan, Francisco Brennand, Geraldo de Barros, Gilberto Salvador e mais -, iniciada pela Estaçào Clànicas sobre a instalaçào O Ventre da Vida, de Denise Milan e Ary Perez. Dentro desta primeira etapa também estào inclusos os trabalhos situados nas Estações Trianon-MASP, Santos-Imigrantes e Paraàso com a conservaçào das quatro: as esculturas Passáro Rocca (1990) de Francisco Brennand; Esfera (2009), de Marcos Garrot; O Equilàbrio (1989), de Renato Brunello; e o painel O Paraàso (1995), de Betty Millan. Cada trabalho receberá cuidados especàficos, feitos de acordo com o estado de preservaçào, e ao final do processo a obra receberá uma camada protetora, que prolonga o peràodo de proteçào, e facilita limpezas futuras.
Translation:
Beginning in November, sculptures, murals, panels, signed by the renowned names in contemporary brazilian art, and installed the Subway to Sào Paulo will be taken through the processes of cleaning, care and protection. Conceived by producer Edward out in collaboration with the office of Julius Paris as well as in the Conservation and Restoration of the project with the support of Bombril, and the support of the Programme of Action and the Cultural (ProAC), and the Secretary of State for Culture and the Creative Economy of the State of Sào Paulo in brazil.
In total, there are 21 in the works that are part of the list of recovery of artists such as Claudio Tozzi, Denise Milan, san Francisco Brennand, Geraldo de Barros, Paul Salvador, and started for the Station, the Clinic on the installation of the Belly of The Life of Denise Milan e Ary Perez. In this first stage are also included in the works are situated in the Stations of the Trianon-MASP, the Saints, Immigrants, and the Paradise with the conservation of the four sculptures Passáro Rocca (1990), Francisco Brennand; Ball (2009), Mark Garrot, The Balance (1989), Wallace Brunello; and, in the pane on The Paradise (1995), Betty Millan. Each and every job will receive the specific care, carried ouin accordance with the state of preservation, and, at the end of the process, the piece you receive a coating, which prolongs the period of protection, and makes it easier cleanings in the future.