Claudia Bakker

And yet it moves

Exhibition makes a cut of 20 years of production by Claudia Bakker, with unpublished photoengraving that synthesizes her poetics of liberation and capture.

The Garden of Eden, a biblical scene where each tree (apple, pomegranate os life's) was planted with a symbolic objective, is a recurrent theme in Western art. In modern painting, the attention that Cézanne dedicates to apples and oranges in the folds of the towel on the table could be compared to the acuity of the positioning of rivers and orchards in the cartography of paradise. In The Garden of Eden and The Blood of Gorgone (1994-95), installation accomplished by Claudia Bakker twenty years ago in the fountain at Chácara do Céu, in Rio, 900 apples were thrown into the water. From their soft bobbling on the surface, by force of the wind, the visitor could glimpse metaphors of the passage of time and life's fugacity.

Two years later, the artist returned to the same fountain and drew another landscape. In The Milky Road (1996), the apples were substituted by white latex spheres, floating on milky, dull matter. In the first installation, Bakker explored transparency: under the apples, it was possible to discern texts on medicine and mythology, about the dichotomy of life and death. On the second one, she chose opacity and illegibility.

Both installations are today gathered in a photoengraving entitled Write into Memory (2014), accomplished within the project Friends of Engraving at the Museum Chácara do Céu, which since 1992 invites artists to accomplish new engravings. The encounter of those works of space intervention in a third photographic work is plenty of meanings, and it discloses dichotomies present in twenty years of the artist's path: perenniality and ephemerality; virtuality and reality; movement and retention; liberation and capture. Above all, it points to games between opacity and transparency, which nowadays support studies on photography and technical images. That theme, expressed in photoengraving and an image, is also approached by the artist in the text "Land At as a Strategy of Space Protection from the Virtuality of Images in the 20th Century".

Either in interventions in space, photos, films, videos, texts or, as the critic Luis Camillo Osório stated in 1998, in "phototexts", Claudia Bakker's work is harnessed to the paradox between time's speed and the retention of reality. As Cézanne, Bakker is in the haste because she sees, or foresees, that everything is, slowly or quickly, disappearing.

© claudia bakker