Claudia Bakker

The image is composed of two installations that occupied the same fountain at Açude. However, they differ in the material used - in one of them the fountain was filled with 900 apples (1994) and a submerged acrylic plate with inscriptions on Mythology and Medicine, which could be seen through the water transparency, while the apples would move delicately through the space; the other installation included 3,000 liters of white paint (1996) and white latex balls, which were tied to small stones and moved with the wind. These works have been powerful references in the artist's career over the past 20 years. A work that shows up and hides, and according to Claudia, "it is permeated by a dichotomy between the ephemeral and the permanent". Apples and marble as well as films and photographs are some of the materials used by the artist. According to Bakker, her production is punctuated by periods of silence so that the same production can be renewed in a very personal way of construction. I believe in a sensitive experience of life and this has moved me to create those installations, which are shown, at first, as ephemeral, but remain eternal in a timeless image, like an endless mirror of memory - just like the principle of photography and documentation." In addition to the novel image for "Friends of Engraving", the artist will also occupy two exhibition rooms on the third floor showing an exhibition of works produced from the 1990's.

Art critic Luiz Camilo Osório pointed out the following on Bakker's work: "The American artist Robert Smithson (1938-1973) once said that he perceived his interventions in nature (land works) as an effort to give back "Saint-Victoire Mountain" to Cézanne. I would say that, in her own way, Claudia Bakker has been, for a while now, attempting the same in relation to the apples. After Cézanne, apples were no longer the same. The hundreds of apples painted by the great French master created and revealed what seemed impossible: the apple in a migration from nature to painting. One needs only to look in order to believe. The topic stills the same: apples and time. Whether through photos and text (employed in this exhibition), or video and installation (in other occasions), at stake are the modes of permanence that things (apple and art) have, while exposed to time's consumption. The apple, as a metaphor of art and of live, only exists through death. This is the paradox: there is no life without death. Her photos mingle different times, or, better saying, they desire to be time: of writing, of art, of the fruit and of the feminine. All times in a single one, that seems to return always anew." Luiz Camillo Osório (O Globo, 10/09/1998).

The two inspiring installations in Bakker's work, "Some things, like some works, seem to only reach their utmost spiritual and aesthetic aim through distinct moments, as if they carried a continuous magnet, to be deciphered. For this reason the two works at Açude Musem, "The garden of Eden and Gorgon's blood", 1994/95, and "The Milkway", 1996, still resonate for Claudia Bakker, still keep a duration that is non-Platonic, and that are resumed in these registers shown as artist's documents, revealing to us an intimate character, a backstage feeling. In order to document this nothing better than the exercise and the help of photography, since, as we know, it rewrites the very image already lived, in that memory that is life of that which has been lost. The title "Phototexts" alludes to photographs as readings. Where the word serves as the threading line of images, at the same time meaning and construction." Adolfo Montejo Navas, 1998.

© claudia bakker