6th JAC

6th Young Contemporary Art

The Museum of Contemporary Art of the University of São Paulo promoted in 1972, an art salon without any kind of selection. A space plan was produced dividing it into small lots of various sizes and shapes. A draw distributed them among the many present on the condition that they occupy them according to a plan to be elaborated and their progress declared by filling out forms printed on the back of the poster, being part of the rule exchanges, purchases and sales of lots.
Not being drawn, I received in donation a lot purchased by Radha Abramo, art critic and curator, from someone who passed by, a curious who had been drawn.
My participation consisted of requesting documents of the event, sales receipt, certificate of donation and authorization of the director of the house and taking these documents to other bureaucratic organs requesting certifications of various kinds, which, in turn, required new documents such as Residents Certificate, Certificate of Moral Suitability and others.
To this I added titles, stamps and other elements, many of them counterfeit with LetraSet, to allow me to enter another bureaucratic office. The last one I got, through slight forgery, was a card that named me Professional Artist.
All these unrealistic documents were put together in a bureaucratic briefcase, ordered according to Bertold Brecht's The Exception and Rule. Ten copies of photocopy edition were taken

_{Gabiel Borba 2019}

 

50 years later

In message to Paulina Pardo, Historian of Art at the California State University, Long Beach, USA, on the occasion of publication of her article in the journal ARTMargins, ed, MIT, we commented: "

"Paulina Pardo:  As I shared with you in my last message, I wrote an article about Zanini's work on 6 JAC that will be published in ARTMargins magazine, published by MIT. This article contains an excerpt about your work PGU 666 and the image that I wanted to be published with the text is of PGU 666.

... I would also like to ask you for permission to reproduce it in the magazine. 

Gabriel Borba: I think it's great, I will be proud of it. I'll provide the image.

I didn't quite understand if you shared the article or just the news.

Perhaps it's worth pointing out, by way of "clarification", that the sequence of document "forgeries" follows (more or less) the order taken from Brecht's The Exception and the Rule. At the time, recently graduated in architecture, I was starting to work as a Visual Arts professor in the Theater Sector of the Department of Cinema, Theater and Radio-Television at the School of Communication and Art of the University of São Paulo (a very Brazilian name: the Rule). What's new here is that I had a more intimate approach to theater in the sense of "sceneXreality". This is how I came to understand Zanini's new curatorship as opposed to the one that was commonly used: ExceptionXRule, imposing the goal of new artistXprofessional artist (or new artistXmodernism).

Think about it"

_{Gabriel Borba, 2024}