Em quatro desentende-se melhor

Four are Best Misunderstood

My commentary

Second publication of Cooperativa Geral para Assuntos da Arte (General Cooperative for Art Afairs). Once again the title was created by Mauricio Fridman, ironic in the phrase and the proposal, considering the environment in the late 1970s.

For those who were not there, I can tell that many of us were divided in groups according to the genre of art we were dealing with. I can give as an example a phrase by Cassio Michalany, surprised by my visit to his studio.

Me: "I came to see what you've been doing"

He: "But it's painting!" He said, strangely interested.

One day I met Julio Plaza, very firm in his convictions, in the Praça do Por do Sol, São Paulo,  long time not seeing each other.

He: "You disappeared, we haven't seen you since you moved away. What are you doing?"

Me: "drawing"

He: "DRAWING?"

Me: "In fact, I like it so much, "

He: "Ah! Good"

The intention of ​​opposing very different ways was not as radical as we aspired to. We had to count on closer friends, so that there was no refusal of the company of one another as had happened many times. At the same time Mauricio and I had some closeness. I remember the day he phoned me asking if I would not mind me using the transparencies I used to participate in TRÁMA. And other things. I was honored.

We invited Guinther Parscalck, at the time with formalist tendencies, today light fixture designer and Marcelo Nitsche, experimentalist sculptor.

Both of them, with Mauricio, are featured under the image of the album's cover which can be seen by pressing the black information button next to it

Note:One of the images of Guinter’s, being white-on-white, was omitted for poor visibility, and Nitsche's participation --sheets of tissue paper cut into appropriate shapes so that they could be scattered in a landscape image-- remained inside its packaging.

_{Gabriel Borba, 2019}