Paraty in Focus 2011

Ana Maria Tavares | Body Guard, 1996

Eduardo Brandão: A Lover's Discourse on collecting

by Georgia Farms

There are speeches, speeches that we have witnessed - anywhere - who become documented experience in our memory. These are moments of inspired people from a thematic ask questions, problematize situations, perceived foundational assumptions and analyzes to our knowledge. So he went to talk with Miguel Eduardo Brandão and Chaia, beautiful, deep and symbolic. The theme proposed by SPA for the Arts (event sponsored by the city of Recife last week), on Market and Collecting was the theme for the meeting between two friends who spoke in tune.

Miguel Chaia, major considerations in exquisite eloquence. His speech, a classic class taught by a generous teacher. His sociological view of the processes that comprise the contemporary market worth of collecting me another text. The commercial reality scrutinized by relevant epistemic reflections, with great ability to guide the theory with examples of our surroundings, could have no end.

No less anthology, was made ​​the presentation of Eduardo Brandão, photographer and partner of one of Brazil's most significant galleries, the Red (SP). Brandao had already seen twice, right here in Recife, and therefore thought (like him) that he would talk and photo gallery. This time would be different, we would know Eduardo Brandão, the collector.

For the first time, Brandão spoke about his collection. Confided in a fairly intimate and passionate. So sublime, Brandão's speech revealed that life, art and friendship are factors to its inexorable act of collecting.

By saying certain things, collecting market was represented by what is ontological in its root: the passion, the love, care, contemplating ... "The act of collecting is an attempt to understand the other." After all, for him, art is understanding life.

In 80 years, starting the collection of Eduardo Brandão. Involved with the art scene at that time, with friends like Leonilson, Leda Catunda and Daniel Senise, comes the "guard" that punctuates the emotional stages of his life. In a kind of defense, justified in the first person who speaks of "his" collection, despite the strength copyright of the artist, because he begins to live and feed through the works in its collection. "My collection is a document in the background of my life," he elaborates.

Brandão demystifies the hegemony of money considering that research, commitment and dedication (besides money) build a collection in its magnitude. One of the features in his act of collecting is the field of reflection established by engagement with artists and friends.

In his account emotional, compared to the equity value in owning a collection, Brandão states: "It may be investing for the importance of living that my children and their friends have to see art."

Three years ago, his collection of about 370 works (including paintings, drawings, photographs and objects) is on loan at the Museum of Modern Art (MAM) , Sao Paulo. Despite what his work might mean in terms of price, it is clear sentimental value for the continuity of his life.

The report of a possible ambiguous position of a collector, gallery owner is not present. What remains is a speech, from beginning to end, visceral on the ball by collecting subjective and symbolic. There could be different coming from a person who says his collection is part of your body, like the heel.

Eduardo Brandão take good care of it collects. You can call them "their", yes!

Marcius Galan | Bell, 1998

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