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Bo Bardi was an equal appreciator of the high and the low in a way that feels distinctly modern today and difficult to conceive of in the 1950s. She created spaces unlike many modernists of her age: full of light, referencing the wattle-and-daub shelters and wooden floors and thatched roofs of rubber tappers as easily as the creations of Gio Ponti and Le Corbusier. Bo Bardi collected and displayed medieval and renaissance works alongside contemporary ones, pieces she made, and those brought over by famous artist friends and found on the streets or in marketplaces. She was a proponent of Brazil’s indigenous artworks when few collectors even classified them as such.
For the event, the Italian house looked to build specifically on Bo Bardi’s legacy as the architect of the city’s top art museum, Museu de Arte de São Paulo, and the lauded cultural center SESC Pompéia but also as a designer (of furniture, sets, costumes, and jewelry) and moreover as an Italian who fully embraced and left a lasting effect on Brazil. “Brazil is the country I chose, and it is therefore twice my country,” she once said with the zeal of the newly converted. “I was not born here. I looked for this place and decided to live here. I chose my country.”
At MASP, Bo Bardi famously created crystal easels to display works that encouraged a new way of seeing, interacting with, and showing art. The effect, which is like standing in a forest of floating masterpieces, was revolutionary. Where else can you see the backside of a Matisse or a Renoir or a Goya as easily as the front? Where else would they be displayed in the same room as a Guerilla Girls poster? She built Casa de Vidro for herself and her husband, the writer and curator Pietro Bardi, in 1951 on a former tea farm situated in what had once been a rainforest surrounding São Paulo. Until her death in 1992, Bo Bardi made Casa de Vidro both her home and a meeting point for artists, architects, and intellectuals. The day of The Square’s debut, the lush aerie was as alive as ever, filled with art and some artists who had made them. Works belonging to the Instituto Bardi hung alongside those selected by curator Mari Stockler. Blazy and Bottega took a back seat in the program’s proceedings to participate as attentive listeners, allowing the artists and their works to speak for themselves.
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