From the memory and identity conceptions of Candau to the representation of the spools of Iberê Camargo

Abstract

This article discusses several issues concerning the importance of memory in the plastic works of the Brazilian artist Iberê Camargo, more specifically in the Spools series. For this, the text will be based on Joël Candau (2014) and his allusive concepts to memory and identity, as well as Halbwachs (2006), Gagnebin (2006) and Nora (1993); in addition to the authors that contemplate the theme “art” (Goodman, 1978) and “Iberê Camargo” such as Massi (2009), Pasta (2003), Smith (2009) and texts by Joël Candau himself (1987; 2009; 2012a; 2012b). In this brief study, there is an attempt to place some artistic moments of the artistic life of Iberê and demonstrate, for example, how “memory itself or high-level memory” and “metamemory” of the artist integrated his plastic production. The writing will begin with a concise conceptualization of the memory modes of Candau, followed by a very brief account of his life. Then, an introduction of the issues relevant to the topic of memory will be given, explained from the trajectory of the artist, memory presence itself (memories and recollections) as a motto for the graphic, pictorial and textual production, and metamemory (representations made in his memory).