The Unicamp Print Office, in partnership with the Pavão Cultural Institute, with support from the Pro-Rectory of Extension and Culture, is holding the exhibition “Grassmann Presente – 31 anos de Marcello Grassmann” until May 100st.
The event celebrates the centenary of the birth of Brazilian designer, visual artist and engraver Marcello Grasssmann and represents an effort to expand the reach of his work. The works are part of the largest collection of the artist, with more than 200 engravings and located at Unicamp. Visits are open on Wednesdays and Thursdays, from 15 pm to 19 pm, and on Fridays and Saturdays, from 15 pm to 20 pm, at Rua Maria Tereza Dias da Silva, 708 – Cidade Universitária, Campinas.
Grassmann began his career as a painter and ventured into different formats, also working as an illustrator, but it was in chalcography (metal engraving) that he became famous — says the visual artist and coordinator of the Gabinete de Estampas, Sérgio Niculitcheff, who is also the curator of the exhibition.
The exhibition features 44 works (including calcogravures and lithographs – engravings in stone), including six drawings borrowed from private collections. “I decided to make the selection based on my own perspective and also looked for a certain chromatic diversity – some works have greenish tones, others brownish”, explained the curator.
One of the issues that make Grassmann an important name in engraving is his technical mastery, which makes elaborate procedures seem easy to execute, according to Niculitcheff. He argues that the poetic aspect also distinguishes the engraving artist, as it is not possible to fit him into any artistic movement.
“Grassmann creates this own universe which is very original and technically fabulous, which invites us to another medieval, mythical, playful world, with knights and monsters”, a characteristic that also makes his works timeless.
Like many of the artist’s prints, the professor’s favorite is untitled, leaving the viewer’s imagination free to interpret them during the exhibition. It is an image of a monkey portrayed in a somber manner. “It has this somewhat frightening beauty, but at the same time you see the animal’s sad look. I think this figure is very expressive and different from the others in terms of theme,” says Niculitcheff, highlighting Grassmann’s capacity for expression, “which goes beyond the language of engraving or drawing.”
free workshops
In addition to the exhibition, the public will be able to participate in three free workshops taught by Unicamp students and professionals: Woodcut, for young people and adults (10/05, 15 pm); Stamp engraving, for children aged seven and over (17/05, 15 pm); and Cyanotype, for teachers (25/05, 15 pm).
According to Niculitcheff, understanding the process of producing etchings helps to appreciate Grassmann's work. The technique has its origins in Europe, during the Renaissance, in the 15th century. Despite this, it has gained followers today, as a way of experiencing a time different from the present.
“It is a technique that has a connection with the past and that requires its own time, different from today's urgency, so many people are interested in this experience of dedication and concentration,” he says.
Metal engraving requires several steps: the metal plate must be prepared and varnished, the drawing must be done, the image must be etched with acid, the image must be washed, the image must be painted, and finally the image must be printed (the drawing must be transferred from the plate to paper using a press). The result is similar to a drawing made with India ink, but the difference is that it is reproducible, since chalcography allows the same engraving to be printed infinitely from the plate.
