As coisas mudam
Autor: labor ardor | Publicado: 2015-06-06T12:16:00-07:00


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&nbsp;&nbsp; Waltercio Caldas: A emoção estética -&nbsp; 1977



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&nbsp; &nbsp; &nbsp; &nbsp;&nbsp; Waltercio Caldas: Garrafas com rolha -1975. Um tipo de arte provérbio



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&nbsp;Desinventar objetos. O pente, por
exemplo. 





Dar ao pente funções de não pentear.
Até que 





ele fique à disposição de ser uma
begônia. Ou 





uma gravanha. 





Usar algumas palavras que ainda não
tenham 





idioma.

Manoel de Barros&nbsp; 




&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
&nbsp; &nbsp; &nbsp;&nbsp; &nbsp;&nbsp;




Arcimboldo
ouviu o apelo das coisas antes mesmo de sua consumação como gênero
pictórico, alcunhada de “natureza morta” no séc. XVII.  Ainda
assim,   não tão instigante como propunha aquele.
&nbsp;Dadaístas/surrealistas imprimiriam o absurdo numa lógica que
se propunha certa (tal é a natureza do gosto), com seus “objets
trouvés”. O peso objetal de suas existências que podem&nbsp;soar
extremamente ofensivos por serem (in)exatamente o
que são,&nbsp; numa ordem que varia. Munari nos diz do aspecto
trans-funcional das coisas, que, quando invertidas e em associações
diversas, ganham uma dimensão a qual chamamos fantasia. O princípio
da fantasia é a inversão. Um poeta como Joan Brossa, que é um
poeta das coisas,  da palavra enquanto “coisa” se
apresentava como um mágico. Um mágico sabe a língua das coisas,
das coisas a língua; manuelísticamente. A ordem dos
objetos/coisas os torna, por meio de sua gramática cotidiana
própria, por vezes, invisíveis. Farnese de Andrade&nbsp;auscultou o eco mudo das
coisas. A obra:&nbsp;uma imperiosa solidão congelada e encerrada numa
circunstância de coisa. Em Farnese as coisas são insuportavelmente
coisas ainda que travestidas de sua suposta irreversível humanidade.
Porém, como canta o poeta Arnaldo Antunes, as coisas não tem paz:
“têm peso, massa, volume, tamanho, tempo, forma, cor, posição,
textura, duração, densidade, cheiro, valor, consistência,
profundidade, contorno, temperatura, função, aparência, preço,
destino, idade, sentido”. É por conta de sua propriedade
situacional, limítrofe, apropriadas, expropriadas ou desapropriadas
para outras instâncias de relação num jogo de dados que não abole
o acaso, mas incita um caso, que as coisas podem proverbiar. Seu
ruidoso pró-verbio é também um anti-verbio. As coisas, embora
de caráter metonímico, falam por si. São sua própria língua num
discurso sem curso.

&nbsp;