Be them new or from an earlier date, such as SOL DE MAIAKÓVSKI [MAYAKOVSKY’S SUN] (1982/93), the CONTRAPOEMS are included in the show as a form of opposition to the current Brazilian context. “Brazil’s present juridical and political moment has deeply traumatized me. I believe that it is tragic for the country the immense regression that has happened since the impeachment of our elected president”, he explains.
The production of the exhibition was preceded by an intense materials research, since all the poems are now presented in new finalization, including expanded formats and media, diverse from the ones from previous exhibitions. In this sense, the biggest highlight is the work LUXO, that is now for the first time exhibited in a mold considered by Augusto in the 1960s, which could not have been possible to realize then. Covering an arch of more than half a century, the show traverses several moments of his poetical evolution, emphasizing the plastic arts. It is a synthetic record of high material quality that intends to be faithful to the poet’s ideals, expressed by aphorisms by two of his favorite artists: Anton Webern: “non multa sed multum”; Emily Dickinson: “Few, yet enough.”
