Claudia Leites (art historian, original article written in Portuguese)
Nino Trindade was born in 1982 in Mozambique, in the city of Mapu-to. His early life was marked by his coexistence with several people linked to the arts, most notably an uncle who taught him his first steps in sculpture. As for formal higher education, he wanted it as a pulp of knowledge, learning about what could be valid at a thematic level, socially, in the arts and culture. An admirer of the painter Neto, with whom he met at the Núcleo de Arte, in Maputo, he believes, for himself, that feeling controls artistic practice and he does so.
There are two antagonistic perspectives through which we can view art: one that sees it as a lie and the other that inscribes it within the intentions of truth. The first perhaps corresponds to Oscar Wilde's sentence as the epitome of Modernity: the one he pronounced as a reaction to the realistic art that was imposed and which defended, against fact, the fantasy anchored in the assumption of lies that art entails. Regarding the second, Miguel de Unamuno will certainly be an expressive defender of it, when he states that art is the furthest thing from lying and that lying is the most unsightly thing there is. These are two disparate perspectives forged in exactly the same historical time: the 2nd half of the 19th century.
The first comes to inscribe art, it can be said, in an unnatural regime; the second inserts it into the production of nature. The antinomy between nature and culture is a product of Modernity, which was responsible for: reconfiguring the Earth, outlining its continents, islands and seas, and at the same time circumscribing its peoples; unveil the mysteries of considered matter, penetrating its cells and paving the way for an inner design of humans; opening the human body in an abysmal way, separating the organs and making them responsible for partial functions; opposing woman and man, making the former coincide with Nature and the latter with Culture. The walkway on which the intense light of strict scientificity, unraveling mysteries and fixing all identities, which parallels the depreciation of Nature, is thus extended.
It is due to this antinomy that Oscar Wilde's thesis can certainly surpass Miguel de Unamu-no's defense today: and if the first brings the work of art closer to death; the second will defend this work in life, and as a presupposition of life – and here lies an essential qualitative difference.
In fact, it is different whether we consider that we begin to die immediately after birth, or, on the contrary, we see the occasion in which we are born as the possibility of creating life; If the measure of death is the probable casing of hallucination, the defense of life presents itself as the indispensable food of the symbol. Regarding what Nino Trindade proposes to us, we see him as a defender of birth, life, symbol: and we uncover here three natures – which correspond to three degrees. The 1st, coinciding with the perennial, considered matter – wood; the 2nd, relating to the transposition of an inner vision of the artist in dialogue with this, considered, matter, thus manifesting itself as a juxtaposed intervention through sculpting; the 3rd, in which the act of painting is added, giving rise to a kind of symbolic metamorphosis, in fact, related to the mention of Mozambican capulanas and their rituals of use.
It doesn't exist, and this is precisely what Nino's works Trinity we are taught, a separation of the three natures, but rather coexistence and simultaneity: they show clearly, they are before us as if each one constituted through films, different, but seen in interval areas that are as if transparent. Several have been efforts to overcome the dichotomy between Nature and Culture, especially as a correlate of this path, both epistemological as well as existential, which essentially aims to: contemplate the integrated areas of the Earth as subside effects of uninterrupted growth led by Western; consider the people who were placed in the antipodes of a sovereign reason that repudiated myth, affections, love, sorrows, embodied these qualities by the Feminine spectrum, therefore, with women's faces that are ultimately connoted with this so-called Nature irrational. Thus, we advocate a vision that no longer properly “about” the other, but which is true “with” the other. Because “about” presupposes a position superior, a superimposition relative to the other; and the what has been declared and concluded is that, effectively, a balance, so to speak, anthropological, between: the various zones of Earth, the different peoples that inhabit it, the male and the feminine, culture and nature.
Look at Nino Trindade's sculptures, or let them arrive to our eyes in this way, that is, in transparency
of these three films that correspond to the three degrees of Nature, does not mean that we should say goodbye to us from words – culture, society, history; but an(?) you understand that this is a way of showing an extreme view of Nature, one that can allow us to move towards a much-needed re-enchantment of the A(?) world that refuses the atomization implemented today. That re-enchantment of the World – which also corresponds to its reality, its concrete consistency, that is, its effective perception through the senses, will defend the union and not separation, showing the ties. As if it were a maturation in that sense conveyed by Cristina Campo: one in which truth becomes nature.
Nino Trindade was born in 1982 in Mozambique, in the city of Mapu-to. His early life was marked by his coexistence with several people linked to the arts, most notably an uncle who taught him his first steps in sculpture. As for formal higher education, he wanted it as a pulp of knowledge, learning about what could be valid at a thematic level, socially, in the arts and culture. An admirer of the painter Neto, with whom he met at the Núcleo de Arte, in Maputo, he believes, for himself, that feeling controls artistic practice and he does so.
There are two antagonistic perspectives through which we can view art: one that sees it as a lie and the other that inscribes it within the intentions of truth. The first perhaps corresponds to Oscar Wilde's sentence as the epitome of Modernity: the one he pronounced as a reaction to the realistic art that was imposed and which defended, against fact, the fantasy anchored in the assumption of lies that art entails. Regarding the second, Miguel de Unamuno will certainly be an expressive defender of it, when he states that art is the furthest thing from lying and that lying is the most unsightly thing there is. These are two disparate perspectives forged in exactly the same historical time: the 2nd half of the 19th century.
The first comes to inscribe art, it can be said, in an unnatural regime; the second inserts it into the production of nature. The antinomy between nature and culture is a product of Modernity, which was responsible for: reconfiguring the Earth, outlining its continents, islands and seas, and at the same time circumscribing its peoples; unveil the mysteries of considered matter, penetrating its cells and paving the way for an inner design of humans; opening the human body in an abysmal way, separating the organs and making them responsible for partial functions; opposing woman and man, making the former coincide with Nature and the latter with Culture. The walkway on which the intense light of strict scientificity, unraveling mysteries and fixing all identities, which parallels the depreciation of Nature, is thus extended.
It is due to this antinomy that Oscar Wilde's thesis can certainly surpass Miguel de Unamu-no's defense today: and if the first brings the work of art closer to death; the second will defend this work in life, and as a presupposition of life – and here lies an essential qualitative difference.
In fact, it is different whether we consider that we begin to die immediately after birth, or, on the contrary, we see the occasion in which we are born as the possibility of creating life; If the measure of death is the probable casing of hallucination, the defense of life presents itself as the indispensable food of the symbol. Regarding what Nino Trindade proposes to us, we see him as a defender of birth, life, symbol: and we uncover here three natures – which correspond to three degrees. The 1st, coinciding with the perennial, considered matter – wood; the 2nd, relating to the transposition of an inner vision of the artist in dialogue with this, considered, matter, thus manifesting itself as a juxtaposed intervention through sculpting; the 3rd, in which the act of painting is added, giving rise to a kind of symbolic metamorphosis, in fact, related to the mention of Mozambican capulanas and their rituals of use.
It doesn't exist, and this is precisely what Nino's works Trinity we are taught, a separation of the three natures, but rather coexistence and simultaneity: they show clearly, they are before us as if each one constituted through films, different, but seen in interval areas that are as if transparent. Several have been efforts to overcome the dichotomy between Nature and Culture, especially as a correlate of this path, both epistemological as well as existential, which essentially aims to: contemplate the integrated areas of the Earth as subside effects of uninterrupted growth led by Western; consider the people who were placed in the antipodes of a sovereign reason that repudiated myth, affections, love, sorrows, embodied these qualities by the Feminine spectrum, therefore, with women's faces that are ultimately connoted with this so-called Nature irrational. Thus, we advocate a vision that no longer properly “about” the other, but which is true “with” the other. Because “about” presupposes a position superior, a superimposition relative to the other; and the what has been declared and concluded is that, effectively, a balance, so to speak, anthropological, between: the various zones of Earth, the different peoples that inhabit it, the male and the feminine, culture and nature.
Look at Nino Trindade's sculptures, or let them arrive to our eyes in this way, that is, in transparency
of these three films that correspond to the three degrees of Nature, does not mean that we should say goodbye to us from words – culture, society, history; but an(?) you understand that this is a way of showing an extreme view of Nature, one that can allow us to move towards a much-needed re-enchantment of the A(?) world that refuses the atomization implemented today. That re-enchantment of the World – which also corresponds to its reality, its concrete consistency, that is, its effective perception through the senses, will defend the union and not separation, showing the ties. As if it were a maturation in that sense conveyed by Cristina Campo: one in which truth becomes nature.