In his portfolio, Gianlluca shares a bit of his story. Born in Minas Gerais, Brazil, the visual artist is also a history teacher at the municipal network of Cariacica, in Esp\u00edrito Santo. In addition, Gianlluca holds a Bachelor of Laws and studied art and education at CEFART in Belo Horizonte.<\/p>\n
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From a very early age, more precisely from the age of 6, Gianlluca demonstrated himself as an artist through painting. Since then, his career has spanned more than 20 years, taking his art to different exhibitions in Minas Gerais, S\u00e3o Paulo and Esp\u00edrito Santo. Not to mention publications in nationally and internationally renowned magazines and exhibitions, such as his work \u201cHumor Azul, Cora\u00e7\u00e3o Azul\u201d which was a finalist at the Doncaster Art Fair.<\/p>\n
Gianlluca Carneiro calls his artistic universe Cabe\u00e7a Vazia, a play on the popular saying \u201can empty head is the devil's workshop\u201d. In his own words: \u201cThe important thing is that this empty head is full and busy producing works with colors, strokes and colorful and chaotic compositions always supported by criticism of political and social structures and the contemporary way of life\u201d.<\/p>\n
The contemporary artist is aligned with the most recent discussions present around the world. One of them is the importance of rethinking the current art education system.<\/p>\n
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documents 15<\/b><\/h3>\n
Documenta is one of the largest contemporary art exhibitions in the world and takes place every five years in the city of Kassel, Germany. The exhibition was created in 1955 by Arnold Bode, in post-war Germany. Part of his motivation came from the need to return to the art that was banned by Nazism and to reintroduce the country to the latest international trends. Since then, the Documenta 15 exhibition has become a major institution in the art world.<\/p>\n
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In 2022, the 15th edition of the exhibition took place, curated by the ruangrupa collective from Jakarta, Indonesia. The collective based Documenta on the values and ideas of a very common term in Indonesia, lumbung, which means something like \u201ccommunity rice granary\u201d. The idea of using this term as an artistic and economic model is based on principles such as collectivity, the joint construction of resources and their fair distribution.<\/p>\n
In this edition, several points resonate and one of them dialogues directly with the art and the active positioning of Gianlluca Carneiro, which is to rethink the structures of contemporary artistic education. In the exhibition, this is translated from the idea of the collective and questions why we cannot learn from each other, breaking paradigms, such as the authority figure of the teacher?<\/p>\n
This idea of transforming education is expressed in Documenta 15 through the art of *foundationClass, a collective formed in 2016 at the Wei\u00dfensee Kunsthochschule Berlin (KHB). The collective emerged as an educational platform for art and a toolkit created to make life easier for immigrants who are affected by racism in Germany.<\/p>\n
To delve into this concept of collective artistic education and get to know the artist better, Coletivo Amarelo held an interview with Gianlluca Carneiro. Read an excerpt from our conversation, which we opened with a speech by the artist that unifies all this thinking behind artistic education and this untapped potential.<\/p>\n
Gianlluca:<\/strong>\u00a0I see a lot of artistic potential among my students that is not so explored within the school and I, as a teacher and artist, try to bring that to them at all times. Bring what? Bring ideas to awaken something in them, demystify this idea that art is only in the museum, when in fact we make art all the time. And use it to debate politics<\/p>\n Yellow Collective:<\/strong>\u00a0Are there obstacles within the school to bring these new models in? What is the resistance?<\/p>\n Gianlluca:<\/strong>\u00a0The craziest thing about all of this is that I am part of a project called Ensina Brasil, aimed at areas of social vulnerability, and by coincidence I ended up in a school where there are military personnel. For a moment I thought this would be a hindrance, but I manage to bring the subject of politics in a deeper way, without superficial speeches and also without partisanship. But doing this using art even makes the process easier within the school, incredible as it may seem.<\/p>\n Yellow Collective:<\/strong>\u00a0The figure of the teacher is a place of comfort, security, where \u201cthere are no dumb questions\u201d, a less intimidating space\u2026 You, as a teacher, what advice would you give to those who want to start making art, learn more about art, but don\u2019t do you know where to start or maybe you feel shy?<\/p>\n Gianlluca:<\/strong>\u00a0Detachment from art sometimes comes from very complex languages, difficult for us to introduce people\u2026 I'll give you an example of something that happened to me this week. I had an art contest at school, I stressed that there would be a prize, but that it was not to encourage that aggressive competitiveness, but to stimulate creation.<\/p>\n A special education student of mine, he has a glass eye, low vision, and he won the drawing competition. It was a stand outside, his smile was something unbelievable. Another student, with very low self-esteem, won the painting contest, and she could never see what she was doing. Always saying that everything he did was shit*\u2026 This showed me once again that art is what we do in the most genuine way possible.<\/p>\n The way to start is indeed complicated, but today we have so many new forms, collectives like Coletivo Amarelo, alternative proposals, places that receive us more openly and that encourage us to do things. This is for those who are starting to make art, consume, live from it. As banal as it may be, the secret is to throw yourself in full.<\/p>\n Yellow Collective:<\/strong>\u00a0What you said, about today having access to so many tools and information, sometimes scares too. Because maybe it makes the person a little bit without knowing where to start or without understanding where he fits into all of this... And we end up forgetting that artistic making is a time-consuming process, that it takes time, a really slow digestion. The artist's process of being reclusive there, \u201cwaiting for something\u201d to happen, is extremely lonely at times and super confusing.<\/p>\n Gianlluca:<\/strong>\u00a0It is a process that takes a long time. And we don't do it for a gallery, we do it because it has to be done. I'm a little crazy\u2026 I have my sketchbook, my doodles\u2026 and the ideas come, the colors, the shapes, and from them I experiment. Most of the time it doesn't get where I want it. There are layers that build up and, I'm not afraid, I don't plan too much, I'm more of an action person.<\/p>\n Exclusive works by Gianlluca are available in our store, check them out!<\/p>","protected":false},"excerpt":{"rendered":" Como aprender sobre arte? Essa quest\u00e3o um tanto quanto subjetiva \u00e9 trabalhada por um dos mais novos artistas a se juntar ao Coletivo Amarelo, o Gianlluca Carneiro. O artista e professor brasileiro est\u00e1 diretamente envolvido com projetos de cidadania e \u00e9tica, e dentro da sala de aula, ele encontrou maneiras de introduzir aos seus alunos […]<\/p>\n","protected":false},"author":3,"featured_media":1744,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[67],"tags":[53],"class_list":["post-1801","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-novo-artista","tag-arte-brasileira"],"acf":[],"jetpack_featured_media_url":"https:\/\/coletivoamarelo.com\/wp-content\/uploads\/2023\/04\/GCARPAINT005.jpg","yoast_head":"\n![\"\"](\"https:\/\/coletivoamarelo.com\/wp-content\/uploads\/2023\/04\/3x4-210x300.jpg\")
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