Ivan Serpa: Pioneering Abstraction in Brazil by Dickinson

I VA N S E R P A

Pioneering Abstraction in Brazil

I VA N S E R P A

Pioneering Abstraction in Brazil

Foreword We are immensely proud to be presenting the first retrospective of Ivan Serpa ever held outside Brazil. My own interest in this artist was kindled whilst preparing an exhibition on Brazilian Neo-Concrete Art in 2010. I was drawn to his precious, jewel-like experiments in colour and form, which seemed to fit into the mould of the Bauhaus, whilst still being undeniably Brazilian in their conception. The idea of a Brazilian Bauhaus was cemented with further research. Serpa emerged as the pioneering leader of Rio’s avant-garde, a fearless agitator and dedicated teacher, who became a beloved mentor to Brazil’s most important generation of artists. It would be hard to believe that an artist of such original vision, technical virtuosity and lasting influence should be so little known outside Brazil, were it not for the fact that his legacy is so neglected within Brazil. Beyond his native Rio de Janeiro, Serpa remains an obscure name, and whilst his contemporaries have benefitted from international Museum shows, and the laudably determined efforts of their dedicated estates, Serpa’s small output has had few champions, locally or beyond. His untimely death in 1973, came at a time when he and his neo-concretista contemporaries were already becoming neglected in Brazil. By the mid-1970’s the Revista Malasartes, the infamous underground art magazine, was publishing articles on the Concretistas in a desperate effort to keep this 1950’s legacy from being forgotten. As Waltercio Caldas, once himself a pupil of Serpa and editor of Malasarte puts it: “we were the only generation of artists who had to rebuild the avant-garde, in order to rebel against it”. However, Serpa is certainly not a forgotten artist. Indeed, everyone who knows his work has vigorously encouraged us, and helped this exhibition grow in scale and ambition. We have been overwhelmed by the generous and energetic support this project has received, in Brazil and beyond. From the outset we were inundated with insight and ideas from artists who were taught by him, curators, scholars, dealers and collectors who knew him, as well as his own family. An artist as complex and experimental as Serpa should of course be too big a subject to tackle in one show, so we have concentrated on his output as a geometric abstractionist. We hope to re-establish Serpa as a pivotal figure in pioneering ArteConcreta, and as an artist equal to any in the 1950’s Brazilian vanguard; an artist who embodied the experimental teaching ideals of the Bauhaus, without ever hiding his joyfully Carioca spirit.

H ugo N athan P resident , D ickinson N ew Y ork

I VA N Contents “A Democratic Education for the Masses”: Ivan Serpa at Museu de Arte Moderna

Ivan Serpa: Timeline

A leca L e B lanc

Plates

A licia G rosnick

List of Plates

Acknowledgments

Credits

DICKINSON

“A Democratic Education for the Masses”: Ivan Serpa at Museu de Arte Moderna A leca L e B lanc

When, in 1951, Niomar Moniz Sodré became the director of Rio de Janeiro’s recently founded Museu de Arte Moderna (MAM), she was determined to make education a vital part of the fledgling museum’s mission.1 She allocated a large portion of the institution’s limited finances and labor to support didactic initiatives, including extensive educational programming and publications dedicated to educational topics.2 In fact, in her first months at the helm she concurrently organized exhibitions and initiated a series of art classes; for Moniz Sodré, both endeavors—showing art on one hand and making art on the other—were of equal importance and warranted immediate attention. Indeed, the prominence of the museum’s educational mission helped define and distinguish Moniz Sodré’s tenure as director. The role of education was repeatedly foregrounded at MAM’s inaugural festivities in 1952.3 The National Minister of Education, Ernesto Simões Filho, summarized Moniz Sodré’s aims for the museum in the speech he delivered at the vernissage on January 15, in which he referred to MAM as “an agency of democratic education for the masses.”4 Despite the fact that MAM was a private institution, his language positioned the museum as a populist center available to the community at large, a definition in concert with Moniz Sodré’s idealistic aspirations. Simões Filho’s language also suggests a decidedly nationalist agenda. Significantly, his use of the word “democratic” signifies in two important and distinct ways—it denotes the idea of fair and equal access to education for all Brazilians and refers to the political system that governed the nation.5 In realizing her ambitious agenda, Moniz Sodré decided that among the first programs to be implemented would be art classes for the museum’s patrons. Taking the good advice of art critic and intellectual Mário Pedrosa, she hired his longtime friend and collaborator, Ivan Serpa, as the museum’s principal instructor.6 Pedrosa had previously witnessed Serpa’s teaching abilities in art instruction firsthand at the Occupational Therapy center of the National Psychiatric Hospital, where he and Serpa gathered with two other artists, Abraham Palatnik and Almir Mavignier, to provide art therapy to the psychiatric patients. Though Serpa had no formal experience in art instruction, he happily accepted the new position. Working with Moniz Sodré, he organized courses dedicated to painting, sculpture, and art theory for students of all ages, and within months his enrollments rapidly increased.7

Although previously relatively unknown outside of the local artist community, Serpa’s reputation had increased in prestige in 1951 due to his critically acclaimed solo exhibition in Rio de Janeiro. That same year, he had the distinction of being the recipient of the Young Painter Acquisition Award at the first Bienal de São Paulo for his abstract painting Formas (1951). Pedrosa, who had written a very favorable review of Serpa’s first show and supported his entry in the first Bienal de São Paulo, was also largely responsible for encouraging many young Cariocas to visit the museum in its early years and for introducing them to Serpa.8 As interest in his classes continued to grow, Serpa began hosting an open studio each Saturday for young adults; the first hour was dedicated to producing artwork and the second hour to critiquing it, a structure similar to what was practiced in professional art schools. And although Serpa was beloved, some have described him as a harsh critic. In an interview, artist Elisa Martins da Silveira characterized him this way: Ivan was very tough on his students. To the point of being rude. When he disliked a work, he would tear it up in front of the student, and immediately throw it in the trash. He did this to me many times. It was not easy to hear his critiques. He was a tyrant, but an awesome professor.9 This weekly gathering was quickly established as the meeting place for many of the city’s young avant-garde artists. Under Serpa’s tutelage, several students gravitated toward the formal language of geometric abstraction and specifically Concrete art, the style that Serpa then practiced.10 However, he was not a rigid instructor and encouraged students to experiment with a wide range of materials, forms, and techniques. Several of these young Concrete artists, like the brothers Hélio and César Oiticica and Aluísio Carvão, as well as Serpa and such other artists as Lygia Clark and Lygia Pape, later formed Rio’s Grupo Frente and showed together in five exhibitions between 1954 and 1957.11 Although Serpa’s role in Grupo Frente was never formalized, the members considered him one of the leaders of the group. In fact, of the fifteen artists who showed with Frente, only four were never his students.12 This leadership role was due in large part to his position at the museum and the fact that so many of these artists knew him first as their teacher. Given their beginnings, it should be noted that Grupo Frente was intimately related to MAM in several ways. That the museum was responsible for organizing two of Frente’s four solo shows is significant. Indeed, MAM featured this group twice within a single year. And while this level of support is remarkable given how young and inexperienced these artists were, I would argue that many of MAM’s initiatives coalesced in Frente—the group came together in the museum’s own studios under the aegis of the institution’s progressive pedagogical initiatives and with Serpa’s leadership. Their vanguard work served as proof of the positive effect that MAM was having on the field of Brazilian art. 13 But, more significantly, it demonstrated the potential of the Brazilian mind and how through experimentation one could arrive at completely new conclusions untethered from national precedents: this was the underlying goal of the curriculum.

Lygia Pape & Ivan Serpa, c. 1971 Photograph by Paula Pape

Formation of Serpa’s Pedagogical Philosophy

It warrants emphasizing that Serpa’s career at MAM, which spanned more than twenty years, had a long-lasting impact on the museum’s legacy and on the arts in Rio de Janeiro. Indeed, multiple generations of artists considered him a mentor, thanks in large part to the open studio program.14 However, Serpa himself had received little formal art training. Although biographical accounts state that he studied with Austrian émigré Axl Leskoschek between 1946 and 1948, his affiliation with the Secessionist printmaker has not been well documented.15 Instead, Mário Pedrosa was, arguably, Serpa’s most important interlocutor as far as the development of his artistic and academic interests are concerned. The well-traveled and educated Pedrosa became a close friend and was responsible for exposing Serpa to several of the leading twentieth-century intellectuals writing about art pedagogy internationally, including the American education reformer John Dewey, as well as such figures as the English art critic Herbert Read and the Austrian artist and teacher Franz Cižek.16 Although these three men emerged from different cultures and were active at distinct historical moments, in general, they all believed children had the benefit of a natural state of unselfconsciousness, and, when creating art, should be allowed to develop their abilities unfettered. The resulting works, each argued, would be far superior to those made through the inculcation of rules or repetitive imitation. Pedrosa, an intellectually generous man, discussed these ideas at length with friends, including Serpa and Moniz Sodré, arguing that the duty of art educators was to direct students without imposing adult influences. Although Serpa was not a devoted acolyte of any single educator, he embraced the general concepts espoused by Dewey, Read, and Cižek, and incorporated them into his own pedagogical philosophy, based largely on the high value he attached to experiential learning.17 For example, in his classes he encouraged his students to discover the properties and qualities of color and form on their own and advocated for producing a high volume of work.18 This insistence on experimentation, as opposed to repetitively performing entrenched exercises, reflects his adoption of progressive education techniques. In an article published in the Brazilian newspaper Correio da Manhã, and reprinted in the museum’s bulletin, Serpa described his approach: “In the classes I allow the children total freedom…I don’t teach anything, not even how they [the students] should use the materials; I leave them to discover on their own.”19 In another interview published in the Jornal do Brasil, Serpa said that if a student were to ask him how to mix the color pink, he would respond with the following question, “How do you think it is made?” and, rather than provide the solution, would guide the student with questions.20

Despite his reputation for being tough with his older students in the open studio, he was quite gentle and kind with the children. In fact, in an essay entitled “Arte Infantil,” Pedrosa repeatedly praised his demeanor with his young students, writing, Ivan Serpa’s children do not have in him a master, or an instructor, but an older companion, a friend. He is there, strolling among the kids, offering a few words to one and then another, a clever question here, another over there, responding to the situation, and waiting for a reaction.… Professor Ivan Serpa does not “teach drawing,” he “teaches children.”21 This description paints a portrait of Serpa running an engaged but relaxed studio, which encouraged children to experiment with materials and subject matter. In fact, Serpa shunned such formal titles as Professor or Instructor. His felt his role was to guide and supervise students in their aesthetic explorations, not to teach them; thus he preferred to think of himself as their “orientador,” or adviser.22 His primary objective in these courses was not to teach students how to perfect their technical skills, but rather to expose them to new aesthetic experiences; this is was what was prized in MAM’s classrooms.

The Children’s Paintings Exhibition

On December 16, 1952, MAM opened the final exhibition of its inaugural year, The Children’s Paintings Exhibition. This installation showcased the work of fifty young Cariocas, ranging in age from four to fourteen years, who had spent the year studying painting with Serpa at the museum.23 The Correio da Manhã published rave reviews, reporting that the galleries were “a thing of beauty,” filled with “color, variety, and vibration.”24 Critics were overwhelmingly surprised and impressed by the children’s creations. The installation was praised in another review a few days later; “…what richness, what diversity in the individual and audacious styles, what boldness in the encounter with everything from landscapes, to urban stretches, to mature sunflowers that remind us of Van Gogh!”25 Due in part to its favorable reception and the growing popularity of Serpa’s classes, the exhibition became an annual event. The showcasing each December of the work produced by Rio’s youngest generation in MAM’s studios came to serve as the capstone to the museum’s yearly activities. Although the press favorably received the exhibition, for Serpa, Pedrosa, and Moniz Sodré, the educational process was prized over the products put on display. Rather than discuss the quality of the works included, Pedrosa wrote in “Arte Infantil” that the show was “an eloquent demonstration that the child’s creative power is innate,” suggesting that in their innocence, children needed only a guide, such as Serpa, to unleash their imaginations.26 If one of the principal purposes of Pedrosa’s “Arte Infantil” essay was to illuminate the conditions in which the works had been made, then the other objective was to legitimize Serpa’s seemingly unconventional methods of instruction. Serpa’s pedagogical approach, which was already practiced in several places abroad, was still novel in Brazil at the time and received a great deal of attention from journalists, critics and other artists in Rio de Janeiro and São Paulo. In the first half of his essay, Pedrosa discusses what are, in his opinion, the most progressive pedagogical movements in art education, subtly connecting Serpa’s approach to tactics being used in classrooms abroad by internationally known and established pedagogues. Pedrosa documents important and compelling alternatives to conventional art education following the academic tradition, the approach that had been prevalent in Brazil since the nineteenth century. Not only did Pedrosa’s text inform the local community in Rio de Janeiro of the international history of art education, but it also situated MAM as the logical inheritor of these ideas. In fact, Pedrosa only discusses Serpa’s role and the specifics of MAM’s Children’s Paintings Exhibition in the conclusion of his essay, and then only briefly, closing the essay by commending

Serpa and MAM for the “autonomous mental development” of “fifty little artists.”27 It is this seemingly innocuous statement that offers us the best glimpse of what was most valued about Serpa’s classes. Indeed, the training that Serpa offered had much larger implications than the chance to experiment with art materials and explore one’s imagination. At the core of his curriculum was the premise that children and adolescents who were encouraged to communicate their ideas aesthetically would ultimately become innovative and freethinking adults. Pedrosa said as much in his essay: All of these kids will not become geniuses or great artists tomorrow, when they reach adult life. It’s not for these ends that they are working. But today’s experience will serve them wherever they are tomorrow, as artists, craftsmen, industrialists, technicians, doctors, it doesn’t matter.28 Serpa articulated these same aims in an interview. Our interest is not that the children become artists. Out of 100 students, perhaps one will continue painting. But this new generation that has complete freedom will not look at art in the same way as the current generation, but rather as a logical consequence of the development of human progress. This generation will also have the capacity to distinguish what is good from what isn’t, because it has keener vision.29 This final statement conveys yet another important byproduct to a progressive education in art: the ability to form aesthetic judgments. In 1954, after two years of programming, MAM’s educational mission was presented in a small publication titled Crescimento e Criação (Growth and Creation), coorganized by Pedrosa and Serpa.30 Pedrosa’s text synthesized Serpa’s pedagogical techniques, as it had in his 1952 essay, justifying his unconventional methods because of their perceived benefits to greater society. However, by 1954, Pedrosa argued that Serpa’s classes were serving even more ambitious ends than they had been just two years earlier. Pedrosa wrote, The most important outcome of this education is the preparation it provides our youth to think clearly, to act with justice, to manage things soundly, to judge the whole and not just the parts, to appreciate life…even if they never again pick up a pen or pencil,

they will see life as a wholesome or beautiful work of art worth preserving, they will not applaud hysterical dictators, but will march with progress without turning their backs on freedom, and above everything, they will appreciate a job well done, because they…will understand…aesthetic value that transcends even the ethical.31 According to Pedrosa, Serpa’s classes at MAM would have vast ramifications for Brazil’s future, by cultivating progressive freedom-loving citizens with aesthetic appreciation for the finer points of their quotidian lives, as well as for the masterpieces of modern art. And the cultivation of such citizens was imperative to the success of Brazil as a modern and democratic nation. In many ways, MAM’s educational programs were a manifestation of cultural ideologies of nationalism, modernity and democracy that circulated in Brazil at mid-century. Before the early 1950s the most prevalent approach to teaching art in Brazil involved the mastery of certain traditional techniques, such as chiaroscuro, illusionistic perspective and the rendering of the human form, achieved through the diligent and repetitive copying of other works of art. Brazil’s National School of Fine Arts, which was modeled after France’s École des Beaux-Arts, championed this method since its establishment in 1826 in Rio de Janeiro.32 Like its European predecessor, the Brazilian academy also applied a hierarchy of genres that prized history painting above all others.33 Many of Brazil’s most prominent artists had received this academic training. Even Cândido Portinari, who in the 1940s and early 1950s was one of Brazil’s most esteemed living artists, had attended the National School of Fine Arts.34 The epitome of conventional art education in Brazil, the academy had played an influential role in the evolution of national art. Moniz Sodré was determined to distance her fledgling museum from this traditional model. Academic conventions reeked of the colonial and republican eras that, by the 1950s, many Brazilian intellectuals considered excessively conservative and rearguard. MAM would offer a “democratic education for the masses” and do away with the old hierarchies of what were perceived to be staid and uninviting institutions. The establishment of a revisionist education program at MAM gave Moniz Sodré an opportunity to demonstrate precisely how modern and innovative this new museum would be under her leadership. As is frequently repeated in the speeches, essays and journalism reprinted in the museum’s bulletin and other publications, one of MAM’s overarching goals

as an institution was the enhancement of the common Brazilian’s aesthetic taste and knowledge. Through this enrichment and through the audience’s newfound proximity to modern art, architecture and design, Brazilians would become a community of freethinking citizens of the kind that a modern and developed nation required. Moniz Sodré believed that providing aesthetic experiences and training through these programs would have positive lasting effects on the Brazilian populace. Clearly, MAM was profoundly invested in cultivating a modern and democratic future for Brazil and saw its role as integral to this process. The vast array of educational programs Moniz Sodré created during the 1950s demonstrate that MAM was committed to Brazilian nationalism, yet aimed to participate in international movements. At the same time, Serpa’s pedagogy was simultaneously indebted to the progressive education movement spawned abroad, as well as to the local need for art instruction. Together, the educational initiatives launched by Moniz Sodré, Pedrosa, and Serpa at MAM in the 1950s were dedicated to aestheticizing Brazilian objects, and, more importantly, the Brazilian mind.

Serpa with Frente colleagues, c. 1955

Notes

1. The Museu de Arte Moderna was founded by a group of Rio de Janeiro’s intellectual elite in 1948, but only sponsored a single exhibition prior to its re-opening in 1952 when Moniz Sodré took the helm. 2. Her mission manifested itself in less expected ways as well. For example, it is telling that when the construction of MAM’s permanent campus got underway in 1955, completing the Bloco Escola (School Block), one of three buildings slated for the site, was of the highest priority and consequently it was the first building to be inaugurated, in 1958. Designed to accommodate the range of didactic initiatives that MAM planned to offer, the building included classrooms and studios, a cantina for students and even apartments for visiting professors. Although I am not certain that the apartments were ever completed or used, they do appear on some of the building plans found in the museum archives and underscore MAM’s intentions to make the institution an educational center with accommodations for visiting professors. 3. From 1952 to 1958, MAM was based at the Ministry of Education and Culture. 4. (“Esse é o conceito do museu como orgão de educação democrática das massas…”) Boletim de Outubro, (Rio de Janeiro: Museu de Arte Moderna, 1952), 2. 5. In Brazil, the years following World War II, from 1946 to 1964, are known as the Second Republic and were a democratic interval between two dictatorships. 6. Pedrosa also championed Serpa’s art and his pedagogical philosophy. Vera Beatriz Siqueira, “Insistently Current,” in Ivan Serpa (Rio de Janeiro: Silvia Roesler, Instituto Cultural The Axis, 2003), 160. 7. Serpa offered three weekly painting courses and a class in art theory on Friday evenings, for all of his students. On Saturdays, he hosted a special class just for the children of museum members. These courses were located in a gymnasium on the 13th floor of the nearby IPASE building. IPASE is an acronym for Instituto de Previdência e Assistência Social dos Servidores de Estado, a state sponsored program for retirees. Milton Goldring taught one painting class and Margaret Spence taught two sculpture classes. Boletim de Outubro, 11. 8. Mário Pedrosa, “A Experiência de Ivan Serpa, 1951,” in Acadêmicos e Modernos: Textos escolhidos III, ed. Otilia Beatriz Fiori Arantes (São Paulo, SP, Brasil: EDUSP, 1995), 222. 9. (“Ivan era muito duro com os alunos. Chegava a ser grosseiro. Quando não gostava de um trabalho, chegava a rasgá-lo dianto do aluno, jogando-o em seguida na lata do lixo. Fez isso comigo várias vezes. Não era fácil ouvir suas críticas (nas aulas, a primeira hora era dedicada à criação, a segunda ao comentário dos trabalhos realizados). Era um carrasco, mas ótimo professor.”) Frederico Morais and Edmundo Jorge, 2. Grupo Frente / 1954-1956; 3. I Exposição Nacional De Arte Abstrata, Hotel Quitandinha / 1953, Ciclo de Exposições Sobre Arte no Rio de Janeiro (Rio de Janeiro: Banerj, 1984), 3. 10. Over the course of his career, Serpa executed works in a range of styles and media. In the late 1940s and throughout the 1950s, he explored of geometric abstraction. However, for most the 1960s, his works, although largely abstract, were expressionistic, often including skull-shaped figures. In the 1970s, he returned to working in geometric abstraction. 11. Frente artists showed together four times as a group, and a fifth time in 1957 at the Exposição Nacional de Arte Concreta with the Ruptura group from São Paulo. They had no manifesto and membership to the group varied. By the late 1950s, several of these same artists–Serpa excluded–came together as the by now more famous, Neo-Concrete group. Serpa did not take part in these activities because they coincided with his absence from Brazil. In 1957 Serpa participated in the VI National Modern Art Salon and received the foreign travel award. This award included a plane ticket to Europe and a monthly stipend of $500 for two years. Serpa departed for this trip, with his entire family, in July 1958 and returned in December 1959. Siqueira, 169–175. 12. They are Lygia Clark, Lygia Pape, Abraham Palatnik and Franz Weissmann.

13. MAM had been an arbiter of vanguard art since the museum re-opened in 1952. Its registry of exhibitions indicates that in the first few years of operations numerous exhibitions showcasing abstraction, and principally geometric abstraction, were installed in the museum’s galleries at the MEC. In the late 1940s there were growing public debates about abstraction versus figuration, which was highlighted in the landmark exhibition, Do figurativismo ao abstracionismo in 1949 at MAM in São Paulo. Following that, the debate was further refined, as geometric abstraction became the preferred style over anything expressionistic. In 1953, MAM hosted a show called Modernos Argentinos that featured Concrete art produced in Buenos Aires in the 1940s. The following year, exhibitions dedicated to Cubism and the Dutch De Stijl artist César Domela were installed. In 1955, in addition to the Frente show, MAM also installed a retrospective of Fernand Léger’s work as well as a thematic exhibition called Grupo Espaço de Paris (Space Group from Paris), which included recent work by such artists as Auguste Herbin, Sonia Delaunay, Jean Dewasne, Richard Mortensen and Victor Vasarely. Many of the same European artists, as well as Le Corbusier and Wassily Kandinsky, were featured in another show called Tapeçarias Abstratas (Abstract Tapestries) in 1956. Together these exhibitions demonstrate the institution’s strong commitment to abstraction, and Serpa’s classes indicate how these stylistic preferences were directly communicated to the public. 14. This text includes a lengthy list of artists who studied with Serpa. Hélio Márcio Dias Ferreira, “Ivan Serpa, Artist-Educator,” in Ivan Serpa (Rio de Janeiro: Silvia Roesler, Instituto Cultural The Axis, 2003), 203. 15. Leskoschek was Austrian (1889–1976) and lived in Rio de Janeiro from 1939 to 1949. He had been part of the Sezession groups in Graz and Vienna. According to Fabiana Barcinski, Leskoschek encouraged Serpa to try different “styles”–abstract, landscape, nudes–as well as “schools” such as expressionist, realist, abstract and surreal. This may help account for Serpa’s migration in his own work between geometric abstraction and expressionist abstraction, as well as figuration. It might also help explain why he was open to allowing his students so much freedom for experimentation. That he was not wedded to a singular visual language might have made him more tolerant of this experimentation. Fabiana Werneck Barcinski and others, Ivan Serpa (Rio de Janeiro: Silvia Roesler, Instituto Cultural The Axis, 2003), 15–19. 16. According to Paulo Herkenhoff, Pedrosa was familiar with Read’s 1946 book, The Aesthetic Method of Education, and cited him as early as 1947 in Arte: Necesidade Vital. Paulo Herkenhoff, “Rio De Janeiro: A Necessary City,” in The Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection, ed. Gabriel Pérez-Barreiro (Austin: Blanton Museum of Art, University of Texas at Austin, 2007), 56. 17. Ferreira, 201. 18. Personal interview with César Oiticica, July 2006. 19. (“Nos cursos dou total liberdade às crianças … Não ensino nada, nem como devem utilizar o material; dexio que elas descubram sozinhas.”) Boletim de Fevereiro (Rio de Janeiro: Museu de Arte Moderna, 1953), 7. 20. Even though this publication comes twenty years after he initiated the courses at MAM, it is consistent with his approach in 1952. (“Quando uma criança me pergunta como é que se faz a cor rosa, pro exemplo, eu respondo por tabela: como é que você acha que é? A criança então diz que o rosa parece um pouco com o vermelho, eu digo a ela que já é um dos elementos que entram na composição da cor, e assim converando comigo, ela acaba acertando. Faço questão que os alunos descubram o mundo encantado da cor e da própria forma sozinhos, sem interferência minha.”) Originally published in the Jornal do Brasil, 17 out. 1972, 4; reprinted in Hélio Márcio Dias Ferreira, Ivan Serpa: O “Expressionista Concreto” (Niterói, RJ: Editora da Universidade Federal Fluminense, 1996), 36. 21. (“Os meninos de Ivan Serpa não têm nele um mestre, um instrutor, mas um companheiro mais velho, um amigo. Ele está ali presente, passeando entre a garotada, arriscando um dedo de prosa com um ou com outra, uma pergunta insidiosa aqui, outra acolá, conforme o caso, e espera a reação. … o professor Ivan Serpa não ‘ensina desnho’, ‘ensina crianças’.”) Mário Pedrosa, “Arte Infantil,” 1952, in Forma e Percepção Estética: Textos Escolhidos II, ed. Otilia Beatriz Fiori Arantes (São Paulo, SP, Brasil: EDUSP, 1995), 67. 22. Ferreira, “Ivan Serpa, Artist-Educator,” 203. 23. The first two pages of the January 1953 bulletin were dedicated to this exhibition. The entry provided basic information about when the show opened (December 16, 1952), and listed the names and ages of all of the children included in the show. A record of those who attended the opening followed this list. There was no description of the show nor a curatorial statement. I have not been able to locate a catalogue for

which Pedrosa authored the essay, “Arte Infantil,” which was republished in an anthology of his writing. Boletim de Janeiro, (Rio de Janeiro: Museu de Arte Moderna, 1953), 1–2; Pedrosa, 63–70. 24. It should be noted that the Correio da Manhã was owned and operated by Paulo Bittencourt, Niomar Moniz Sodré’s husband, who was also a benefactor of the museum. The objectivity of the critics who wrote these reviews is therefore suspect. “A sala do Museu está uma beleza. Côr, variedade, vibração.” Originally published in Correio da Manhã, Dezembro 16, 1952; Republished in Boletim de Janeiro, 14– 15. 25. (“… que riqueza, que variedade dos traços independents e ousados, que atrevimento em avançar ao encontro das paisagens, dos trechos urbanos, de girassóis maduros qu lembram os de Van Gogh!”) Originally published in Correio da Manhã, Dezembro 19,1952; republished in Ibid. 26. (“…uma eloqüente demonstração de que o poder criador na criança é inato.”) Pedrosa, 66. 27. (“Vimos no Museu de Arte Moderna, nos trabalhos de cinquënta pequenos artistas, toda a gama do desenvolvimento mental autônomo deles.”) Pedrosa, 67. 28. (“Essos meninos todos não vão continuar gênios ao grandes artistas amanhã quando alcançarem a vida adulta. Não é para isso que estão trabalhando. Mas a experiência de agora servirá onde quer que estejam amanhã, como artistas, artesãos, industriais, técnicos, doutores, não importa.”) Pedrosa, 68. 29. (“Nosso interesse não é de que as crianças venham a se tornar artistas. De cem alunos é possível que um continue pintando. Mas essa geração que tem completa liberdade não verá a arte de sua época como a geração atual e sim como uma conseqüêcia lógica do desenvolvimento do progresso humano. Ela vai ter, também, capacidade de distinguir o que é bom do que não presta, porque sua visão está mais aguçada.”) This quotation is taken from an undated interview with Daniel Oliveira, found in the artist’s papers by Hélio Márcio Dias Ferreira and published in Ferreira, “Ivan Serpa, Artist-Educator,” 206. 30. Although both men are credited as authors, Pedrosa wrote the text and Serpa was responsible for the selection of images. The illustrations differ in the various reprints I have seen. It is also likely that Serpa was responsible for the booklet’s design, as he designed other books as well. Mário Pedrosa and Ivan Serpa, “Crescimento E Criação, 1954,” in Forma e Percepção Estética: Textos Escolhidos II, ed. Otilia Beatriz Fiori Arantes (São Paulo, SP, Brasil: EDUSP, 1995). 31. (“A mais autênica finalidade desse aprendizado é mesmo a de preparar a meninada para pensar certo, agir com justeza, manipular as coisas judiciosamente, julgar pelo todo e não parcialmente, apreciar com proporção e confiança, gesticular com propriedade, utilizar-se das mãos com precisão, tirar alegria não só das grandes como das coisas insignificantes e pequeninas. Ah! esses que assim se conduzirem quando peludos serão artistas, mesmo que nunca mais peguem num lapis ou num pincel. Verão a vida como uma sadia ou bela obra de arte a preservar, não baterão palmas a ditadores histéricos, marcharão com o progresso sem contudo virar as costas à liberdade, e, acima de tudo, apreciarão todo trabalho bem realizado, pois neste sentirão, compreenderão a presença, a participação carinhosa do homem, penhor do racional, a emprestar-lhe um valor estético que transcende até ao ético.”) Ibid., 72. 32. With the installation of the Portuguese crown in Brazil in 1808, royal academies began to be founded. Brazil’s Royal Academy of Drawing, Painting, Sculpture and Architecture was famously established by a group of artists and engineers who traveled to Brazil from France and are commonly referred to as the French Mission of 1816. The group arrived in Brazil on March 25 and included experts in naval architecture, mechanical engineering, a master blacksmith, carpenters, carriage makers, and other craftsmen and architects, as well as fine artists, including Jean-Baptiste Debret (a disciple of Louis David), Nicolas-Antoine Taunay (a former pensioner at the French Academy in Rome), and architect AugusteHenri-Victor Grandjean de Montigny (who was a Prix de Rome winner). Rafael Cardoso Denis writes that it was in fact “one of the first such institutions in the New World, preceded only by colonial Mexico’s Academy of San Carlos and more or less contemporaneous with New York’s National Academy of Design.” The Brazilian academy underwent a few name changes over the years and was later referred to as the Imperial Academy of Fine Art and finally the National School of Fine Arts. This academy included such familiar French features as an annual salon and a three-year traveling scholarship, similar to the Prix de Rome. Rafael Cardoso Denis, “Academicism, Imperialism and National Identity: The Case of Brazil’s Academia Imperial de Belas Artes,” in Art and the Academy in the Nineteenth Century, ed. Colin Trodd and Rafael Cardoso Denis, Barber Institute’s Critical Perspectives in Art History Series (Manchester: Manchester University Press, 2000). 33. Ibid., 56. 34. By the 1950s, Portinari’s work was no longer considered avant-garde and young artists rejected his nationalist figurative style.

Pioneering Abstraction in Brazil

P L A T E S

Ivan Serpa (1923 - 1973) 1. Untitled, 1952 Gouache on paper 16 x 13Â˝ in. (40.6 x 33 cm.)

IIvan Serpa an Serpa (1923 - 1973)

2. Group of four cards with envelope, c.1952 Gouache and pencil on card Each: 31/8 x 2Âź in. (8 x 6 cm.)

Ivan Serpa 3-10. Untitled, 1952 8 works, gouache on paper Each: 85/8 x 6 in. (21.9 x 15.2 cm.)

Ivan Serpa 11. Ritmos resultantes, 1953 Oil on canvas 393/8 x 393/8 in. (100 x 100 cm.)

Ivan Serpa 12. Concrete Composition, 1953 Collage and Indian ink on card 9 x 6他 in. (23 x 17 cm.)

13. Concrete Composition, 1953 Collage and Indian ink on card 9 x 6他 in. (23 x 17 cm.)

Ivan Serpa 14. Untitled, 1953 Oil on board 18Â˝ x 14 in. (47 x 38 cm.)

Ivan Serpa 15. Portfolio of 5 Concrete Compositions, 1953 Gouache and collage on paper Each: 9½ x 6¾ in. (24 x 17 cm.)

Ivan Serpa 16. Untitled, 1954 Oil on canvas 457/8 x 35Âź in. (116.5 x 89.5 cm.)

Ivan Serpa 17. Untitled, 1954 Collage on paper 15他 x 11 in. (40 x 28 cm.)

18. Untitled, 1954 Collage on paper 17他 x 141/8 in. (45 x 36 cm.)

Ivan Serpa 19. Untitled, 1956 Gouache on paper 77/8 x 77/8 in. (20 x 20 cm.)

Ivan Serpa 20. Untitled, 1956 Gouache on card 57/8 x 41/8 in. (15 x 10.5 cm..)

21. Untitled, 1956 Gouache on card 7 x 4他 in. (18 x 12 cm.)

Ivan Serpa 22. Forma Ritimada, 1956 Gouache 9½ x 9½ in. (24 x 24 cm.)

23. Forma bi-ritmada, 1956 Oil on agglomerated sheet 31Â˝ x 31Â˝ in. (80 x 80 cm.)

Cesar Oiticica (b.1939) 24. Untitled, 1956 Gouache on card 187/8 x 187/8 in. (48 x 48 cm.)

25. Untitled, 1956 Gouache on card 183/4 x 183/4 in. (47.8 x 47.8 cm.)

Ivan Serpa 26. Untitled, 1956 Gouache on card 6 x 37/8 in. (15.5 x 10 cm.)

27. Untitled, 1956 Gouache on card 65/8 x 4Âź in. (17 x 11 cm.)

Ivan Serpa 28. Grupo Frente Composition, 1956 Gouache on card 57/8 x 47/8 in. (15 x 10 cm.)

Helio Oiticica (1937-1980) 29. Grupo Frente no. 10, 1957 Gouache on card 17Âź x 16 in. (44 x 41 cm.)

Ivan Serpa 30. Untitled, 1956 Gouache on card 6 x 37/8 in. (15.5 x 10 cm.)

Helio Oiticica 31. Untitled, 1955-56 Gouache on card 121/4 x 171/8 in. (31 x 43.5 cm.)

Ivan Serpa 32. Untitled, 1967 Type-writer and crayon on paper 11他 x 6他 in. (30 x 17 cm.)

33. Untitled, 1955 Type-writer and crayon on paper 7Â˝ x 57/8 in. (19 x 15 cm.)

Aluisio Carv達o (1920 - 2001)

34. Untitled

35. Untitled

Gouache on card 101/8 x 7 in. (26 x 18 cm.)

Ivan Serpa 36. Homenagem a Volpi, 1958 Screen print on card 9½ x 5¾ in. (24.1 x 14.6 cm.)

João José da Silva Costa (b.1931) 37. Untitled, 1959 Gouache on paper 17¼ x 17¼ in. (44 x 44 cm.)

Ivan Serpa 38. Untitled, 1957 Gouache on paper 15 x 11Âź in. (38 x 28.5 cm.)

Waltercio Caldas (b. 1946) 39. The Day Before, 1964 Gouache on paper 97/8 x 201/4 in. (25 x 31 cm.)

Ivan Serpa 40. Untitled (Serie Amazonica), 1969 Oil on canvas 23¼ x 15¾ in. (59 x 40 cm.)

Ivan Serpa 41. Serie Amazonica no. 27, 1970 Oil on canvas 48 x 48 in. (122 x 122 cm.)

Serpa Timeline A licia G rosnick

1923

•

Born in Rio de Janeiro on April 6th

1946

•

Studies with Axel Leskosheck until 1948

1947

•

Receives Bronze Medal for painting at the 52nd Salão Nacional de Belas Artes, Rio de Janeiro

1948

•

Receives Bronze Medal for painting at the 53rd Salão Nacional de Belas Artes, Rio de Janeiro

1949

•

Creates the first group of abstract artists in Rio de Janeiro, with Almir Mavignier and Abraham Palatnik under the direction of critic Mário Pedrosa

1951

•

Marries Lygia

•

1st São Paulo Bienal- Wins the Young National Painter Acquisition Prize for his large abstract painting: Formas

1952

•

First solo exhibition, “Ivan Serpa – Pinturas e Desenhos,” at Galeria IBEU, Rio de Janeiro.

•

Museu de Arte Moderna de Resende, “Ivan Serpa”

•

First son Yves is born

•

Appointed to direct art courses at the newly founded Museu de Art Moderna, Rio de Janeiro (MAM / RJ)

1953

1954

•

26th Venice Biennale

•

Municipal Library, São Luiz exhibition, “Ivan Serpa e Lygia Clark”

•

International Fair, Lausanne, Switzerland

•

2nd São Paulo Bienal- Wins Acquisition Prize from MAM/RJ

•

Founds the Grupo Frente which becomes the official collective of Concrete artists in Rio

•

Helio and Cesar Oiticica enroll at the MAM/RJ School

•

27th Venice Biennale

•

1st Exhibition of Grupo Frente at Galeria IBEU, featuring works by Ivan Serpa, Aluísio Carvão, Carlos Val, Décio Vieira, João José da Silva Costa, Lygia Clark, Lygia Pape and Vicent Ibberson

1955

•

2nd Exhibition of Grupo Frente at MAM/RJ. The collective is joined by Abraham Palatnik, César Oiticica, Franz Weissmann, Hélio Oiticica, Elisa Martins da Silveira, and Eric Baruch

1956

1957

•

3rd São Paulo Bienal

•

Exhibits in Italy, Spain and Japan

•

Daughter Leila is born

•

3rd Exhibition of Grupo Frente, Resende

•

4th Exhibition of Grupo Frente, Volta Redonda

•

1st “Exposicão Nacional de Arte Concreta”, MAM, São Paulo

•

Grupo Frente disbands

•

Wins the Travel Abroad Award at the 6th Salão Nacional de Arte Moderna

•

Features in “Arte Moderno en Brasil” at Museo Nacional de Bellas Artes, Buenos Aires; the exhibition travels to Santiago, Montevideo and Lima

•

5th São Paulo Bienal

•

Son Heraldo is born

•

Travels to Spain, Italy, Germany, France, Portugal, Holland and Switzerland

•

Solo Exhibition of Ivan Serpa gouaches at Museo de Arte Contemporaneo de Madrid

•

Neo-Concrete manifesto published by Ferreira Gullar in Jornal do Brasil

•

1st Exposicão de Arte Neoconcreta, MAM/RJ and Belvedere da Sé Salvador

•

Serpa returns to Brazil

•

Receives prize at 1st Zurich Biennial

•

“l’Art Modern Brésilien,” at Musée d’Art Moderne de la Ville de Paris

•

“Ivan Serpa Pintura,” at MAM/RJ

•

Wins ARDEA prize at the 6th São Paulo Bienal

•

Receives Acquisition Prize at the 5th Salão Nacional de Arte Moderna, Rio de Janeiro

•

Exhibition of children’s art honoring Serpa’s ten years of teaching at MAM/RJ

•

“New Art of Brazil,” Walker Art Center, Minneapolis

•

31st Venice Biennial

•

Features in group exhibition of Brazilian artists at Galleria d’Arte della Casa do Brasil, Rome

•

7th São Paulo Bienal

•

Features in “Brazilian Art Today,” at Royal College of Art, London

•

32nd Venice Biennial

•

Waltercio Caldas enrolls at the MAM/RJ School through 1965

•

“Retrospectiva Ivan Serpa,” retrospective exhibition at the MAM/RJ

•

Features in traveling United States exhibition, “Latin American Art since Independence”

•

8th São Paulo Bienal

•

“Artistas Brasileños Contemporaneos,” Museo de Arte Moderno, Buenos Aires

•

3rd American Art Biennial, Córdoba and Buenos Aires

•

Teaches at the Escola de Belas Artes, Universidade Federal do Espírito Santo

•

Begins working on Amazonica, Mangueira and Geomantic series

•

“Nova Objetividade Brasileira,” MAM/RJ

1968

•

1st Feira de Arte at MAM/RJ, organized by Marió Pedrosa

1970

•

Founds The Art Research Center in Rio de Janeiro

1971

•

“Ivan Serpa: Desenhos 1946/1971,” MAM/RJ, a drawings retrospective to honor 25 years of Serpa’s

1958

1959

1960 1961

1962 1963 1964

1965

1966

1967

career 1972

•

“Ivan Serpa, Lygia Pape, Antonio Manuel,” at Group B, Rio de Janeiro

1973

•

Dies on April 19th

•

Memorial Ivan Serpa exhibition at MAM/RJ

LIST OF PLATES

Ivan Serpa 1. Untitled, 1952 Gouache on paper 16 x 13½ in. (40.6 x 33 cm.) Signed and dated: Serpa 1952 Private Collection, Rio de Janiero

Ivan Serpa 14. Untitled, 1953 Oil on board 18½ x 14 in. (47 x 38 cm.) Signed, dated and inscribed on reverse: Rio, 1953 Private Collection, São Paulo

Ivan Serpa n Serpa (1923 - 1973) 2. Group of four cards with envelope, c.1952 Gouache and pencil on card Each: 31/8 x 2¼ in. (8 x 6 cm.) 3 of the 4 cards signed: Serpa Private Collection, Brazil

Ivan Serpa 15. Portfolio of 5 Concrete Compositions, 1953 Gouache on paper Each: 9½ x 6¾ in. (24 x 17 cm.) Private Collection, Germany

Ivan Serpa 3-10. Untitled 8 works, gouache on paper Each: 85/8 x 6 in. (21.9 x 15.2 cm.) Each signed and dated: Serpa 52 Private Collection, São Paulo

Ivan Serpa 16. Untitled, 1954 Oil on canvas 457/8 x 35¼ in. (116.5 x 89.5 cm.) Private Collection

Ivan Serpa 11. Ritmos resultantes, 1953 Oil on canvas 393/8 x 393/8 in. (100 x 100 cm.) Private Collection, Rio de Janiero

Ivan Serpa 17. Untitled, 1954 Collage on paper 15¾ x 11 in. (40 x 28 cm.) Private Collection, Brazil

Ivan Serpa 12. Concrete Composition, 1953 Collage and indian ink on card 9 x 6¾ in. (23 x 17 cm.) Signed and dated: Serpa 1953 Courtesy Austin Desmond Fine Art Ltd. Private Collection, London

Ivan Serpa 18. Untitled, 1954 Collage on paper 17¾ x 141/8 in. (45 x 36 cm.) Courtesy Austin Desmond Fine Art Ltd. Private Collection, London

Ivan Serpa 13. Concrete Composition, 1953 Collage and Indian ink on card 9 x 6¾ in. (23 x 17 cm.) Signed and dated: Serpa 1953 Courtesy Austin Desmond Fine Art Ltd. Private Collection, London

Ivan Serpa 19. Untitled, 1956 Gouache on card 77/8 x 77/8 in. (20 x 20 cm.) Signed and dated: Serpa 56

Ivan Serpa 20. Untitled, 1956 Gouache on card 57/8 x 41/8 in. (15 x 10.5 cm.) Signed and dated: Serpa 56

Ivan Serpa 26. Untitled, 1956 Gouache 6 x 37/8 in. (15.5 x 10 cm.) Signed and dated: Serpa 1956

Ivan Serpa 21. Untitled, 1956 Gouache on card 7 x 4¾ in. (18 x 12 cm) Signed and dated: Serpa 1956

Ivan Serpa 27. Grupo Frente Gouache on paper 65/8 x 4¼ in. (17 x 11 cm.) Signed and dated: Serpa 1956 Private Collection, Brazil

Ivan Serpa 22. Forma Ritimada, 1956 Gouache 9½ x 9½ in. (24 x 24 cm.) Signed, titled and dated: “Forma Ritimada” Serpa 56

Ivan Serpa 28. Grupo Frente Composition, 1956 Gouache on card 57/8 x 47/8 in. (15 x 10 cm) Signed and dated: Serpa 1956 Courtesy Austin Desmond Fine Art Ltd. Private Collection, London

Ivan Serpa 23. Forma bi-ritmada, 1956 Oil on agglomerated sheet 31½ x 31½ in. (80 x 80 cm.) Marcio Lobão Collection

Helio Oiticica (1937- 1980) 29. Grupo Frente no. 10, 1957 Gouache on card 17¼ x 16 in. (44 x 41 cm.)

Cesar Oiticica 24. Untitled, 1956 Gouache on card 187/8 x 187/8 in. (48 x 48 cm.) Collection of the Artist

Ivan Serpa 30. Untitled, 1956 Gouache on card 6 x 37/8 in. (15.5 x 10 cm.) Signed and dated: Serpa 1956

Cesar Oiticica 25. Untitled, 1956 Gouache on card 183/4 x 183/4 in. (47.8 x 47.8 cm.) Collection of the Artist

Helio Oiticica 31. Untitled, 1955 - 56 Gouache on card 121/4 x 171/8 in. (31 x 43.5 cm.) Courtesy Austin Desmond Fine Art Ltd. Private Collection, London

Ivan Serpa 32. Untitled, 1967 Type-writer and crayon on paper 11¾ x 6¾ in. (30 x 17 cm.) Signed and dated: Serpa 67 Private Collection, London

João José da Silva Costa 37. Untitled, 1959 Gouache on paper 17¼ x 17¼ in. (44 x 44 cm.) Signed and dated: João José 59 Private Collection, Brazil

Ivan Serpa 33. Untitled, 1955 Type-writer and crayon on paper 7½ x 57/8 in. (19 x 15 cm.) Signed and dated: Serpa 55 Private Collection, London

Ivan Serpa 38. Untitled, 1957 Gouache on paper 15 x 11¼ in. (38 x 28.5 cm.) Signed and dated: Serpa 57 Courtesy Austin Desmond Fine Art Ltd. Private Collection, London

Aluisio Carvão 34. Untitled Gouache on card 101/8 x 7 in. (26 x 18 cm.) Signed: Carvão Private Collection, New York

Waltercio Caldas 39. The Day Before, 1964 Gouache on paper 97/8 x 201/4 in. (25 x 31 cm.) Signed: Waltercio Private Collection

Aluisio Carvão 35. Untitled Gouache on card 101/8 x 7 in. (26 x 18 cm.) Signed: Carvão Private Collection, New York

Ivan Serpa 40. Untitled (Serie Amazonica), 1969 Oil on canvas 23¼ x 15¾ in. (59 x 40 cm.) Signed and dated on reverse: Serpa 1969

Ivan Serpa 36. Homenagem a Volpi, 1958 Screen print on card 9½ x 5¾ in. (24.1 x 14.6 cm.) Private Collection, New York

Ivan Serpa 41. Serie Amazonica no. 27, 1940 Oil on canvas 48 x 48 in. (122 x 122 cm.) Signed, titled and dated on reverse: Serpa, Serie Amazonica no. 27, 1970 Private Collection, London

Acknowledgements

We are extremely grateful to all of our lenders. Their generosity and support has been overwhelming. There are countless others who have been essential in helping put this show together and we would especially like to thank the following: Henry Allsopp, Francisco Arevalo, John Austin, Antonia Bergamin, Jones and Paula Bergamin, Olivier Berggruen, Luis Antonio and Luciana Braga, Roxana Bruno, Waltercio Caldas, Mickey Cartin, Patricia Phelps de Cisneros, Marina Cruz, Stephanie Emerson, Sergio Ferreira, Ariane Figueiredo, Sophie Garnier, Thiago Gomide, Renato Gouvea, Alicia Grosnick, Peter Klimt, Paulo Kuczyinski, Aleca Le Blanc, Márcio Lobão, Sylvia Martins, Ronie Mesquita, Conrado Mesquita, Fernando Mignoni, Alessandra Modiano, César Oiticica, Paula Pape, Juliane Peiser, Gabriel Perez-Barreiro, Catherine Petitgas, Lara Pilkington, Gustavo Rebello, Ricardo Rego, Cecilia Ribeiro, Tom Sachs, Heraldo Serpa, Ana Sokoloff.

Hugo Nathan Co-Curator

Heinrich zu Hohenlohe Co-Curator

Credits Published by Dickinson, New York, on the occasion of the exhibition Ivan Serpa: Pioneering Abstraction in Brazil November 1st - December 21st, 2012 Curated by Hugo Nathan and Heinrich zu Hohenlohe Designed by Lara Pilkington Edited by Hugo Nathan Printed by Empress Litho Ltd T exts

courtesy :

© Caldas-Waltercio Caldas, Rio de Janeiro © Oiticica-Projeto Helio Oiticica, Rio de Janeiro © Oiticica-Cesar Oiticica, Rio de Janeiro © Serpa-Heraldo Serpa, Rio de Janeiro P hotograph C redits © Matthew Hollow, London © Camerarts Inc., New York © Mario Grisolli, Rio de Janiero © Jaime Acioli, Rio de Janiero © Paula Pape, Rio de Janiero

LONDON 58 Jermyn Street London SW1Y 6LX Te l ( 4 4 ) 2 0 7 4 9 3 0 3 4 0 Fax (44) 207 493 0796 NEW YORK 19 East 66th Street N e w Yo r k N Y 1 0 0 6 5 Te l ( 1 ) 2 1 2 7 7 2 8 0 8 3 Fax (1) 212 772 8186 BERLIN Kurf端rstendamm 50 10707 Berlin Te l ( 4 9 ) 3 0 8 8 9 1 2 8 2 5 Fax (49) 30 88 91 28 26 w w w. s i m o n d i c k i n s o n . c o m

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