A “parahistória” de Fernando Bryce
Quem estiver de passagem por Buenos Aires até o próximo domingo não deve deixar de dar um pulo no Malba (Museo de Arte Latinoamericano de Buenos Aires) para ver a retrospectiva do artista contemporâneo peruano Fernando Bryce.
Ocupando o segundo andar do museu estão alguns conjuntos de quadros que, de longe, sugerem uma grande história em quadrinhos. De perto, trata-se de uma re-interpretação de interpretações já feitas de passagens do século 20. Bryce, 47, que já expôs na Bienal de São Paulo, trabalha a partir de material gráfico: jornais, revistas, anúncios publicitários, cartas e memorandos, capas e índices de livros, cartazes de cinema e uma infinidade de variantes. Cada um é caprichosamente reproduzido à tinta, no formato e no conteúdo. Bryce não acrescenta nem uma vírgula ao que vê, apenas redesenha a imagem ou o conjunto de letras e números.
Seu traço dá nova vida a momentos da grande e da pequena história. Por exemplo, na série “El Mundo en Llamas” (2010-2011), Bryce reproduz primeiras páginas de jornais que noticiam os fatos da Segunda Guerra Mundial. Ao mesmo tempo, mimetiza também os cartazes de filmes que estavam estreando, como “Cidadão Kane” ou anúncios publicitários de objetos ordinários do dia a dia. Assim, pode-se conhecer o que acontecia no cotidiano ao mesmo tempo em que países eram invadidos, e decisões políticas importantes, tomadas. A matéria-prima, nesse caso, são jornais como o “New York Times” e “El Comercio”, de Lima.
Outras passagens do século 20 surgem. É o caso de “The Spanish Revolution” (2003), que reproduz as primeiras páginas do jornalzinho do POUM (Partido Operário de Unificação Marxista), ou a série que coloca, lado a lado, cartazes de propaganda soviética e notícias sobre os crimes de Stálin e a grande fome na Ucrânia de 1932/1933.
Ao “recontar” os fatos dessa maneira, Bryce os reposiciona e faz refletir sobre as grandes tendências políticas do século passado. O capitalismo, o comunismo, a queda do Muro de Berlin e a sombra mortal do Sendero Luminoso recebem um novo olhar, sem que necessariamente nada novo esteja sendo dito explicitamente. Também surgem caras de presidentes, expõem-se as ilusões de movimentos sociais e a falsidade do mundo publicitário.
A história de Bryce é a mesma do registro oficial, mas levemente alterada, quase distorcida, e é nesse limite que ele logra transmitir sua mensagem. Como disse em uma entrevista, trata-se de um “parahistoriador”, questionando o modo como a história passa adiante por meio dos registros tradicionais.
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