The work of Arthur Bispo Do Rosaacute;rio

Footnotes

This Section of Epidemiology and Psychiatric Sciences appears in each issue of the Journal and is dedicated to all forms of creative production born of an intimate and individual urge, often secretive, unbound from the conventional art system rules. Through short descriptions of the Outsider art work of prominent artists and new protagonists often hosted in community mental health services, this Section intends to investigate the latest developments of the contemporary art scene, where the distances between the edge and the center are becoming more and more vague.

Carole Tansella, Section Editor

The work of Arthur Bispo do Rosaacute;rio propels us into another world, that of the revisiting and subjective reinterpretation of the environment in which the artist lived: from the fork to the boat, the entire personal story and the whole framework of his daily life are to be found therein, or nearly so. To understand the relentless re-creation of his world, it is necessary to trace the peculiar path of this Brazilian artist.

The only law that Bispo respects, and for which he works day and night, is that imposed on him by God and his angels. Rio de Janeiro, midnight, 22 December 1938, Bispo looks at the sky and sees God come down surrounded by seven blue angels: in the throes of delirium and following his irrepressible impulses, Bispo follows a precise path in town, guided by the images of his revelation and by the secrets confided in him at the time. He marched for 2 days following a strange and incongruous itinerary which he would later embroider on a banner in great detail. Bispo cannot but roam the streets of Rio and tell one and all, especially the different clergymen of the city, about his new status, that of Gods messenger on earth. But he was never received as he hoped, and his lsquo;madrsquo; roaming would ultimately end in the Colocirc;nia Juliano Moreira psychiatric hospital (Silva, 1998). There he would embark on – and continue for 50 years until his death in 1989 – his mission of representing the world that the angels entrusted him during a second revelation that occurred in 1939: Bispo has to offer God a representation of the world for the day of his passing into the beyond.

Once institutionalised, he stamped his cell with his own idiosyncrasy and turned it into a sort of temple dedicated to the reconstruction of the universe, a task to which he devoted himself body and soul. By getting personally and totally involved in the representation of the world he is tasked to bring about, he can spend several days working on this re-creation, holed up in his cell, hardly eating anything and cut-off from the surrounding asylum world. One of the frequent signals of his transformation into a creator was the question: lsquo;Dont you see anything at the top of my head?rsquo; (Hidalgo, 1996). He claimed that there was a god there who wanted to talk to him. When he is in such a state of delirium, Bispo asks himself to be locked up, predicting that he will be turned into a king and lsquo;go to warrsquo;. Once alone in the heart of his universe, he enriches, transforms and perfects it. He has no contact with the outside anymore, except during his meals, which he refuses most of the time, arguing that he is going to lsquo;dry up in order to become a saintrsquo; or lsquo;transparentrsquo;. These periods of intense activity would at times last for whole months during which he would eat only some fruit that the hospital staff brought for him.

At the outset, using only blue thread unravelled from his inmates uniform and old sheets, Bispo embroidered images and words recounting the highlights of his existence. He used the same blue thread to lsquo;wraprsquo; or lsquo;mummifyrsquo; hundreds of objects. He then accumulated shoes, boots, cups, bottles filled with confetti, scrap metal, religious objects, etc., on wooden and cardboard racks, grouped with extraordinary formal rigour – his showcases. In addition to showcases consisting of day-to-day objects, Bispo also collected thousands of small brown or blue cards similar to identity cards or bibliographical references. Arranged in alphabetical order for the most part, this index classifies and arranges the particulars of everything and everyone.

He also embroidered sashes and sceptres of beauty contestants, made of discarded and enigmatic objects, assembled metal reliefs, organised compositions from plastic packaging or pieces of cloth, made small wooden boats, etc. Thereby portraying the universe in order to accomplish his mission and present the universe (as he had reconstructed it) to God on the day he would meet his maker. In preparation for that long-awaited day, he created with painstaking research the imposing Manto da apresentaccedil;atilde;o (Presentation Mantle), a summation of his work in terms of form and meaning: for Bispo, donning this mantle means that he accepts to lsquo;in-vest himselfrsquo; as a guardian of the universe at the behest of God.

At first sight, Bispos universe is chaotic and unwieldy, but this chaos is only apparent. In Bispos art, everything is organised with rigour. The embroidered, written or painted registers are numbered and coloured to make them identifiable and classifiable, they give clear instructions, comprise precise descriptions and refer to each other. Precisely dated events are transcribed therein, the index cards are classified in alphabetical order, the panels are carefully prepared and composed to bring together various constituent elements according to consistent criteria like shape, colour, material and utility. Scattered fragments of reality are united by a link (Burrowes, 1999).

Fig. 1. Manto da apresentaccedil;atilde;o - coleccedil;atilde;o Museu Bispo do Rosaacute;rio Arte Contemporacirc;nea/PCdoRJ copy;Rodrigo Lopes.

The inventory of the world presented by Bispo at the end of his life aroused the curiosity of certain stakeholders in Carioca cultural circles. This led to a first exhibition in 1982, when Bispo was sti

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亚瑟·比斯波·杜·罗萨里奥的作品

脚注

本期流行病学和精神病学版块刊登在《华尔街日报》的每期杂志上，专门探讨各种形式的创意作品，这些创意作品是由亲密而个人的冲动所产生的，通常是秘密的，不受传统艺术体系规则的约束。通过简短介绍社区精神卫生服务部门经常接待的杰出艺术家和新主人公的局外人艺术作品，本部分旨在调查当代艺术界的最新发展，在当代艺术界，边缘与中心之间的距离越来越大模糊。

Carole Tansella，专栏编辑

阿瑟·比斯波·杜·罗萨里奥（Arthur Bispo doRosaacute;rio）的作品将我们带入了另一个世界，即对艺术家居住环境的重新审视和主观重新诠释：从叉子到船，他的整个个人故事和整个日常生活框架都在其中或几乎如此。要了解他的世界的无情创造，有必要追溯这位巴西艺术家的奇特道路。

Bispo遵守的唯一法律，就是他昼夜为上帝服务，是上帝和他的使者强加给他的。1938年12月22日午夜，里约热内卢，比斯波望着天空，看到被七个蓝色天使包围的神降临：在del妄的阵痛中，跟随着他不可抑制的冲动，比斯波跟随镇上一条精确的路，受到了他的启示以及当时在他身上透露的秘密。他经过一段奇怪而又不协调的行程，前进了两天，随后将其详细地绣在横幅上。比斯波只能在里约热内卢的街道上漫游，并向所有人，特别是城市中不同的神职人员讲述他的新身份，即上帝在地上的使者的身份。但是他从未像他希望的那样得到接待，1998）。他将在那里展开并持续50年，直到1989年逝世为止。他的代表世界的使命是天使在1939年发生的第二次启示中托付给他的世界：Bispo必须为上帝提供当今世界的代表他的超越。

一旦制度化，他就用自己的特质给自己的细胞盖上印记，并将其变成一种致力于重建宇宙的庙宇，他将自己的身体和灵魂投入其中。通过亲自和完全参与他所要实现的世界的代表，他可以花几天的时间进行这种重新创造，陷在自己的牢房中，几乎不吃东西，也不能与周围的庇护世界隔离。他转变为创作者的常见信号之一是一个问题：“ 您看不到我的头上有什么东西吗？（伊达尔戈，1996年）。他声称那里有一个神想和他说话。当他处于这种精神错乱状态时，Bispo要求将自己锁起来，并预言他将成为国王并“开战”。曾经独自一人在他的宇宙心脏中，他丰富，改造和完善了它。除了在用餐期间，他不再与外界保持联系，大部分时间他都拒绝用餐，他辩称他将“ 干dry以成为圣人 ”或“ 透明 ”。这些紧张的活动有时会持续整整几个月，在此期间，他只会吃掉医院工作人员为他带来的一些水果。

一开始，Bismo只使用从囚犯的制服和旧床单上解开的蓝线绣了一些图像和文字，以讲述他的生活亮点。他使用相同的蓝色线程来“包裹”或“木乃伊化”数百个对象。然后，他将鞋子，靴子，杯子，装满五彩纸屑，废金属，宗教物品等的瓶子放在木制和纸板架上，并以格外严谨的形式进行分组–他的展示柜。除了由日常物品组成的展示柜之外，Bismo还收集了数千张类似于身份卡或书目参考的棕色或蓝色小卡片。该索引大部分按字母顺序排列，对所有事物和所有人的细节进行分类和排列。

他还绣过美丽的参赛者的腰带和权杖，用废弃的和神秘的物品制成，组装了金属浮雕，用塑料包装或布条组织了一些构图，制成了小木船等。从而描绘了宇宙，以完成他的使命和礼物在他与造物主见面的那一天，将宇宙（按他重建的样子）交给上帝。为了准备这一期待已久的日子，他通过艰苦的研究创造了气势磅Man的Manto daapresentaccedil;atilde;o（Presentation Mantle），从形式和意义上总结了他的作品：对Bispo而言，穿上这件外套意味着他接受in-奉上帝的旨意将自己赋予“宇宙的守护者”。

乍一看，Bismo的宇宙是混乱而笨拙的，但是这种混乱只是显而易见的。在Bispo的艺术中，一切都是严谨的。刺绣，书写或涂漆的寄存器均已编号和着色，以使其可识别和分类，它们给出清晰的说明，准确的描述并相互引用。精确记录日期事件，索引卡按字母顺序分类，面板经过精心准备和组装，可根据形状，颜色，材料和实用性等一致标准将各种组成要素汇集在一起​​。分散的现实碎片由一个链接统一（Burrowes，1999）。

图1. Manto daapresentaccedil;atilde;o-coleccedil;atilde;oMuseacute;Bispo doRosaacute;rioArteContemporacirc;nea/ PCdoRJcopy;Rodrigo Lopes。

毕斯波（Bispo）在生命的尽头所呈现的世界概况引起了卡里奥卡文化圈中某些利益相关者的好奇。这导致了1982年Bispo还活着的时候在里约现代艺术博物馆举办了第一次展览。自1989年起，以Bispo的作品为特色的展览的速度在巴西和国外有所提高。例如，他代表巴西参加了1995年在威尼斯举行的第46 届双年展（Clair，1995）。

接近这些创作需要谦卑的能力，面对难以掌握的事物时要承认自己的局限性，尽管令人着迷。减少这些对象，无论是局外人艺术还是“原始”艺术，例如，简化为审美形式，都是在剥夺它们特殊性的本质，这种特殊性孕育并使其成为现实。认识到无法解决问题的关键，是与Bispo的世界相遇的一次冒险。只要无法避免地提及画家的世界，就不可能对作品进行详尽的理解。正是这种难以捉摸的本质赋予了Bispo艺术以不变的强度。

图2. Lutas-巴西现代艺术博物馆/ PCdoRJcopy;Rodrigo Lopes。

关于作者

Coline De Reymaeker是一位艺术史学家和策展人，专门研究Art Brut。2004年，她在布鲁塞尔自由大学讨论了关于Bispo do Rosario的论文，2011年，在巴西国际欧洲艺术节期间，她在法国的Art＆marges博物馆举办了一场关于Bispo do Rosario作品的展览并共同策展。布鲁塞尔 她策划了许多展览，并于2018-2019年担任布鲁塞尔艺术与博物馆博物馆馆长。

Carole Tansella，专栏编辑

参考文献

Burrowes，P（ 1999年），《阿罗·比斯波·杜罗萨里奥大学》。里约热内卢： FGV编辑。

克莱尔，J（ 1995）威尼斯双年展46°国际艺术博览会。Identitagrave;Alteritagrave;Figure del Corpo 1895/1995。威尼斯：马西里奥。

De Reymaeker，C（ 2011）亚瑟 ·比斯波·杜 ·罗萨里奥。展览目录，布鲁塞尔：艺术与博物馆。

Hidalgo，L（ 1996）亚瑟·比斯波·杜·罗萨里奥（Arhur Bispo doRosaacute;rio）：o senhor do labirinto。里约热内卢： Editora Rocco。

席尔瓦（ Silva，JA）（ 1998）艺术与艺术：亚瑟·比斯波·罗萨里奥（Arthur Bispo do Rosario）。圣保罗： EDUC。

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