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Brasil 2,
2000
João Luiz Bulcão
Photography : inkjet
30 x 45 x 0.1 cm 11.8 x 17.7 x 0 inch
$783
One of the last works available by this artist
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About the artwork
Type
Numbered and limited to 14 copies
13 copies available
Signature
Signed artwork
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
30 x 45 x 0.1 cm 11.8 x 17.7 x 0 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
It was in Brazil in the early 1970s. I was seven years old and we lived under the dictatorship of General Médici. My first visual emotion is linked to a childhood memory. A legendary “futebol” match between Brazil and Italy for the World Cup final at the Aztecs stadium in Mexico. These images broadcast on television, live and in black and white, contrasted with those of the crowd dressed in the colors of my country: yellow, green and blue which invaded the streets and the multicolored fireworks which exploded in the city. end of the match in the squares of my neighborhood. The “Seleção” had conquered its third title of World Champion. The military junta appropriated this victory which stimulated national pride. She used it as an element of propaganda to instill the idea that thanks to her everything was possible. This is how at home the round ball was taken hostage. Twenty-four years later, I participated as a photographer in this same ritual as our national team brought back this much-desired trophy for the fourth time. I remember the crazy moments that surrounded their victorious comeback. I remember seeing these heroes parade with open arms in the avenues of Rio de Janeiro. Political power had changed hands and we were consolidating the use of democracy. Whether the ball is plastic, rubber, leather, cardboard, rag, it doesn't matter. The main thing is that, whatever the terrain, it can roll. For us Brazilians, the ball is synonymous with breathing. Building teams is an invitation to fraternity. Around a ball, there is neither rich nor poor. We challenge each other of all genders and all ages. We play north to south and east to west in this continental-sized country. I have photographed players on beaches, in favelas, on the streets, in prisons and even on oil rigs. Next to the players, in the stadiums, I met supporters who were passionate about their clubs, their teams, their idols. Victories and defeats are moments when sadness, joy and faith are expressed in an instinctive and spontaneous choreography. Each step, each dribble, each missed or successful goal, reminds me of the talent of one of my idols as they fill the imagination of millions of anonymous players. Wearing the yellow t-shirt of the national team… wherever they live, kids survive thanks to this quest for the Grail: to contribute to collective victory by making people forget their personal defeats. How many have seen their lives changed? One in a million, the most realistic would say. Pelé, Zico, Romario, Ronaldo, Ronaldinho, Raï, Neymar… most of them emerged from miserable ghettos and talent has opened the doors to the world for them! Dreams of ordinary kids, football is a reflection of the enthusiasm Brazilians have for life. Even after the humiliating defeat against Germany (7-1) at the last World Cup in his own house, the dream continues.
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About the seller
Galerie Jean-Denis Walter • France
Artsper seller since 2014
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Presentation
João Luiz Bulcão is a 42-year-old Brazilian photographer who began his career as a reporter for the Manchete magazine. He has travelled for three years in Brazil and in other countries of Latin America and focused on various environmental and socio-cultural themes. His discovery of the Amazon influenced him a lot and the work that he produced in connection with the area opened him the doors of Gamma; he became their Brazilian correspondent in 1990. The following year, he founded the Contexto Agency with Carlos Humberto TDC, who was working at the time as a correspondent for the Contact Agency in Brazil.
In 1992, he joined Veja, the largest Brazilian weekly newspaper. But for him, photojournalism meant more than the coverage of political and social subjects or of the lives of celebrities in Rio. In 1993, he decided to work independently, and only on social subjects, which mark for him something of a "return to the sources".
In 1994, he left Brazil for the United States, where he stayed for two and a half years during which he worked as a photographer for the Gamma Liaison agency. He moved to Paris in 1997 and started working for the Gamma Press Agency magazine. He started to work as a freelancer in 2003 and began a collaboration with the Corbis Agency. After many trips to the Amazon, he is currently working on a book project on the region.
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In 1992, he joined Veja, the largest Brazilian weekly newspaper. But for him, photojournalism meant more than the coverage of political and social subjects or of the lives of celebrities in Rio. In 1993, he decided to work independently, and only on social subjects, which mark for him something of a "return to the sources".
In 1994, he left Brazil for the United States, where he stayed for two and a half years during which he worked as a photographer for the Gamma Liaison agency. He moved to Paris in 1997 and started working for the Gamma Press Agency magazine. He started to work as a freelancer in 2003 and began a collaboration with the Corbis Agency. After many trips to the Amazon, he is currently working on a book project on the region.
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