• Polochon - Carbono Galeria
  • Polochon - Carbono Galeria
  • Polochon - Carbono Galeria
  • Polochon - Carbono Galeria
  • Polochon - Carbono Galeria
  • Polochon - Carbono Galeria
  • Polochon - Carbono Galeria
  • Polochon - Carbono Galeria

Lina Bo Bardi

“Polochon”

(SKU. 8843)

  • Date

    1985/2020

  • Technique

    resin

  • Dimensions

    (H x W x D) 20.3 x 22.7 x 40 cm

  • Edition

    35 + 6PA

  • Comes with certificate of authenticity

To celebrate the 35th anniversary of Polochon created by Lina Bo Bardi, Carbono Galeria and Instituto Bardi are pleased to present the launch of the work in a limited edition of 35 copies, with a reduced scale and proceeds going to the Institute.

“The Polochon (or Porco-chon) is a friendly figure with two butts. Described by Alfred Jarry in a text from 1885, it was first put on stage by Lina Bo Bardi, exactly one hundred years later. It was part of the set design for the Brazilian production of Ubu Rei (Ubu Roi), which the architect created at the invitation of the Teatro do Ornitorrinco company.” (Sol Camacho, Cultural Director - Instituto Bardi / Casa de Vidro)

The edition was developed from a 3D scan of the original work (kept to this day in the Casa de Vidro) and reproduced in resin at a scale of 1:4. The wooden box that accompanies and houses the edition was inspired by Lina's furniture designs.

“The Polochon edition project will raise funds to continue the cultural activities of the Bardi Institute, in addition to helping maintain its headquarters, the Glass House. Thus, the acquisition of each of the pieces is a way of contributing to preserving and activating the Bardi legacy, and also of spreading the thinking of Lina, one of the most avant-garde women of the 20th century.” (Waldick Jatobá, Executive Director - Bardi Institute / Glass House).

Biography

Lina Bo Bardi - Carbono Galeria

Lina Bo Bardi

b. 1914, Rome, Italy | d. 1992, Sao Paulo, Brazil.
Achilina di Enrico Bo, known as Lina Bo, is one of the most important figures in Latin American architecture. Born on December 5, 1914 in Prati di Castello, Rome, to a Genoese family with few financial resources, Lina was a difficult and lonely child, with a tumultuous school career that she believed limited the role of women in society. Her family consisted of her mother Giovanna Adriana Grazia and father Enrico Bo, and was completed by her younger sister Graziela. After attending the Liceo Artistico in Rome, Lina graduated in architecture with the graduation thesis “Núcleo Assistencial da Maternidade e da Infância.”
Concerned about the political instability in Rome and the rise of Fascism, she moved to Milan in 1940, where she set up the Bo e Pagani studio with architect Carlo Pagani; she also collaborated with Gio Ponti on the magazine “Lo Stile – nella casa e nell'arrendamento” and worked on the magazines Grazia, Belleza, Vetrina and L'illustrazionoe Italiana.
She moved to Rome with Pietro Maria Bardi in 1946, where she founded the magazine “A – Cultura della Vita” with Bruno Zevi. After her marriage to Pietro, the couple visited Rio de Janeiro, where they became acquainted with the avant-garde arts in Brazil. The following year, Pietro was invited by journalist, businessman and politician Assis Chateaubriand to found and direct a museum of modern art. Lina became a Brazilian citizen in 1951 and in the same year completed her first architectural project: the Glass House, which would become an important meeting point for national culture.
Lina went to Salvador in 1958 to give lectures at the School of Fine Arts of the University of Bahia, and was invited to direct the Museum of Modern Art of Bahia (MAM-BA), where she designed the restoration of the Solar do Unhão and its adaptation as the museum's headquarters. Her experience in the Northeast was fundamental to the architect's development, as she was surrounded by the diversity and vitality of the region in the midst of its industrialization process.
Returning to São Paulo in 1966, she resumed the project for the São Paulo Museum of Modern Art (MASP) on Avenida Paulista, which after its inauguration in 1968 would become one of the most iconic landmarks of Brazilian architecture. During the last ten years of her life, after the inauguration of SESC Pompeia in 1982, Lina began a new phase in her career. Supported by her young collaborators, Marcelo Ferraz, André Vainer and Marcelo Suzuki, she produced projects that pointed to a renewal of Brazilian architecture, which had been somewhat complacent due to the lack of cultural oxygen during the dictatorship years.
After her death in 1992, the recognition she gained during those years was enhanced by the Bardi Institute, thanks to her exhibitions, publications and media presence. Lina became an international reference. The 21st century, more specifically after the 2008 crisis, saw several of her themes and positions become a topic of debate on culture, the environment, historical heritage and the material production of architecture and objects.

Destaques da carreira

  • "Polochon" | Instituto Bardi / Casa de Vidro | foto: Renata Castro e Silva
  • Vista da exposição "Lina Bo Bardi: Habitat" | 2020 | Museu Jumex, México | foto: Ramiro Chaves
  • Vista interna da Casa de Vidro | © Instituto Lina Bo e P.M. Bardi/foto: Henrique Luz
  • Casa de Vidro | © Instituto Lina Bo e P.M. Bardi/foto: Henrique Luz
  • Perspectiva do Museu de Arte de São Paulo - MASP | © Instituto Lina Bo e P.M. Bardi/foto: Henrique Luz
  • Detalhe da Elevação do SESC - Fábrica da Pompéia | © Instituto Lina Bo e P.M. Bardi/foto: Henrique Luz