on Edson Cruz
Dates: August 13, 20, 27, September 03 and 10, 2026
Thursdays
Hour: 19h to 21h
Duration: 5 meetings
Audience: general interested parties
Investment: R$ 440,00 + fees
Online course
Live, via video conferencing platform
Recorded classes available for a limited time only
Includes certificate at the end
For Libras interpreter, request by email cursos@mam.org.br with 7 business days' notice.
The course delves into the vibrant tension between image and writing, over the course of five sessions. The idea is to start with historical pairings such as Rodin and Rilke, Miró and João Cabral, Leonilson and Caio Fernando Abreu (and other surprises along the way), to understand how the dialogue between artists and writers generates new forms and reflections – the kind that none of them would invent alone.
Rather than using works from the MAM São Paulo collection to illustrate concepts, let's allow them to provoke questions, to serve as a starting point for thinking and experimenting.
This course is for writers, artists, teachers, or anyone who simply wants to deepen their relationship with language. Here, it's not about writing "about" art, but about writing in the presence of art, in the heat of the encounter.
Agenda
Lesson 1 – Attention as a method of creation
Auguste Rodin and Rainer Maria Rilke. Observing Rodin and following his instructions, Rilke learned to look in a different way: to see as practice, as discipline, as an exercise in presence. What changes in writing when the gaze lingers? The Archaic Torso of Apollo serves as an example: the poem is born from the gaze and ends with an ethical question.
Lesson 2 – Form, rigor, and economy
Miró and João Cabral. The essay “Joan Miró”: thinking more about the process than the result. To compose is to choose, to cut, to leave out: what appears presupposes what was excluded. Rigor and economy: principles in common between Cabral's cerebral poetry, concrete poetry, and lyrical abstraction.
Lesson 3 – Word, body and matter
Leonilson and Caio Fernando Abreu. The word becomes tangible matter. It is not limited to representation: it embodies experience. The intimate and fragmented writing of Caio Fernando Abreu (in Moldy Strawberries (And in letters) uses the genre as a means of survival. And autobiography? What happens when life doesn't fit into syntax?
Lesson 4 – Language, silence and boundaries
Mira Schendel and Clarice Lispector. Language on the brink of its limit: The Passion According to G.H. stages its own failure to express itself. Silence becomes aesthetics: the unspoken shapes the form. The "Untitled" is not a lack of a name, it is a critical choice: not naming is refusing, it is taking the work to another place.
Lesson 5 – The Ordinary as an Archive
Tomaz Farkas and George Perec. The Subordinary: Looking at the Everyday with Rigor. The Museum's Technical Data Sheet: Between Document and Invention, Record and Fiction. Archive, Memory, Everyday Life: What is lost without a record? And what is gained when the record becomes art?
Edson Cruz
MAM friend There's a 20% discount. Be part!
Students, teachers and retirees have a 10% discount
Doubts:
cursos@mam.org.br
WhatsApp: 11 99774 3987
By participating in this activity/event, you authorize, free of charge and permanently, the São Paulo Museum of Modern Art to use your image, voice, biographical data, and distinctive features, captured in video, audio, photography, and prints, for the purposes of recording, disseminating, and promoting the institution's activities, in any means, vehicles, supports, media, methods, and technologies, whether tangible or intangible. If you do not wish your image to be disclosed, please inform the Museum of Modern Art of São Paulo by email. cursos@mam.org.br.
credits
Image: Leonilson, The olive trees [detail], 1990. MAM São Paulo Collection. Photo: Renato Parada
