“The devil’s train”“The luggage they brought with them to São Paulo was filled with hope. Some came for work, others were looking for relatives who’d been swallowed up by the big city, others dreamed of recovering their lost health. They all wanted that one thing that for many was no more than a wish: a better life. And now the time had come for them to go back home: a place in the middle of nowhere in Minas, a small town in the backlands of Bahia. With a bundle of clothes and charity train fare, they boarded the red wood cars of the “Bahian train.” Creatures mistreated by fate were heading home with no more hope. The journey is long and arduous.” (article published in Realidade magazine, May of 1969, with text by Patricio Renato)In late February and early March of 1969, Andujar took the long train ride from Roosevelt Station (today Brás) in São Paulo to Salvador, Bahia. The journey lasted 7 days and most of the passengers were migrants from other states who had tried their luck in São Paulo. With no prospects in the capital, they ended up at the Department of Immigration and Colonization of the Secretary of Agriculture of São Paulo state, where they received a boxed lunch and a ticket home. Andujar took the long trip, registering the passengers with admirable empathy.
问答详情
在哪里可以找到与 克劳迪娅·安杜雅 的《The devil》 风格相似的艺术品?
克劳迪娅·安杜雅 的《The devil》 的 相似作品 页面展示了相关艺术作品。
克劳迪娅·安杜雅 的《The devil》 的比例如何,尺寸是多少?
克劳迪娅·安杜雅 的《The devil》 是一幅 Landscape 构图的作品,原件尺寸为 73 x 110 cm。
在克劳迪娅·安杜雅反复探讨的主题中,"The devil"处于怎样的地位?
"The devil" 描绘了 migration, brazil, poverty, hope, childhood, isolation, human condition, social commentary,而 克劳迪娅·安杜雅 记录在案的主题则是 yanomami documentation, brazilian social realism, indigenous rights advocacy, migration & displacement, humanity's vulnerability, swiss-brazilian identity, critique of colonial legacy。通过两者的对比,可以看出此作与艺术家惯用题材之间的关联。