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It also had to do with the continual search for something more. Caccuri’s work lived in the hall on the way to Bo Bardi’s bedroom: It incorporated a speaker playing an audio track looping one sung word, “utopia,” accompanied by harmonies from a church organ, loosely covered by a gauzy veil. “It’s this specter of the past, still linked to the present,” Caccuri said. “This idea of utopia, of an ideal society, this coexistence, living together. We can all grasp with our hands the idea that it’s not tangible. This idea is what we desire.”
That night at the after-party in an abandoned neoclassical building in downtown São Paulo, I ran into Blazy once again making his way off the dance floor, though this time the fête was larger and the banquet had been replaced by bottles of beer and trays of burgers, pao de queijo, and chocolate brigadeiros. This time he had an early flight later that morning to look forward to. “I hope people understand this project,” he said, by way of parting. “For me, there was no one like Bo Bardi. She was for us.”
Bo Bardi “was a light for Brazil she illuminated the values for Brazil,” the artist Raphael Cruz said. One of his beaded works, Marejo, 2021, hung on the veranda below the house as part of “Geometry and Spirituality.” “Brazil is a difficult country to understand,” Cruz said. It’s full of influences and incongruities, at once reliant on nature and in denial of it, the way only a place centered around urban metropolises that have subsumed a rainforest can be. “We have to look at the details to understand the whole,” he said. Brazilians, he said, have a history of missing the forest for the trees. To elect to see Brazil’s natural value, as Bo Bardi did both figuratively and very literally she replanted the jungle around Casa de Vidro by throwing seed bombs to mimic nature’s randomness is to embrace life in all its messy complexity. “This way of living is cooperative,” Cruz said. “It has to do with love.”
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