Page 108 - ARTE!Brasileiros #40

EXCLUSION, ART AND THE PLACE OF SPEECH ENGLISH VERSION

occurs today is a vexation. It is impossible to organize an exhibition Created to provide legal and humanitarian support to the
about Brazil without the presence of both male and female black immigrants who sought to enter Europe, the Comitato exhibits
artists. Essentially, we are building other visualities that are not in Milan objects of the refugees who died in the shipwreck, as well
solely based on an Eurocentric vision. This is a huge victory.” as the belongings of 52 other victims of suffocation in a boat that
departed from Egypt in 2015. Arranged in showcases as art pieces,
1 | WORKS THAT ARE PART OF THE SERIES INVASÃO, ETNOCÍDIO E APROPRIAÇÃO however, these objects—cell phones, purses, documents—become
CULTURAL [INVASION, ETHNOCIDE AND CULTURAL APPROPRIATION, BY JAIME LAURIANO “over-musified” and it is clear that a different exhibitional device
could be less fetishisizing.
2 | JAIME LAURIANO, EXPERIÊNCIA CONCRETA #3 [CONCRETE EXPERIENCE #3], 2017, But the display does not compromise the show, with many artworks
POSTERS, PORTUGUESE STONES PICKED UP ON THE STREETS AND CARDBOARD, 160 that address the issue of migrations and borders both in recent
X 150 X 150 CM works and in already emblematic pieces, such as Alighiero Boetti’s
World Map (1940 – 1994), made by Afghan weavers at the artist’s
EXHIBITION MILAN | PAGES 36 TO 39 request, with the following text embroidered in its margin: “Pakistan
in the autumn of 1992 this new world, unstable and even more
TRIENNALE DI MILANO rationed and pulverized.”
The historic work becomes even more eloquent with Kader Attia’s
HOUSES EXHIBITION ON installation Mar Morto (2015), in front, composed of dozens of
clothes, recalling the dead bodies in the Mediterranean in the
MIGRATION THAT last decades.
Some works are more explicit towards the show’s theme, other
GOES BEYOND ART more poetic, such as Steve McQueen’s Static (2009), a short film
shot around the Statue of Liberty,, the place where thousands of
migrants arrived at the United States, or Western Union: Small
Boats (2007), a video installation by Isaac Julien, which ten years
CULTURAL SPACE GATHERS 70 PARTICIPANTS AMONG ARTISTS, ago already adddressed Sicily as a immigration port.
PHOTOJOURNALISTS AND A PIECE BY AN ASSOCIATION PROVIDING Another exemplary of the more sensitive works is Francis Alys’s
AID TO REFUGEES installation Don’t cross the Bridge Before You Get to the River
(2008), a collaboration with children from the two sides of the
Strait of Gibraltar, the channel separating Africa and Europe by
BY FABIO CYPRIANO only thirteen kilometers at its shortest spot. In the work, children
from Tangier, Morocco and Tarifa, in Spain, create boats made of
WHILE THE 57th edition of the Venice Biennale avoids current plastic sandals with the intent of creating a human bridge between
issues, not far from there, one of show’s former curators, the Italian the two continents, an action more about hope than reality.
Massimiliano Gioni presents in Milan La Terra Inquieta, a broad While tragedies such as deaths in the Lampedusa shipwreck follow
investigation on artists and works that address the problem of one another, at least artworks afford some optimism amidst the
refugees, for centuries one of the points of contention in European chaos of the early 21st century.
countries and in the US.
The exhibition, on view at the Triennale di Milano building, gathers 1 | ABOVE, MAPA MUNDIAL BY ALIGHIERO BOETTI, BELOW MAR MORTO, BY KADER ATTIA
70 participants, mostly artists, but also similar pieces such as
those by four photographers who won the Pulitzer prize in 2016 2 | FRANCIS ALYS, DON’T CROSS THE BRIDGE BEFORE YOU GET TO THE RIVER, 2008
for images made for The New York Times, Daniel Etter, Tyler Hicks,
Sergey Ponomarev and the Brazilian Mauricio Lima. INTERNATIONAL MADRID | PAGES 40 TO 44
The presence of photojournalists turns the heat in the exhibition,
hundreds of immigrants accompanied by the police for registration MÁRIO PEDROSA’S LIFE
since its authors portray current scenes, such as the image with
That year, 764,000 immigrants from Syria, Iraq and Afghanistan AND WORK PRESENTED
in a camp in Slovenia, in 2015, made by the Russian Ponomarev.
crossed the so-called Western Balkans route, a record up until
then, closely followed by Ponomarev and Lima in a joint project. THROUGH ART IN MADRID
On the other hand, Gioni also picked photographers seen today as
“historical,” such as the Americans Augustus Sherman (1865–1925), EXHIBITION AT THE REINA SOFÍA MUSEUM BRINGS TOGETHER WORKS
Lewis Wickes Hine (1874–1940) and Dorothea Lange (1895–1965), OF MAJOR ARTISTS OF THE 20TH CENTURY TO DISCUSS THE ORIGINAL
all documentary photographers. Sherman portrayed immigrants
who arrived in the US, Hine stood out for denouncing child labor and AND PLURAL IDEAS OF THE BRAZILIAN CRITIC
Lange for portraying migrants during the 1930’s Great Depression.
The curator thus grants a perspective approach to the refugee BY MARCOS GRINSPUM FERRAZ
crisis, recalling that migration flows are a constant in human
history, which is also shown in the series of covers of the Italian ABOUT 230 WORKS by 42 artists are scattered around the
newspaper La Domenica del Corrieri, which in 1901 published exhibition at the Reina Sofia Museum, in Madrid. None of them,
illustrations of the Italian migration towards America, a constant curiously, was produced—not even conceived—by the man who
topic in the paper’s Sunday edition. gives name and is the subject of the show, the critic, thinker and
La Terra Inquieta is given a dramatic tone by the collection assembled political activist Mário Pedrosa (1900–1981), one of the most
by Comitato 3 Ottobre, a nonprofit association from Lampedusa, prominent Brazilian intellectuals of the 20th century. The chosen
the Italian island south of Sicily. It was there that, in October 2013, works, therefore, are by artists about whom Pedrosa wrote or
a boat with 520 immigrants sank, causing the death of 368 people. with whom he lived throughout his life: people who influenced

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