Page 116 - ARTE!Brasileiros #40

EXCLUSION, ART AND THE PLACE OF SPEECH ENGLISH VERSION

visitors to the Institute, with the challenge of arranging a work for and combining old and new, a selection of recent productions of
a mass audience without losing sight of its founding guidelines. restricted access with the promotion of a vast and less known,
The institution, which completes 25 years in 2017, has well defined historical archival material. “Our intention is to offer a program
axes of activities, photography being its main area, followed by the public might not be expecting,” claims the filmmaker Kleber
music and literature. The history of IMS is, since its birth in 1992, Mendonça Filho, consultant responsible for the films programs.
intimately linked to the idea of preservation of the Brazilian The presence of The Clock, which synchronizes in real time different
culture, as well as to a strategy of acquisition, preservation, clock images captured in cinema, is a link to a bold move: the
restoration and promotion of important collections such as those decision to open, once a week, the institute for 24 hours. Allowing
of Marc Ferrez and Marcel Gautherot (photography), Album the work to be fully appreciated and breaching the rigid limits of
Highcliffe (iconography), Chiquinha Gonzaga, Ernesto Nazareth working hours, this decision aims at reinstating the link between
and Pixinguinha (music), in addition to caring for the personal files the new venue and its audience, giving rise to a culture center
of 29 Brazilian writers. Just to provide an idea of the collection’s totally integrated with the urban scene and its diversity, from
dimension, we just need to bear in mind that the photography business hours to early morning.
collection has over two million images, and keeps on growing. This intertwining with the urban scene is reflected in other aspects
The Institute has been seeking, over the last years, to broaden of São Paulo’s IMS, with effects both in the long-run program
its interest in the contemporary production. and the architecture of the venue itself. The project by Andrade
Another important aspect in its trajectory, and which should grow Morettin office imposes itself, with its light structure made of
in importance with the new venue, is what Flavio Pinheiro, head glass, in the Avenue’s landscape, as we can see in the photos
of IMS since 2008, defines as a “growing curatorial ambition.” It made throughout the entire construction process by Michael
is true that previously the Institute had a space in Buenos Aires Wesely, which will also be exhibited. A social lounge, in the fifth
Square, but it was a skimpy, timid room, unable to accommodate a floor, should be integrated into this space, a sort of square with
large portion of the exhibitions held there. The larger exhibitions a double function of access and conviviality, while the ground
held in the last years, with material from the collection or from floor was conceived as a continuation of the street, establishing
partnerships with important national and international institutions a dialog with two other iconic building in Paulista: Masp and
(such as those of William Kentridge, Richard Serra, Anri Sala), Conjunto Nacional.
when they came to São Paulo, they were exhibited at other partner This integration is also found in the choice of the theme for the first
institutions, such as Pinacoteca, for instance. The Rio de Janeiro of a series of long-run exhibitions (with the duration of one year),
headquarters, which occupies the former residence of the Moreira conducted by invited curators, which will occupy the building’s top
Salles family in the Gávea neighborhood, is extremely charming, floor, in a system of immersive image projection. The inaugural
but distant from the public. It has a regular, although restricted selection, made by Guilherme Wisnik, deals precisely with the
audience. The lot is ample (11,000 square meters, allowing the iconography of the city of São Paulo. There are three series, built
entire collection to be kept there), but its exhibition space is basically from images belonging to the IMS collection, entitled
relatively small. One out of the three galleries in São Paulo is Construção/Demolição, Letreiros and Personagens. With around
already larger than that. And the headquarters in Poços de Caldas 8 minutes, each series proposes a tour at the same time historical
(whose inauguration, in 1992, marks IMS’s date of birth) has only and poetic about important aspects of São Paulo’s urban character,
a regional reach. translating in practice this “idea of the nature of São Paulo as a
“This is our big challenge. The Institute is very prestigious, but has place of constant transformation, a place of construction as well
never had this audience, this faster, more varied type of visitors. of destruction,” explains Wisnik.
The goal is to maintain our quality standard. We do not intend to
lose this refinement,” points out Lorenzo Mammì, IMS’s general 1 | RIGHT, THE VIDEO INSTALLATION THE CLOCK, BY CHRISTIAN MARCLAY. BELOW, PHOTO
curator for programs and events. PART OF THE SERIES CORPO DISTORCIDO BY JONATHAS DE ANDRADE
The agenda prepared for the building’s inauguration already
points towards the pluralistic character the institution intends 2 | PHOTO PART OF THE SERIES THE AMERICANS (1955) BY ROBERT FRANK
to adopt. The memorable series The Americans, made in 1955
by Robert Frank (in addition to the exhibition of photographs, a ARTICLE ART AND PSYCHOANALISYS | PAGES 76 TO 80
course about the beatnik generation and a film exhibition will be
Corpo a Corpo, a collective exhibition of Brazilian contemporary THE FEMALE
held), will occupy one of the galleries. The second space will hold
Sofia Borges, Letícia Ramos, Garapa and Mídia Ninja. These are SEXUALIZATION IN THE
photography, with works by Bárbara Wagner, Jonathas de Andrade,
recent images, made after the 2013 protests, which appear to have
inaugurated a new political and social moment in the country, BRAZILIAN VISUAL ARTS
and which tackle the embodiment of violence, confrontation,
class and power tensions. Gallery 1 will hold Christian Marclay’s IN MAY, THE PSYCHOANALYST CHRISTIAN DUNKER WAS INVITED BY
video installation The Clock—recipient of the Golden Lion in the MASP TO PARTICIPATE IN THE SEMINARY STORIES OF SEXUALITY.
2011 Venice Biennale.
The tendency is to privilege technical images, produced with READ, IN FULL, THE ARTICLE HE PRESENTED IN THE EVENT
photographic apparatuses. “Photography is renewed in its digital
banality. It is not over, making our roles as mediators even more
demanding,” Pinheiro explains. Cinema will also have its place BY CHRISTIAN INGO LENZ DUNKER
of prominence, occupying, with an intense agenda, the 150-seat
multimedia auditorium (equipped to project both analogical and 1. FEMALE VISAGE
digital films, and an acoustic infrastructure to hold musical events). Anita Malfatti became famous with a painting from 1916 and
The goal is the diversified character of the audiovisual production, exhibited in Paris called A Boba [The Fool]. Anita was born in 1889,
complementing the broad film program already in place at Paulista the year of the proclamation of the Republic, only one year before

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