Page 97 - ARTE!Brasileiros #41

create dialogue between Brazilian and other artists from can continue growing. Because a Museum is only active
outside the country, in both directions. This has been while you collect.
going on of course, but historically something changed.
This whole box of Brazilian art is far less marked. Since You have an experience, a life, a family, a brazilian experience.
the years 1990, Brazilian artists circulating in dialogue You’re not exactly a foreign curator.What it’s like to have this
with artists from all over the world more naturally. The dual nationality?
very evolution of the Bienal de São Paulo contributes My career happened more in Brazil than out. I owe much
to this. Since 2006 no one else comes with the label of more to brazilian art in a way than to German or European
being an English artist, orDutch, or South African, but culture, On the other hand, in those years in Inhotim I
because he is in tune with a question put. To me the realized that I was assuming an increasingly role like
interest is some thinking in how to create more strategic that curator who knows Brazil but have a look from
dialogue. Bring simply a famous international name to outside. What can be an interesting perspective, but
Brazil seems insufficient.It is interesting to think what sometimes it’s alsotoo sensitive. In 2012, when I accepted
dialogue can be created that really shows what we do the invitation to work at the Serpentine in London was
here in a different way, to change our thinking or our a bit of a reaction to that.
look, our understanding, our vision of all. I think this is This profile of foreigner who works in Brazil mainly
a desire to operate very strategically. with artists or with brazilian art, or work with Brazilian
artists abroad, it wasn’t enough for me. I followed a lot
I’ve read that at the beginning of your work at Portikus in of exhibitions during these three and a half years that I
Frankfurt, you see yourself more as a directorof exhibition than was there. Increase the vocabulary was very important.
as an exhibition curator Also,today there are more people with similar research,
Exposition organization: that is what I answer when people other curators, other organizers of exhibitions that live
ask me what I do. I never felt as author of a project. Even and work in Brazil and which are also foreigners. From
at the biennial of São Paulo, for example, that is obviously 2004 the situation here has changed so much
a more authorial project, for me it was very important
that this has been a collective project, both with other You talk a lot about the importance of exchange with the artists.
curators as in dialogue with all the artists, many of them The marriage and proximity to the work of Rivane Neuenschwande,
not even participated in the exhibition and who might not andthe contact with the work of Cildo Meireles was instrumental
know how important have been in the formation of the in your career, doesn’t it?
project. And not only artists, but academics, leadership, The first exhibition with a Brazilian artist that I
several other figures. I understand that we are formed organised was with Rivane. When weinvite her to make
by all the meetings we have a project in Frankfurt in 2001 she said: “Curious, are
you inviting me and not inviting Cildo. There is missing
You ever directed, in Brazil, institutions of great importance that look for a generation that taught us a lot . From
Inhotim, Biennial and Pinacotecat make up a good trio. Each of that I started researching the work of Cildo and get
these institutions has its specificities. You seem to pay attention close to him. Made him an invitation to a project in
in what each of them can yield Frankfurt already in 2002, held in 2004. In the second
In each one I was in a very specific moment. When I half of 2004 we work together in Inhotim and since
was called to collaborate with Inhotim, the institution then several projects were made. In this sense he was
reflected on the possibility of creating your own profile, very important as one of the figures with which I had
from the context in which it is inserted, in Brumadinho, more dialogue , a continuous dialogue
with no other museums around. Was a process of learning
together but also that was 13 years ago, was at a different And has on his work perhaps this relationship between concept
time. Had relationship with artists, but little experience and a care wiyh the form, it’s a delicacy, an affection with his own
with management of institutions and people were learning make, which you seem to pick up on Brazilian art?
along. The Bienal de São Paulo is totally other 500, Is Yes, I already said that. I see between these two poles
totally different. It was a extremely privileged situation, two historical artists with which I worked intensely,
for which I was invited not as a manager, but as a curator. Tunga and Cildo. A characteristics that fascinates me
It is a consolidated institution, with a consolidated team in Brazilian art, which sets it apart from others, is that
and very well run, that reacts to a curatorial proposal convergence between formal and conceptual discussion.
and help it to become a reality. Was a huge privilege to The poetics and politics always is integrated. Not
do that. Now for me the Pinacoteca is another moment. separates. Is different from an English art, that perhaps
Itis an art institution with one of the more longer story has on reflection on ways of doing, something harder.
tin he country. Has a lot of tradition, a lot of experience Or a German school where or dominates the conceptual
and incredible technical body. It’s an invitation for help or formal; are diametrically opposed points but can be
from my experience working with Brazilian and outside together.Iis something that researchers in general are
institutions. Help thinking as an institution of that weight very interested, the brazilian art teaches.