Page 98 - ARTE!Brasileiros #41

WILD TALES ENGLISH VERSION

Maybe we’re even seeing a reflow that? In function of this reactionary what would happen. This because it wasn’t even a year ago
backlash, a more intense clash around important issues. Things seem
to be getting tougher? In Pinacoteca programming we can notice some power lines and a
I’m a big believer in the power of art. I am convinced that weight of burning issues like gender and race discussions. ‘Radical
art always survives. Obviously in favourable moments Women presents itself as one of the great highlights?
she takes other forms, but she also rises from the I think it’s important to understand that it is a historical
resistance Already culture doesn’t. Culture is a little exhibition, which is being organized by the Hammer
that vocabulary that we create collectively in order to Museum in Los Angeles . There are two curators, Cecilia
talk about it, understand our being in the world, in a Fajardo-Hill and the Argentinian Andrea Giunta, who for
more complex form. seven years has been doing a search, looking for art
I like using this parallel more obvious, between culture developed by women artists of the years 1960 to 1985
and agriculture. When we throw poison in a terrain, . A clearly defined period in which women artists have
nothing else grows and we lose that richness and the taken an increasingly leading role within the reinvention
consciousness of this wealth. I’m more concerned with the of art .Which is very cute in this exhibition is that it shows
culture, from which we can establish, defend and resist clearly that, although many have been lonely activists,
these super and ultra conservative radicals invasions. they don’t were alone. They are are part of a group of
I’m more worried about losing those memories-lose for people, research, much bigger than a single achievement.
example this notion that we were talking about integration
between a poetic, a policy, a concept and a formal, An art outside the paradigms?
something that is so unique and differential in brazilian I see that this exhibition has a role, that’s why we’re doing
art, That’s very sad this effort to bring it here, in it’s single Latin America
roaming. We can highlight three very interesting points.
How to face it? One is the fact to look at art made by women artists during
I think people have to make much effort to defend our this period; another is the emphasis given to the media and
institutions as plural space. Diversity is the only way. forms of expression that were invented by these artists,
We can learn by example with indigenous cultures which that today we understand as part of our vocabulary, but
clearly grow the earth in multiple ways, always seeking that in fact we do not know the source. Finally, perhaps
the diversity. If something is being threatened, there are this is one of the largest exhibitions ever made about Latin
other ways that hold culture together. We are living in a American art. It doesn’t look the Colombian art, Brazilian
historical situation in which diversity is being attacked, art, the Chilean art, anyway. She really tells a story of a
the multiplicity is being reduced to a single predominant generation, in within a continent, a cultural complex, an
narrative and it is very dangerous. The lead role of cultural extremely wide form, something that is rarely see
institutions is to promote diversity, the plurality create
shapes, inclusive programs for all, understand that the You stand out any more exhibition of programming?
languages are many, the speeches are many. Is our role I think another highlight will be the next big exhibition,
which opens after the Di Cavalcanti: a retrospective
You could make a balance of the 32nd Biennial? It was a biennial of Hilma af Klint, a Swede, who graduated in the 80s
that broke several paradigms and the notion of uncertainty, that of the 19th century, a time when many things that are
leads the exhibitiont seems more and more present today. not visible became visible, as the x-ray , radio, etc. She
For me it is very curious that, is a process that is still in began communicating with energies, created automatic
progress instead of closing in December, she deployed drawing techniques, to explore this field still untapped
a lot of other dialogues.Went through twelve Brazilian in a very innovative form. And, at the beginning of
cities, went to Bogota, to Porto, in Portugal, she is very the 20th century, began to develop an “abstract”art
much alive. Issues that we develop as main axes -the extremely revolutionary.
worldviews, education, the idea of narratives, the multiple
identities and ecology – are precisely those issues that Early revolutionary right?
are being threatened on a daily basis Super early. Before everyone. Was one of the pioneers.
And most surprising, worked on a huge scale. There is
Exactly. Are by these fronts that we identify the kickback? for instance a set of ten large canvases, paintings by
All we have lived, the kickback or the control by capital, 3.50 by 2.40 meters of dimension. In art history, it took
the lust for power by power, is all around. Our resources a long time to get on this scale. And she developed a
in Brazil are all in play. The ecology, diversity, the very interesting practice, based on a serial operation.
multiplicity, the indigenous question. But the discussion It is very impressive. When she died in 1944, asked in
is not over and it’s funny, because during the biennial, her will that this work could not be showed over twenty
in those three months she had 900,000 visitors, had no years for no one. It remains locked until the years 1960.
problem with this order here in Sao Paulo. But I’m sure The family wanted to donate this work to the Pontus
that if we were to open today the same Biennial that was Hultén, who was the Director of the Moderna Museet in