Page 109 - ARTE!Brasileiros #43

and learn”, he followed his dialectical path. art of African array essentially to a universe bound by the religious and folk art.
In na exhibition where the role of the artist is rejected as a prominent figure, which “Histórias Afro-atlânticas” not only gives room for the artists responsible for this
has a signature that sets it apart from others, Kopenawa’s presence helped to turn, among which are names like unavoidables Rosana Paulino, Eustáquio Neves,
broaden the understanding of the show itself, being even critical in the homage Sidney Amaral and Dalton Paula, who were present in practically all previous shows
for the Indian’s day. “Indio was born in India, I am Yanomami,” he said definitively. already mentioned. The exhibition additionally makes space to identify new actors
The journalist Fabio Cypriano was invited to travel to Rio by the organization of in this segment. Despite the important historical ballast, there is also a bet on new
the exhibition. names of this production, both in Brazil (No Martins, Rafael RG), as abroad (Titus
Kaphar, Nina Chanel Abney), says Hélio Menezes, one of the curators alongside Lilia
COVER AFRO-ATLÂNTICAS | PAGES 62 TO 65 Schwartz, Adriano Pedrosa and Ayrson Heráclito.
A PLURAL ART, DIVERSE, An scholar of contemporary Afro-Brazilian production, Menezes says he doesn’t
decieve himself with the current interest that art market comes to dedicate to
AND MILITANT this production which, for years, was ignored. But he said there is no doubt that
these artists are here to stay. “ They are becoming crucial to the debate”. Another
IMPORTANT EXHIBITION THAT WILL OCCUPY THE MUSEUM OF ART OF SÃO PAULO interesting aspect that he excels in research is the diversity. Despite the emphasis
(MASP) AND THE TOMIE OHTAKE INSTITUTE, HISTÓRIAS AFRO-ATLÂNTICAS DISCUSS in poetics more linked to political struggle, it is necessary to contemplate the wide
range of languages and themes worked by these artists. The curator exemplifies
THE CELEBRATION OF THE 130 YEARS SINCE THE ABOLITION OF SLAVERY IN BRAZIL that the core “Modernismos Afro-atlânticos” focuses on the production of black
BY MARIA HIRZMANN artists of Africa and the African diaspora whose work is more focused on internal
dialogues of art history.
th
THIS YEAR MARKS the 130 anniversary of abolition in Brazil, signed by As Menezes says, “each exhibition is a world”. The interesting thing is that, both by
Princess Isabel on May, 13, 1888. However, scars of slavery are deep and vivid in its great dimension as by the friction promoted between the international production
the country. Every day we are confronted with hard evidence of racial inequality, and the national scene, “Histórias Afro-atlânticas” promises to extend the knowledge
whether through terrifying statistics or through real dramas, such as the murder and debate around the African production in a country as contradictory as Brazil
of Marielle Franco, a whole variety of facts that remind us on how deeply rooted is which, despite – or perhaps because of it – was the first country to bring slaves,
the racism in the country. Despite the feeling that how little we moved forward to receiving the vast majority of the African population enslaved for over three centuries
combat this situation, denounces about the persistent segregation seems to slowly (it is estimated that 40% of the Africans sold as slaves have docked here) and have
tear the invisibility mantles that covers the issue. been the last western nation to abolish this practice, is still enormously unaware of
In this complaint, reflection and combat process, art plays a key and amplifier its history and the ties that unite it to black culture.
role, although insufficient to reverse a picture of exploration that already lasts for
centuries. If until recently, were rare the exhibitions of Afro-Brazilian and African COVER INTERVIEW EMANOEL ARAÚJO | PAGES 66 TO 69
artists or shows around issues related to the slavery past and the racist present - BRAZIL, A PERVERSE AND
Museu Afro Brazil seemed to be an essential focus, but isolated, of resistance – we
that has been held in recent years, as “Histórias Mestiças”, at the Instituto Tomie AMBIGUOUS COUNTRY
have seen in recent times a flourishing of events in this sense. Historical exhibitions
Ohtake (2014); “Territórios: Artistas Afrodescendentes no Acervo da Pinacoteca”
(2015/2016), at Pinacoteca; “Diálogos Ausentes” at Itaú Cultural, and “Somxs Todxs ARTIST AND DIRECTOR OF THE AFRO BRAZIL MUSEUM, EMANOEL ARAÚJO
Negrxs”, at VideoBrasil (both in 2017), all these can be added to a considerable REFLECTS ON THE DIFFERENCE BETWEEN THEORETICAL AND ACADEMIC ANALYZES
amount of exhibitions, events and poetic reflections on the situation of black people ON SLAVERY AND THE REAL LIFE EXPERIENCE
in Brazil and in the world.
Right now are playing simultaneously in the city of São Paulo the exhibitions POR MARIA HIRSZMAN
“Ex-Africa” (CCBB), which brings the work of 18 contemporary African and two “EVERYTHING THAT NEEDS TO BE DONE IN ACCOUNTS,” says Emanoel
Brazilian artists, and the long-running show “ Isso é coisa de Preto”, organized by Araújo in an interview in which his pessimistic view in analysis is about the scenario
the Museu Afro Brazil, which comprises a large number of exhibition cores. of social exclusion and racism in the country. The artist and cultural manager also
And in June 29, comes out “Histórias Afro-atlânticas”, a great exposition conceived with his exhibition, present in poster in Masp, and on the show “It Thing of Black”,
by the partnership between Masp and Tomie Ohtake Institute that will bring together that does not have Museum Afro Brazil, that has its formation for 15 years like pole
about 400 works, carried out by more than 200 artists from Africa, the Caribbean of resistance of the black culture in Sao Paulo.
and the Americas. Alongside this huge show, which occupies all the temporary
exhibition spaces of the museum, Masp has devoted all its programming of 2018 In what sense is the debate on the brands of slavery in Brazil? What is the
to the discussion of issues relating to African and Afro-Brazilian art. Besides a importance of this reflection?
substantial set of black authors shows, such as the current exhibitions of Aleijadinho, The university, the anthropologists, spend their whole lives discussing slavery.
Emanoel Araújo and Ayrson Heráclito, a small but significant change was made in Serve for what? What happens, because people change and are not interested in
its permanent exhibition, bring to a heavily eurocentric collection a new tonic and any of this. You can not solve a scourge not once to solve. Brazil is very perverse,
also giving prominence - from the modern art segment – to the representation of incredibly perverse, and corruption is just one of those perversities.
Blacks and Afro-Brazilian artists.
“Histórias Afro-atlânticas” will have 8 different cores. The first of them, “Fluxos e In terms of artistic production, is there not a more forceful action, a wider
Refluxos”, flows and ebbs, already signals, according to curator Lilia Schwartz, the movement?
multiple perspective, plural, adopted by the curatorial team. “On this river called Yes, but the situation does not change. It is important that they do their works,
Atlantic circulated symbols, religions, ways of producing and above all, people,” but the problem is market, of space in the galleries. The question is not isolated. If
says Schwartz, remembering the importance of authors such as Pierre Verger and there is discrimination, if social inequality, what is a means of all this? How does it
Alberto da Costa e Silva (author of the metaphor of the Atlantic Ocean as a river) solve? Everything in Brazil is a fact. How can you understand a Ministry of Racial
to the development of this project, which involved three years of research and two Equality that is not equal to anyone? How do you do racial equality if you do not
international seminars. have a complete project about Brazil?
The show combines in its different cores, historical and contemporary, anthropological
and aesthetic approachs, aspects that will be deepened in the exibition catalog as in But at the same time it is unquestionable the deep interest that this museum
the book of essays that will be released simultaneously. In international terms, African awakens ... For how many years it has been acting and how it is thought the
production, very little known here, wins prominence, as well as a wide production programming.
of Afro-descendants from this side of the Atlantic (with a strong presence of the This space here is almost like an affirmative action, to say: “Look, here is the memory,
current North-American production). The Brazilian selection – or works produced it is guaranteed, the memory exists.” The people who have fought, the people who
in Brazil - is also broad, ranging from landmarks like the Albert Eckhout’s screens have managed to break with social inequality, the people who have come out directly
“Negro”and “Negra”, to a series of works specially commissioned for the exhibition. from slavery are these. But he stayed there. Next year we are 15 years old. The
Since the end of the 80’s, with the celebrations surrounding the centenary of the museum has a continuity project, not to get stuck. It does not matter if these actions
abolition, and the promulgation of the 88’s Constitution, the “Citizen Constitution”, are extraordinary or not. We do not seek here any concession of contemplation. We
it’s noticed a growing interest on Afro-Brazilian artists to reflect on a past that did have a museum of action, always in favor of an Afro Brazilian movement, of defense
not end, replacing little by little the previous model which associated the brazilian of memory, history and art. We also have a work in art education, the library and