Page 100 - ARTE!Brasileiros #45

ART BEYOND ART ENGLISH VERSION
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EDITORIAL | PAGE 14
BEYOND ART
BY PATRICIA ROUSSEAUX, EDITORIAL DIRECTOR
WHAT IS BEYOND ART in the images of Anna Maria Maiolino in the series Poemação of the 70’s, in the work
“What is left”, where she cuts her tongue, her nose? What is beyond a disturbing, instigating image? In her speech
“they are images, reflections of emotions that are based on resistance. I use my own body not as a metaphor, but
as a truth, something that belongs to the domain of the real, given that, in a moment of repression and torture
like that of dictatorship, all bodies become one in pain. “ [A pele de Anna: Anna Maria Maiolino. Ed.Cosac Naify,
2016]. Or in the works of countless women who used irony only to denounce the place of invisibility in which
they were placed in a world of men.
What is beyond art in the works of artists who have built their work based on the research of secret documents.
Putting light on the unspoken, not censored, not erased?
What is beyond art in the 21st Century, in a Biennale that is built around a new global map? And another that
decides to have a black majority in its curatorial group? And when artists from around the world use the same
visual metaphors in different media to denounce the xenophobia of their countries to immigrants? These countries
formed mostly by colonizers.
The transcendence, one of the frameworks of art, today is impregnated not only by the strength of the aura, or
by the poetics that it enchants us, but also by its capacity to bring forth silences and memories, in an accelerated
time that does not want to know.
This edition, that accompanies the realization of our 5th International Seminar, coincides with the opening of
exhibitions where radicalism appears in the most varied forms.
The video that opens the exhibition Mulheres Radicais (Radical Women), in exhibition at Pinacoteca do Estado de São
Paulo, ‘Me gritaron negra!’, by the Afro-Peruvian artist and poet Victoria Eugenia Santa Cruz, is a slap in the face.
COLLABORATORS | PAGE 12
ISSUE 44 SEPTEMBER OCTOBER 2018 ARTEBRASILEIROS.COM.BR
Jamyle Rkain studies journalism at Mackenzie Presbyterian University. She is a researcher in the areas of
Media, Literature, Art and Gender. In 2016 and 2017, she dedicated herself to the magazine CULTURA!Brasileiros,
as well as to the virtual platform. Since the beginning of this year, she has been working as a reporter on the
ARTE!Brasileiros digital and print platform.
Leonor Amarante is a journalist, curator and editor. She worked in O Estado de S. Paulo newspaper, Veja
magazine, TV Cultura, Memorial da América Latina, collaborated with World Paper Boston and Radio Rebelde
de Cuba. ABCA Award for the edition of the magazine ARTE!Brasileiros (2012), and the Ministry of Culture Award
of Cuba (2009), for her cultural performance in that country.
Maria Hirszman is a journalist and art critic. She worked in the section of Variedades of Jornal da Tarde and in
Caderno 2 of O Estado de São Paulo. She is a researcher in art history, with a master’s degree from the School of
Communication and Arts of the University of São Paulo. In this edition, among others, she talked to the curator
of the São Paulo Biennial about his strategies.
Marcos Grinspum Ferraz is a journalist. Graduated in Social Sciences from the University of São Paulo (USP),
he worked in the newspaper Folha de S.Paulo in the section Ilustrada between 2009 and 2012, and between 2012
and 2017 at Editora Brasileiros, writing mainly on plastic arts, architecture, music, literature and theater. Now, he
interviewed the curator and Colombian art historian Rodrigo Orrantia for the special booklet ARTE!Brasileiros FOTO.
Marcos Lopes (Coil) is a multimedia developer. He works at ARTE!Brasileiros since its foundation, helping in the
production of photographs, videos, newsletters, etc. In this edition, he portrayed Monica Nador, artist responsible
for the management of JAMAC, winner of the Montblanc de la Culture Arts Patronage Award 2018.
BIENNIALS SÃO PAULO | PAGES 16 TO 19
33 BIENAL DE SÃO PAULO,
TH
FREEDOM TO CREATE THE WORLD
THE SURPRISE EFFECT IS ONE OF THE DIFFERENTIALS OF THIS EDITION, IN WHICH THE ARTIST-CURATORS
PRACTICALLY DO NOT INTERFERE IN THE WORK OF EACH OTHER
BY MARIA HIRSZMAN
A MORE HORIZONTAL BIENNIAL, that privileges dialogue, and not a unique thinking, and that emphasizes
the enjoyment than the discourse: this is an ambition of the 33rd São Paulo Biennial, which opens the doors to
the public on September 7. To achieve what it aims, some strategies were put into practice. Different from what
is traditional in the work of assistant curators, with group work and under the guidance of the general curator,
the seven guest curators had an ample freedom to create their nucleus, without any interference from the group.
The general curator, Gabriel Pérez-Barreiro, had the crucial role – besides the choices of this seven partners – to
select 12 other artists that lead the exhibition and the general coordination of the works. The criteria to reach
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