Page 107 - ARTE!Brasileiros #45

In fact, the show brings together artists with powerful works that challenged at the opening of the show, whose work Cecília Fajardo knows well and, evokes in
dictatorships that have spread from the South of the American Continent as in the our conversations, one of the most vicerals, on March 11. For her, performance is
works of Anna Maria Maiolino and Artur Barrio. “Entrevidas”, 1981, from Maiolino, like a ritual, a celebration of the female body and the central role of women in the
occupied one of the rooms of the shows – with Daniela Thomas and Felipe Tassara’s origin of life. María Evelia presented in the conversation with journalists, some of
architecture – with dozens of eggs, pointing to fragility and hope, as well as Arthur the reasons that built the trauma in her work. As a young woman, she had a heavy
Barrio’s “T/T, 1”, 1970/2017, the historical work, which documentation presents menstruation and always spotted, stained her clothes, places where she sat and
images of the pieces of meat wrapped in swaddling clothes dumped in a park of this was subject to bullying at a time when bullying was not recognized or fought.
Belo Horizonte, remebering the tortured bodies by the military dictatorship in Brazil. Her story is a feminine story not necessarily feminist.
Both artists are good examples of this new policy of the major art institutions, as In correct editing, it extends in theaters of the Pinacoteca and functions as a great
both have been included in exhibitions and collection shows. videowall fragmented into nine chapters: Self Portrait, Body Landscape, Body
This is the case of colombian Beatriz González, who participated last year in Mapping, Body Performance, Resistance and Fear, The Power of Words, Social Places,
documenta 14, in Kassel and Athens, and has gained great prominence in recent The Erotic, Feminisms that have as a guideline a deep research of the expression
months. On the show, she has a room that gives an account of her poetic work, of invisible women in their time. Many operate in their work, not only in relation
which merges everyday objects, such as furniture and drapes and overlaps with to misogyny, but also in causes such as xenophobia and racism.
colorful patterns pop style, with critical situations against the elite of her country. Dialogue between opposites and the negotiation of differences mark the body
Co-produced by a Buenos Aires museum, after all, “A Tale of Two Worlds” presents art that is imposed in the whole of the exhibition and opens to the reflection on
in its 16 modules a wide and well deserved selection of Argentine artists, like the place of the body. At the entrance to the show, the video, by Victoria Eugenia
Leon Ferrari, that is included with a room of his literary criticism to the Catholic Santa Cruz Gamarra, composer, choreographer, exponent of Afro-Peruvian art
Church, and even Oscar Bony, Victor Grippo, Liliana Porter, Edgardo Antonio Vigo, surrounds the audience in a contagious rhythm. With pop choreography, agent
Liliana Maresca and Marta Minujin, among others. And they live together at the of rites in times of massification, potentiates antiracist manifesto, which can be
same level with enshrined artists as Francis Bacon, Joseph Beuys, Andy Warhol, summarized as: discovering and assuming himself black.
Marcel Broodthaers, Marcel Duchamp, Gerhard Richter, Cy Twombly and Charlotte In the furious years of the 1960s performance artists tried to destabilize the system,
Posenenske to name some of the exposed from the German Museum’s collection. but the command was still in the hands of the men. Marta Minujin is one of the rare
The best, however, is to realize that the integration of Latin American artists comes artists to pierce the siege yet very early. With Rubén Santantonín (The confusion),
from an effort of inclusion of a German museum, and the curatorship is made in a 1965, performance that involves the public, high part of the porteño bourgeoisie,
collaboration involving the two countries. Empower, after all, is not only broaden makes him go through dusty labyrinthine spaces until facing a couple naked in a
the representation, but give voice to those who until now had no space. And in the bed. The participation of the spectators integrates the poetics of the years 1960
case of “A Tale of Two Worlds” this is confirmed by the impressive catalog of almost and 1970 and also is present in other works of the show like the therapies of Lygia
500 pages, with essays that extend the debates of the exhibition. Clark with relational objects; in the food served and devoured by Hirsch in the
performance (Formigueiro), of 1967; in the invitation of Margarita Azurdia in which
The journalist Fabio Cypriano travelled at the invitation of the Museum of modern she proposes to the public to take off her shoes, relax and feel the wet sand. These
art of Buenos Aires artists seek to highlight what is inside and outside the performance with other
contextualizations, meanings and dimensions.
EXHIBITION SÃO PAULO | PAGES 48 TO 56 The curators, in their searches, found maps of desires, impulses and repressed
RADICAL WOMEN: LATIN zones. They were surprised by the diagnosis of medical classifications of female
hysteria, as Feliza Bursztyn worked, as well as ironic references to the Freudian
AMERICAN ART, 1960–1985 notion of penis envy found in the works of Maris Bustamante. Here in São Paulo
there was no performance, but at the Hammer Museum in Los Angeles, where the
TENSION, SUBJECTIVITY AND FEMININE IN THE WORK OF ARTISTS AND show was previously exhibited, a celebration ritual marked the presence of Regina
ACTIVISTS Silveira. Visitors consumed the famous biscuits in the shape of the word, which she
created in 1976, whose mold belongs to the collection of the gallery Luisa Strina.
BY LEONOR AMARANTE AND PATRICIA ROUSSEAUX IN AN INTERVIEW WITH CECÍLIA In the space dedicated to Mapping the Body, it is highlighted, inspired by the work
FAJARDO-HILL AND ANDREA GIUNTA of Duchamp,, 1919, in which Ana Mendieta glued on her face the beard of the friend
What intransigence unites more than one hundred artists and activists around, poet and publisher Morty Sklar, to capture his strength and inspiration. The Cuban
on display at the Pinacoteca of the State of São Paulo? The challenging efforts artist was taken to the United States at age 10, in the famous operation Peter Pan,
of curators Cecilia Fajardo-Hill, a US-based Venezuelan, and Andrea Giunta, from with the aim of “saving” children from the local regime. However, Mendieta never
Argentina, have resulted in the rescue of several subjects, who work in different adapted to the new country and demonstrated this by choosing his naked body and
settings, but linked to desires of feminist experiences, personal struggles, political blood in his work, recurrent elements until his tragic death, not clarified, gathers
and libertarian common. The tension between territory and subjectivity permeates stories of a feminine revolution still in progress and acting as a work, with material
the female body that carries several layers of places. The 125 artists and collectives, configured in a dense cosmography. The exhibition features the work of Graciela
from fifteen countries, express themselves through performances, videos, paintings, Carnevale, an Argentine activist who acted in the group and chose to lock the
photographs, sculptures, ceramics, drawings. According to Cecilia Fajardo, many visitors of her exhibition in the gallery, in an allusion to the repressive situation in
works produced by women have been marginalized by a history of dominant, Argentina during the dictatorship of 1966/1970. In all segments of the show we have
canonical and patriarchal art. In the case of Latin America, the relationship between keys that give access to unrecorded secrets in which the horror present in the Latin
body and violence is central. Andrea Giunta cites illegal arrests, torture, births in American territory reveals the attempt of survival. Placing each work in the proper
secret detention centers, theft of children, in many cases never solved. “These are space of this mosaic, which in some ways invokes the demons and in others puts us
some of the circumstances that marked the situation of the body in general and before moving deliveries, is a progressive immersion in a besieged Latin America.
of the female body, in particular, under Latin American dictatorships.” Ritualistic, In the midst of so many discoveries, self-portrait and portraiture emerge that bring
feminist and political motivation moves the works of María Evelia Marmolejo, present up questions, paradoxes formulated by female subjects who have risen against

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