Page 109 - ARTE!Brasileiros #45

network, involving other institutions, as a response to conservative speech and growing EXHIBITION SÃO PAULO | PAGES 66 TO 68
authoritarianism “ demanding the closure and censorship of exhibitions and plays, EXIT PROVOKES FRICTION
threats to artistic freedom, as the movements captained by a certain “nostalgia of
for example. In place of these institutional partnerships, strengthened ties with the BETWEEN ART AND
ARCHITECTURE
community of researchers – crucial for data collection – and artists.
EXHIBITION SÃO PAULO | PAGES 64 AND 65 REGINA SILVEIRA TAKES TO MUBE A POLITICAL / POETICAL SPEECH WITH WORKS
A TRANSPARENT WOMEN PRODUCED BETWEEN 1970 AND 2018, CURATED BY CAUÊ ALVES

NEIDE SÁ INTEGRATES EXHIBITIONS AT THE PINACOTECA OF SÃO PAULO AND AT BY LEONOR AMARANTE
SESC POMPEIA, SPREADING A COMMUNICATIVE ART THROUGH HER VISUAL POETRY
From above, the flat, diaphanous landscape that gives brightness to the center of
BY JAMYLE RKAIN MuBE - Brazilian Museum of Sculpture, is translated by lines illuminated with equal
intensity that geometrically draw a labyrinth to where the spectator is seduced to
experience the sensation of space in time and vice versa. The password for this place
THE LAST BOOK BY JOURNALIST AND NOVELIST Edgard Telles Ribeiro, A
Transparent Woman (Uma mulher transparente), released this year, draws the marks is the state of immersion, enhanced by glasses with virtual projection, that allows the
visitor to wander, with himself, for a moment. This experience includes the exhibition
that the military dictatorship in Brazil leaves in the life of Gilda, a sphynx woman. In Exit, a poetic / political encounter between art and architecture, involving 41 works
real life, the artist Neide Sá, born in 1940, does not resemble the character with her by Regina Silveira, among installations, videos, prints and objects, produced between
noir elegance. When the artist begins to produce her pieces in the mid-1960s - and 1970 and 2018 curated by Cauê Alves.
is marked by the Poema-Processo movement, of which she stands out as one of the The labyrinth may resignify elements that make up reality such as migration. “The
founders - it cannot be denied that the artist transposes her gaze on the political space is uncomfortable, I want the audience to travel it is stimulated to think.” The
moment from the country. mythical form of the labyrinth has resonances over the visitor and fiddles with
These are Neide’s works that highlight her connection with politics, poetry and word, their perceptual and cognitive habits in a playful and disturbing experience. Regina
which are now on display in Radical Women, in the Pinacoteca of São Paulo, and in proposes an interactive game, in augmented reality, in which the public when
Arte-Veículo, in Sesc Pompeia. Until recently, they were also part of Poetic Structure, walking through the labyrinth, with glasses with projection, sees to appear walls that
rupture and resistance, her first individual in the Galeria Superfície. appear and disappear on the surface. With inputs and outputs on all four sides, and
The visual artist and director of Galeria Superfície, Gustavo Nóbrega, had no doubt that alternate drawing of routes, Exit takes the visitor to a temporal perception. In the
Neide was an artist who deserved a substantial ransom. Since he began to represent current socio-political moment in which several countries erect walls, refugees are
her, Gustavo set out to put her in great exhibitions. In the case of Radical Women, he physically and psychologically barred, this work can be metaphorical of this situation
says, curators Andrea Giunta and Cecilia Fajardo had already appeared at the artist’s of barbarism that we experience.

house to invite her to take part in the exhibition and research works. Neide, however, The idea of the labyrinth has been a recurrent theme in Regina’s work since the
did not know where the work was, which in this case would be The Rope (A Corda). 1970s, when she still lived in Puerto Rico, and appears in periods and works from
“They had works that she did not even remember existed yet and we found a deposit various eras. “The labyrinths are ancestral, mental, intercultural, immemorial, and
in her house”, says the gallery owner. Among the works found during his research for many cultures have their own. In this exhibition, they are false because everyone
the 50th anniversary of Poema-Processo last year, which yielded a book (see review on has exits”. Previously the artist created a labyrinth of subdivisions, when she first
page 94), was the work thought by the curators, who were promptly contacted by him. used an appropriate image. “In fact, it’s an image that fills all the subdivisions I’ve
During the military dictatorship, the work - composed of preachers / clips, collages made”. Regina took the mazes to the sky, to the cities, to the executives, to talk
of journalistic prints and a rope - was displayed in the street so that people would about the notion of power.”This exhibition came when I thought of creating a speech
preach their colleagues, as on a clothesline. «The police sometimes hijacked this work that would bring together the parts of this recurrence of motives. Metaphors of
of hers, but did not kidnap the artist because she did not know who she was”, says migratory issues, inner walls, how barriers close when you put on projection glasses,
Nóbrega. Another version of the work was exhibited in the gallery and now another how the labyrinth that was leaving, is now replaced by those walls that close the
part of the exhibition at Sesc shows that it brings together works by artists who space. Labyrinth is in place of several mazes. It is to think of the limits, the walls that
exist everywhere: physical, not physical”. The Argentine writer Jorge Luis Borges
perform media interventions. used this image, surrounded by mysteries, to write The Labyrinth. Borges saw the
Another work of the artist that manifests its position of eminent form is Transparencies world as an immense labyrinth, from which it is impossible to escape because his
(1968). Three acrylic cubes in different proportions, placed one inside the other, with ways are disorienting and illusory.
adhesive vinyls glued to letters. Depending on the perspective by which it is observed, The overly flat landscape of the labyrinth in MuBE is fictional. “I did not want to make
words like ‘War’ and ‘Peace’, in addition to onomatopoeic formations that refer to the a model of the place in my glasses, otherwise I would be stuck in that place. So there
sounds of battles, are perceived: “In the codification of the word, they [Neide and the is an image that goes up and down. In this virtual reality, you are in total immersion
Poema-Processo] which the military regime did not understand”, says Gustavo. He and do not see what is around you “. Either way, virtual reality can deceive your
explains that Neide was an artist who drew a lot of attention in this research course body and mind, making you think you are somewhere else, after all it is a universe of
about the movement because, besides being the only active woman in the avant-garde interfaces and crossings with other languages. Regina says that this work was made
group, she had a very large production both at that moment and later. to be modernized, watched from above the ramp, was born to be there. “This work
Neide is transparent because in her artistic work he communicates in an open and is smart because it is modular, built with 196 identical boards of wood covered with
determined way. Through the skillful use of semiotics and the construction of her visual fabric, which can be divided, sectioned, transported and adapted to other spaces.”
poems, she instigates the audience, who becomes an interlocutor in the experience The work no longer belongs to Regina, but to the collection of Itaú Cultural, which will
of contact with the artist’s production. manage and care for her future.

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