Page 100 - ARTE!Brasileiros #45

FREEDOM IS HARD WORK ENGLISH VERSION
According to his daughter and curator, “the encounter between two great axes of Roth’s the most evident being the institutional crisis of the New Republic, bringing a desire to
work: a study of the artisanal role and the role of the individual in society,” as a plastic artist understand how this was achieved, and the transparency brought over the last 15 years
he produced “pity” and the facilities with this material synthesize. by the government, which allowed Comissão Nacional da Verdade and access to various
With this form executed with the smallest sheet of paper that has managed to produce, the documents of that time, which offered much material for these artists to work.
artist begins a participatory and experimental work building large installations, exhibited The artist Daniel Jablonski, who presents in the exhibition the work Diante do Aparelho,
in museums of Germany Denmark, Japan and the United States and Brazil. The tree that from 2016, decided to pay homage to the hiding places of several militants persecuted in
«bloomed» in the lobby of Sesc is the most ambitious project ever created by him. In times the dictatorship with his work. Apartments that served as dwelling or space for meetings
of political and ideological darkness that permeates us today, this itinerant, political, joyful, were called “Aparelhos” at that time. “Between 2008 and 2011, when I went to live alone,
festive installation, made up of thousands of painted adhesive sheets with messages from I had the idea of doing a sort of inventory of everyone who went through my apartment

children, reminds us that, despite everything, it is spring. for the first time,” he explains.
The people posed for the artist under a sign with the name of the apartment, which he
EXHIBITIONS SÃO PAULO | PAGES 54 TO 56 called “Aparelho”, for a historical and affective reason. “Aside from the political issue, it
A NEW CONSCIOUSNESS also has a very interesting demographic question. The ‘Aparelho’ was the first apartment
of many people, because most of those people living in them were in their early twenties
AND YOUTH and were not only planning a ‘revolution’ against the state, but also promoting a change
of customs against the model of affection, sexuality and family that existed in the house
ORGANIZATED BY PAÇO DAS ARTES, YOUNG ARTISTS DISCUSS STATE of their relatives”, points Jablonski.
OF EXCEPTION MEASURES AT OSWALD DE ANDRADE CULTURAL CENTER Fernanda Pessoa presents her full movie, titled Histórias que o nosso cinema (não) contava,
awarded in several festivals inside and outside Brazil. The film is an assembly of excerpts
BY JAMYLE RKAIN from almost 30 popular films, many on “pornochanchada”, a genre of the 70s in Brazil,
which have some relation to the dictatorial period. She says she has learned a lot about
HOW DO YOUNG ARTISTS SEE THE PERIOD of military dictatorship through which Brazil passed how society worked that time in the long process of researching and editing the film.
between the 60’s and 80’s? This is the clipping of the Estado(s) de Emergência, organized The film also addresses, in a very strong way, other issues of oppression that existed, such
by Paço das Artes, presenting the theme from the perspective of artists who were born in as symbolic machismo. Fernanda considers that what shows this more explicitly is an
the era of political opening and redemocratization of the country. analogy that those movies brought between the female body and the economic miracle
The show is presented at Oswald de Andrade Cultural Center, in Bom Retiro, São Paulo, promised by the military regime. “I did the film precisely to try to understand a moment
because Paço das Artes did not have a definitive headquarters, having been taken from USP that I did not live and I think the problem today is that we have not studied for real what
in 2016 and placing exhibitions at a section in Museu da Imagem e do Som (MIS-SP) since the dictatorship was”, she confesses.
then. In September, finally, the institution received the good news that it will have a new
place to call its own. The institution’s home will now be the Casarão Nhônhô Magalhães, in EXHIBITION SAO PAULO | PAGES 58 AND 59
This is the last exhibition of the Paço before settling in the new headquarters, curated by AN EXHIBITION WITH
Higienópolis, and will be inaugurated with an exhibition by Regina Silveira.
Priscila Arantes and Diego Matos. Priscila, that is also the director of the institution, wanted POLITICAL VIEW
to talk about the subject in this perspective a long time ago. The form came when thinking
about the work of Paço itself, which, according to her, “works on the edges”. The project THE SHOW REJUVENESÇA! HAS THE INTENTION OF POSITIONING
was already being carried out two years ago, when Arantes invited Diego to carry out the ITSELF IN RELATION TO THE POLITICAL MOMENT IN THE COUNTRY
joint curatorate, for affinities in research.
“We work hard with resistance. Not only in the thematic and political sense of the word, BY JAMYLE RKAIN
but also micropolitical, extending the word: an art that resists entering the market, which
creates criticism of hegemonic thoughts”, says Priscila. Many of the selected artists - such INAUGURATED TWO DAYS BEFORE the second round of presidential elections and called by the
as Lais Myrrha, Daniel Jablonski, Rafael Pagatini and Romy Pocztaruk - have already gone organizers themselves “show-manifesto”, Rejuvenesça! is an exhibition that is not afraid to
through the institution in works for Temporada de Projetos, held every year by Paço. For take a side when it comes to defending democracy and rights in Brazil. Produced by the artist
Diego, the subject has always fascinated and troubled him since his school education. He Renata Lucas, the show was conceived in a few weeks, in an urgent character to position itself
had already held an exhibition in Paço, by Associação Cultural Videobrasil, with a certain in a troubled moment of the History of the country, with works of the artists Anri Sala, Arto
similarity to that. He points out that the exhibition also reflects other subjects, such as Lindsay, Carla Zaccagnini, Carlos Fajardo, Nedko Solakov, Mauro Restiffe, Renata Lucas and
the state of violence in Brazil, “the idea of an extremely conflictive state and dictatorship Rodrigo Andrade. Other artists who endorse the initiative, although they have not yet installed

may be the last shadow of that”. works in the space are Dominique Gonzalez Foerster, Iran of Espirito Santo and Micol Assael.
The history of dictatorships around the world, especially in Latin America, had already been Still with no time set for its closure, Rejuvenesça! proposes to be a progressive show, adding
approached in other shows throughout the existence of the Paço, the most known perhaps works that reach its exhibition space. The idea is built on the intention of characterizing
was the individual Operação Condor, by the Portuguese artist João Pina, held in 2014, and a point of resistance of the artists who intend to participate and of the space itself.
Migrações, by the Argentinean Marcelo Brodsky, that happened in 2016. Casa do Povo was available - and is still available - to carry out a series of initiatives in
Diego says that he observes since 2013 a rise of the military dictatorship subject in the defense of a State of Rights, in a clear position against deadly times that seem to be
production of these younger artists: “There is a term that I find quite interesting, that coming, as Renata writes in a letter of introduction: “The most voted candidate in the first
I have seen, for example, Márcio Seligmann also agree and Priscila herself, a notion of round of presidential elections incorporates a fascist discourse which the main banner is to
unfolding, because these artistis, since they did not live or do not have a direct traumatic recover one of the darkest moments of our history: the Brazilian civil-military dictatorship
relationship necessarily with the theme, start to look at it in a more accurate way, even as (1964-1985)”. She also criticizes the behavior of art agents regarding this moment: “The
researchers”, says Matos. current edition of the São Paulo Biennial, as well as various galleries and art institutions,
For both curators, what makes these younger artists talk about dictatorship, even though remaining neutral in the face of barbarism, behaving as if nothing happened around them”.
they have not lived through its worst phase or had any direct contact, are several factors, Therefore, in addition to setting a position at this juncture, Rejuvenesça! also proposes to

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