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FREEDOM IS HARD WORK ENGLISH VERSION
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EDITORIAL | PAGE 12
THE WORK OF BEING FREE
BY PATRICIA ROUSSEAUX, EDITORIAL DIRECTOR
ART HELPS TO FREE YOURSELF AND TO DEAL WITH SUFFERING. For some years we are living a big reversal in
Brazil and in the world with the convocation of different forces, both political as religious and social, who opted for ideas
and ideological strategies outdated by more than 50 years.
Suddenly, our lack of solutions on the economy, our disappointment with the administration of the State, the behavior of
the institutions and political parties and the failure of the elites unable to share anything, became fertile ground to the
choice for the retrogression, unlike developed countries that had the role of looking after the common citizen, producing
a certain breakthrough in democracy and in customs.
It is interesting to see that, although all have started as an argument in certain isolated groups that praised the fight
against corruption, it quickly proved to be “secondary” and even false.
The masks have fallen, as in Andre Griffo, in the pages of this issue, and the real speech appeared: “the ideology is worse
than corruption” said in official media Jair Bolsonaro, President-elect in Brazil by 1/3 of votes in the country.
There is no doubt about, what matters is ideology. The ideology is our cultural capital, what we think about ... what we
believe ... what and who we value. How much we feel indignation with the suffering that is foisted on us and on the others.
What are our values? Our ethics? And, it’s true, depending on all of this, you will also be corrupt.
In Art, the ability to create and talk is endless. Therefore, Art is also subject to censorship. Nothing escapes from Art.
It has the ability to make you think before obeying. And has the ability to create a nuisance disruption either when it is
explicit or subtle. The fact that we get in touch with the work itself is already mobilizer.
Nevertheless, in acute moments of confrontation, Art becomes a liberating channel and many artists choose to work
and your work as a form of activism. Not for nothing, one way or another, our issues this year brings expositions and
collective exhibitions full of meanings
Today, we ask ourselves. Who decided that this is a country of white? The whites. Who decided that this is a country of
individuals without autonomy in choice of genre? People who are unable to respect differences. Who decided that the
school will not be a democratic space to discuss the different ideologies? People who are unable to respect differences
and that have a certain ideology. Who decided that the State is no longer secular? People who are unable to respect
differences and that have a particular ideology and who stand for one religion only.
Against this tide, we’re going ahead, with all that we’ve learned, we follow and respect, that is produced and created
by this country diversity. As a symbol, it’s right there on the cover, Rubem Valentim, Brazilian, black, a painter from the
50’s and 60’s, wonderful, as a constructivist or as a master representative of his “ideology”. And inside this issue a
collection of texts, articles, memories, exhibitions and works representing throughout your magnitude a huge amount
of work by the desire for freedom.
Good read!
COLLABORATORS | PAGE 12
ISSUE 45 NOVEMBER DECEMBER 2018 ARTEBRASILEIROS.COM.BR
MARIA HIRZMAN is a journalist and art critic. She worked in the section 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. For this issue, she wrote about Ai Weiwei at Oca in Ibirapuera.
FÁBIO MAGALHÃES is a museologist, current artistic director of the MACS - Contemporary Art Museum of Sorocaba and
former chief curator of MASP. He was deputy secretary of the State Department of Culture of São Paulo and has already
presided the Pinacoteca do Estado. In this issue, he writes about the 50th anniversary of the MASP building, designed
by Lina Bo Bardi.
NAYANI REAL is a journalism student at PUC-SP. In 2016 she devoted herself to the Journalism and Human Rights course,
and in 2017 she worked in the field of digital marketing. She is currently working as an illustrator and as a social media
and reporter at ARTE!Brasileiros.
MARCOS GRINSPUM FERRAZ is a journalist. Graduated in Social Sciences by USP, he worked in the newspaper Folha de S.Paulo
between 2009 and 2012 and between 2012 and 2017 at Editora Brasileiros, writing mainly on plastic arts, architecture,
music, literature and theater. He signd the cover story for this edition.
FABIO CYPRIANO is an art critic and journalist, he is the current coordinator of the journalism course at PUC-SP and is part
of the editorial board of ARTE! Brasileiros. In this edition, he collaborated with texts about the Berlin Biennale, the AVAF
exhibition, the performative action of voting carrying books, among others.
Cover: Rubem Valentim, Painting 7, 1965. Quenching egg yolk on canvas
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