Page 98 - ARTE!Brasileiros #45

FREEDOM IS HARD WORK ENGLISH VERSION
with the idea of sewing, while the heart bleeds. This leads me to the discussions that black
Projeto Brasil Nunca Mais (1985) | movements also bring, in a more contemporary way, about the solitude of the black woman.
D. Paulo Evaristo Arns This subject, much discussed by black feminists, takes care of reflecting on how the black
BY FABIO CYPRIANO heterosexual women are easily abandoned by men in a loving relationship, independent
During the 1970s, about 50 people in the busiest weeks sought the then Cardinal of of whites or blacks, because this women are placed by society in a tiny position. Perhaps
São Paulo, D. Paulo Evaristo Arns, in search of missing relatives. “You have any news this seam could also be the joining of the shards in such a situation. I see this discussion
of where my son is?,” was a phrase that the cardinal heard on a recurring basis. as essential, although it is deprecated by others. I emphasize this because I believe that
On his initiative, inspired by the hundreds of testimonies collected at the headquarters even the work brings a more historical perspective, it also shows contemporary views on
of the Archdiocese of São Paulo in Higienópolis, but in a network that included leaders matters of black militancy that are urgent.
of other religions, journalists and lawyers, the Brazil Never Again Project was created in
August 1979. At a time in March 1985, a group worked on 850,000 pages of proceedings TRIBUTE MASP | PAGE 42
the seriousness of the human rights violations promoted by political repression during 50 YEARS OF MASP
of the Superior Military Tribunal for the publication of a report and a book that revealed
the military dictatorship. Launched in 1985, the book remained on the top ten list for 91 IN PAULISTA AVENUE
consecutive weeks, becoming - at the time - the best-selling Brazilian nonfiction book of all
time. Nowadays, the Project has a digital version available at http://bnmdigital.mpf.mp.br/en/. LINA BO BARDI’S ARROWED ARCHITECTURE RIVALIZES WITH
A VERY WELL KNOWN COLLECTION
Missão/Missões (Como Construir Catedrais) |
Cildo Meireles BY FÁBIO MAGALHÃES
BY LEONOR AMARANTE
THIS NOVEMBER, the MASP building, designed by Lina Bo Bardi, completed 50 years.
One of my favorite political works is the installation Mission / Missions - How to Build a Today it is an icon of the city of São Paulo, surpassing other symbols, such as the
Cathedral, carried out by Cildo Meirelles in 1987. The work reinforces the idea that the artist building of the ancient Banespa, the Monument to the Flags of Victor Brecheret
has a moral commitment to denounce politico-social atrocities in any country, any time. In and the building of the Ipiranga Museum. But Lina has nothing to do with it,
this installation, Cildo points out the genocidal practices of the Catholic Church in its Jesuit with icons or other symbolic attributes of the metropolis of São Paulo. Lina has
Missions begun in 1610 in Brazil, Paraguay and Argentina. In an attempt to evangelize the created a rational building with a huge floating space - seventy meters of light! -
Indians of the region, strength and violence combined, which wiped out part of them. In supported by four pillars on the ground where previously there was the Trianon.
the installation, the link between the two structures, one made of bones and another of The red color came later. It came to protect the beam and the pillars from
coins, is built with hosts that link the gold floor to the macabre sky, in open denunciation infiltrations. There was controversy at the time of painting, however, today
of the power relations of the Church. The controversial work today is part of the Daros- we can not imagine it without this color. At MASP, not only does the building
Latinamerica collection, in Zurich, Switzerland. float, the paintings on glass trestles seem to levitate. Certainly the building
is, in itself, a relevant work of art among the works of its magnificent collection.
Operação Tutoia | Fernando Piola When John Cage visited Sao Paulo and shouted at MASP, “It’s the
BY MARIA HIRSZMAN architecture of freedom!” Lina Bo Bardi agreed with Cage’s definition: “...
“Tutoia Operatin”, a work carried out in 2007 and 2008 by Fernando Piola, strongly when I designed Masp: the museum was a ‘nothing, a quest for freedom,
defused the strategy of silencing around repressive apparatuses and explicitly, through the elimination of obstacles, the ability to be free in the face of things. “
a slow process of subversion of appearances, the violent character of symbolic It is no wonder that the free space of MASP houses the great popular manifestations of
institutions of dictatorship, like Doi-Codi. For months, the artist worked at number 921 the city. Place of meeting, art and culture, but also of protest and a libertarian dream.
Rua Tutoia, in São Paulo, presenting himself as a landscape artist. And, week after week,
it replaced the plants of the garden with different species of red color, transforming EXHIBITION RIO DE JANEIRO | PAGES 44 TO 48
torture of thousands of people and the murder of 50 opponents of the regime on the RIO SET OUT
the surroundings of the old headquarters of the center responsible for the arrest and
scene of a daring action of intervention political denunciation and poetic research. COUNTRY CONFLICTS
The action subverted the space of the forces of power and made visible what was meant
to be swept away from history and memory. The photographic records (the form of a RIO ART MUSEUM AND ATHENA GALLERY ORGANIZE SHOWS WITH STRONG
child’s work, by nature) now belong to the Museum of Contemporary Art (MAC) collection. POLITICAL CONTENT WITH MOACIR DOS ANJOS AND LISETE LAGNADO
And they show how the dyeing of the landscape of red, a color so full of symbologies, AS CURATORS
has gradually made concrete, pulsating and real the necessary awareness, not only in
relation to the brutality committed in that place (which still today, surprisingly, shelters BY FABIO CYPRIANO
the 36th Police District of the city), but to the neglect of a black period in our history.
IT HAS ALWAYS SEEMED CONTRADICTORY to me that the conditions of political and social
Assentamento | Rosana Paulino violence in Brazil, especially homicides against young and trans poor, blacks and
BY JAMYLE RKAIN natives, did not generate constructive works and demonstrations with this theme.
What I think that is more beautiful about Rosana Paulino’s work Assentamento is how it Of course, there are isolated cases, and two recent editions of the São Paulo Biennial, 2014
goes beyond a broader question of how the enslaved african people needed to be rebuilt and 2016, have brought this issue quite explicitly, in striking works such as Apelo, by Clara
to fit in an unknown location to which they were taken. I especially like to look at it from a Ianni and Débora Maria da Silva at the Biennial “How to talk about things that do not exist”
perspective that specifically thinks about the black woman in society now. The photograph in 2014. Even so, in such an intense and vibrant circuit, they are not really thematic present,
of an unknown woman registered by the Thayer expedition, between 1865 and 1866, refers as is seen, for example, in Israel, which also lives in a strong conflict situation and where
to a slave. Rosana intervenes in the photograph in her way, secctioning it and overlapping it many works approach these dramas of critical way, often opposing the very role of the state.

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