Page 84 - ARTE!Brasileiros #46

THE PLACE OF ART ENGLISH VERSION
ARTE_46_Marco2019.indb
EDITORIAL | PAGE 12
THE PLACE OF ART
BY PATRICIA ROUSSEAUX, EDITORIAL DIRECTOR
THE INCLINATION OF THE ARTISTS is increasing to connect with their surroundings and somehow to bring, in their work,
a permanent reflection on the moment that they live.
It is nothing new, so much so that throughout history and in all times reality has pulled the ruptures and it was it
that has boosted the construction of many artistic movements and iconic works in the History of Art.
This is the case of Picasso’s “Guernica”, which immortalized the bombardment of the Spanish city, Portinari’s
canvases of immigrants, or the images of appreciation for US violence on Andy Warhol’s canvases, to cite even
distant examples of his conceptions.
But if this has always been so. What has changed?
Over time, there have always been aesthetic and ethical choices, in the artist’s intention and in the reception of the
viewer. When philosopher and art critic Richard Wollheim discusses whether works of art would be “anything but
physical objects” in his book Art and its Objects, he states that “intention anticipates the vision of representation”.
What changes in each epoch, in my understanding, is how the artist tries to translate his/her inadequacy into
his/her time. Artists are often explicitly inadequate and “artistic representation” seems to have been throughout
human history the best way to “be in the world” and “find a standpoint”. On the edge of the abyss, in delirium or
in denial, artists translate in one way or another something that tells us about them and about us.
However, this idea that seems to be more than internalized in the 21st century - after the rupture of the first
avant-gardes a hundred years ago - seems to be questioned today, not by academic critique but by the “neoliberal
man” who bets “on adequacy” in a world “shaped exclusively for him”, in a world in condominiums, surrounded
by guarantees and certainties. A man who neither sees nor suffers from the degradation of the planet, with the
increasing violence of increasing social inequality. A man who neither sees nor wants to know the other.
This man does not want to know about ART. He only chooses mirrors. He only values physical objects that preferably
do not disturb him in any way and bring him peace of mind.
Here we talk about ART.
COLLABORATORS | PAGE 10
ISSUE 46 MARCH APRIL MAY 2019 artebrasileiros.com.br
ENELITO CRUZ is a graphic designer, art director of ARTE!Brasileiros since 2012, graduated in Computer Science and
Mathematics, but exchanged software and numbers for the arts graphs. He worked for 16 years in IstoÉ magazine
and followed the whole evolution of the process graphic generated by computer science. Also was part of the
magazine Vero and MRS Editorial.
JAMYLE RKAIN is a journalist, graduated from the Mackenzie University. She is a researcher. in the areas of Media,
Literature, Art and Gender. In 2016 and 2017 she dedicated herself to CULTURA! Brasileiros and since the beginning
of 2018 she is a reporter at ARTE!Brasileiros. In this issue, she wrote about André Komatsu, Anna Maria Maiolino
and Detanico Lain.
MARCOS GRINSPUM FERRAZ is a journalist. Graduated in Social Sciences at USP, he worked between 2009 and 2012 at
Folha de São Paulo and between 2012 and 2017 at Editora Brasileiros. He have just returned to ARTE!Brasileiros
team and in this edition signs the cover story about Barbara Wagner and Benjamin de Burca.
MARCOS LOPES (Coil) is a programmer, web and multimedia developer. He works in ARTE!Brasileiros since its
foundation, focused on the digital platform, the productions photographic, audiovisual and newsletters. His latest
videos are in the website www.artebrasileiros.com.br
SOLANGE FARKAS is the curator and director of Videobrasil Cultural Association. She had the same roles at the
Museum of Modern Art in Bahia. She participated as biennial curator in the United Arab Emirates, Israel and
Portugal. In addition, she runs the Sesc_Videobrasil Biennial. She signs text about Rosana Paulino’s exhibition at
Pinacoteca de São Paulo.
Cover: Still de Swinguerra, 2019, Bárbara Wagner & Benjamin de Burca
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