Page 100 - ARTE!Brasileiros #47

THE POWER OF ART ENGLISH VERSION
the conservative rise and the possibility of the Bolsonaro election. On the following indigenization is made explicit, since the so-called forest peoples seek the intrinsically
page, the transcript of the speech by the Israeli writer Amos Oz in June 2017, when relational quality of every being, human and not human, what Lagrou defines as
he was on the house, shows a little of the spirit - past and present - of the Casa do "Amerindian relational aesthetics."
Povo: "I really feel at home. Here is the right place to start a revolution, or at least, "It's time to listen to pajés, babalorixás, yororixas", says Neto, and the programming
as my friend Lilia Schwarcz said, the right place to plan the revolution. Because it's of activations covers these silenced voices in the history of Brazil, but which in
always nicer to plan it than to execute it", he joked. If it will not be the epicenter of recent decades has been gaining space. They are now at the Pinacoteca not only as
the revolution, the House is, returning to Seroussi's statement, a place to rehearse a proposition of the artist, but as a consequence of the struggle that these people
other possible futures. "And everything that happens here confirms that our wishes have been engaging.
were not crazy", he concludes. Breath, however, goes far beyond the octagon and, in the various spaces where it
occurs, reveals how it makes sense in Neto's career the poetics he now defends.
EXHIBITION SÃO PAULO | PAGES 52 TO 55 This harmony with an indigenist cosmogony, where human and nonhuman are seen as
PINACOTECA SHOWS part of a whole, after all is central in its various facilities, which ask for the presence of
the other, that contaminate the environment with odors, that facilitate the encounter,
INDIGENIST PROJECT that touch, caress and envelop.
OF ERNESTO NETO The plasticism seen in the works of the 1980s to the first decade of the 21st century is
dazzling: in forms, materials, volumes and dimensions. There is an organic structure in
its language comfortable to all senses, which is even rare in contemporary art. But the
IN THE OCTAGON OF THE PINACOTECA, CURA BRA CURA TÉ HOSTS maximum power now arrives in this "indigenist project", politicizing what was discreet
PARTICIPATIVE ACTIVATIONS) at once, and transforming Ernesto Neto into a kind of shaman in times of cholera.

BY FABIO CYPRIANO EXHIBITION SÃO PAULO | PAGES 56 TO 59
FEW ARTISTS CAN UPDATE the radicality of Brazilian artistic production, where the body WITNESSES OF EVIL,

was part of the work, in the 1960s and 1970s, as Ernesto Neto. This is what can be OF GOOD, OF LIFE
seen in the Sopro show, which is on display at the Pinacoteca do Estado de São
Paulo until July 15. WORKS AND TRAJECTORIES OF LETIZIA BATTAGLIA AND SERGIO LARRAIN
In his works and in an original way, Neto manages to gather both the proposals of ARE AT EXHIBITIONS AT THE MOREIRA SALLES INSTITUTE IN SÃO PAULO
collective experiences of Hélio Oiticica (1937 - 1990) in his Penetráveis, when he
sought to create spaces for coexistence, as to the activations of the body through BY HÉLIO CAMPOS MELLO
experiments with different materials, such as proposed Lygia Clark (1920 - 1988) in
her Objetos Relacionais. AT THE MOREIRA SALLES INSTITUTE (IMS) in São Paulo, two exhibitions dedicated to
However, whereas 50 years ago these practices sought to reformulate the foundations important foreign photographers: the Italian Letizia Battaglia (1935) and the Chilean
of art, Neto, already free of this burden, has been working on a more current and Sergio Larrain (1931-2012).
necessary agenda: a "project of indigenization of life" in the definition of Els Lagrou, Letizia Battaglia: Palermo show brings together about 90 images, publications and
anthropologist and teacher of UFRJ, in the show catalog. films, with a special focus on the photographer's performance in the L'Ora newspaper.
At the Pinacoteca, this practice is embodied in the installation of the octagon, Cura She began her work as a photographer in 1971 in Milan, while writing as a freelancer
Bra Cura Té, which hosts five participatory activations open to the public throughout for various publications, such as Le Ore, a tabloid newspaper and ABC, an intellectual
the exhibition period. The next ones take place on June 29 and July 13. publication. She was invited by L'Ora to return to Palermo, where she had been born,
The relationship between the artist and the indigenous issue has been the subject of and it was during four decades that she documented the mafia war, especially in the
debate in recent years, especially when he participated in the Venice Biennale two years 1970s and 1980s. This all without ignoring the daily life of the city and its inhabitants.
ago. The controversies are summarized in the question: What is the legitimacy of a In the words of the photographer, "with the camera in tow, I became a witness of all
white artist to appropriate the discourse of other peoples and cultures? Understanding the evil that was taking place. They were years of civil war: Sicilians against Sicilians.
the place of speech is currently one of the challenges of any kind of discourse that The best judges, the most courageous journalists, the politicians averse to corruption
seeks to "represent" the other. were murdered". With curatorship by Paolo Falcone, the exhibition has already gone
Undoubtedly it is a bit strange when artists portray themselves as Indians and sell or through Palermo, Rome and the IMS in Rio before arriving in São Paulo.
expose these paintings without any major commitment to the issue. We are there in The exhibition Sergio Larrain: um retângulo na mão, traces a panorama of the work
the field of mere representation, and it was exactly against this kind of posture that by the Chilean, who acted as correspondent of the Magnum agency during the
Oiticica and Clark rebelled. 1960s. The exhibition presents more than 140 photographs, a video and publications,
Since 2013, however, Neto has been involved with the huni kuin people in Acre in an contemplating the periods of production of Larrain in Santiago, work as correspondent
engaged way, participating in their rituals and incorporating them to their shows, in in Europe and South America and his return to the native land. Under the auspices of
Brazil and abroad, as happened in Venice. Agnès Sire, the exhibition has already passed through Arles, France, in several Chilean
This participation, in Sopro, occurs in the octagon, in the activations around a large cities, Buenos Aires and IMS in Rio.
trunk "that needs to be cured" and, for that, is swallowed by an immense pendant. In this version that is at the IMS, was added the work that Larrain did in the second
"We are children of three continents, but we know of one, they only teach us one, we half of the 1950s for the Brazilian magazine Cruzeiro Internacional, ran by Assis
value only one", writes Neto on the walls of the show, explaining the dazzle with the Chateaubriand. Owner of the magazine Cruzeiro - successful publication and responsible
European culture of the "Brazilian crudes", as Christian Dunker brilliantly defined in for the implantation of the photojournalism here with photographers like Jose Medeiros,
text published in ARTE!Brasileiros digital plataform. Pierre Verger, Luiz Carlos Barreto, Marcel Gautherot -, Chateaubriand when launching
"The time has come to listen to the spirituality of our land, our plants, rivers and its international version wanted to compete with American magazine Life and with
trees, the time has come to listen", argues the artist. It is here that this project of the French magazine Paris Match.

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