Page 106 - ARTE!Brasileiros #47

THE POWER OF ART ENGLISH VERSION
to exist. They are talking about how dissident bodies will be able to exist from now scenario with a set of information layers. “The query in our database has 1516 items
on, how they have existed up to that moment, how to make a historical reparation, and the search is intense”. In Fortaleza, Multiarte has 120 students divided into 10,
how to degrade practices of violence and oppression. I think that, in this sense, it 12 per class. “With this work we create content for publication and train people.
is also a desire that it be a propositional exposition, not with solutions or answers, Today the institution receives about 200 visitors per week”.
but with notes, trying to organize a little these affections of a rally and the need to Historiography of Brazilian art is composed, in large part, of short texts published in
exist before the dismantling. newspapers and magazines, as well as catalogs, which do not always present breath
Do you fear any kind of negative or violent reaction, considering what we have tests. The hole still persists. Perlingeiro specializes in publishing books exclusively
seen happen in Brazil in recent years? focused on the history of Brazilian art, from the 19th and 20th centuries, with extensive
We do not work in fear or with any kind of restriction. Of course, any reactionary research. Among the publications worth mentioning: Antônio Bandeira 1922-1967;
structure is afraid of art. They are the ones who are afraid of creation, of imagination, Collection Airton Queiroz Fortaleza / Ceará; Frans Post; Edson Queiroz Collection -
of critical thinking. This becomes very clear when the focus of attack is not only catalog, among others. The editorial recognition came with the Jabuti Prize, awarded
art, but education, science, universities. Only an extremely reactionary project by the Câmara do Livro in three different years, as well as other laurels in the arts area.
needs so strongly to disqualify and dismantle the possibilities of creation. In fact, Today the art system participates directly in the laws of the media and economic system.
it is very logical that this government is afraid of everything that generates the To give an account of his schedule, Perlingeiro created a platform that divides with his
new, that sets us in motion. And we already understand that in front of factoids children Amanda, Max and Victor. “A third of my time is spent in the administration
and lies there are terrible lynchings. So I am dealing with very powerful content, of 18 important private and institutional collections, located in Fortaleza, Alagoas,
very rich, but I do not think they are more dangerous to be attacked, more likely Rio de Janeiro and São Paulo. My children are concerned with exhibitions, books and
to be censored, because anything is liable to be attacked and censored, especially other more particular matter”.
the lies created. Many of these issues created around art are false issues, they are With prospective work in September, Perlingeiro, a long-time gallery owner, will reveal
invented polemics. So we can not work thinking about it, we have to work thinking what Antonio Dias has done and collect the production of Leonilson, whose favorite
about what needs to be done. representation is his own universe. Perlingeiro is the co-curator of the show: “The main
one is Antonio Dias”, he says with the humor of those who deal with artists since the
PROFILE MAX PERLINGEIRO | PAGES 84 TO 86 60’s. This show is the unfolding of the project started with Bruno Giorgi and Alfredo
OUT OF BOUNDS THAT Volpi now in exhibition at the Pinakotheke of Rio, which involves artist friends and
their experiential and artistic affinities. Let’s wait.
BRAKE ACTIONS
REVIEW À NORDESTE | PAGE 88
MAX PERLINGEIRO DIVIDES HIMSELF BETWEEN BEING A CURATOR, BOOK A CURATORSHIP
EDITOR AND ADMINISTRATOR OF GREAT COLLECTIONS

BY LEONOR AMARANTE BY ARACY AMARAL

IN THE BRAZILIAN ART SYSTEM there have always been escape areas since the first A CURATORSHIP IS NOT AN EASY TASK TO BE CONCEIVED. Especially if the number of participants
edition of the São Paulo Biennial in 1951, when the Brazilian cultural desert was is extensive, the space difficult, and great reluctance to leave aside all that could be
surprised by an international avalanche of directors of museums, critics, galleries, selected. Especially when focusing on an exhibition such as À Nordeste, currently
artists and unimaginable works. In the following decades, learning stimulated at SESC 24 de Maio. Region vast in creativity, the yearning, one realizes, was to
the emergence of young entrepreneurs willing to face the incipient Brazilian art include everything! Even if with difficulty of apprehension by the visitors of what is
system, among them Max Perlingeiro. The terrain was demarcated by its own exposed. The idea is that nothing should escape from the curators, even if it is not
history, European influence, reduced criticism and rare professional galleries. Over digestible by the visitor, that feels wrapped in a whirlwind that pushes the eyes and
time the scenario has widened, and today Perlingeiro acts as an entrepreneur, ears down all the expressions of Northeastern creators not distinguishing none in
editor, curator, organizer of art courses and collections administrator. His story particular. Thus, popular expressions, string, figurative painting, concrete painting,
proves that dealing with art is also a process of territorialization. In January 1979, conceptual art, video, at all levels
he founded Pinakotheke Cultural in Rio de Janeiro, more than two decades later, and dimensions involve the visitor violently. Which feels physically and visually engulfed
in 2002, he inaugurated the branch in São Paulo. Before that, in 1987, it opened by the difficulty of the space cluttered in trying - in vain - to privilege one or another
the doors of Multiarte, in Fortaleza, a kind of bridge between the Pinakotheke creator with a look that is lost by the labyrinthine assembly that is proposed to us.
and the Northeast. The cumulative display system is preferred by some healers - but not all. And we
In performing multiple functions with the purpose of training, research, and have doubts about the correctness of this point of view. The good visibility of an
questioning, Perlingeiro generates applied knowledge on various diffusion platforms included work should be a concern. Thus, suddenly discovering, in the midst of an
of Brazilian art. The result of this performance gave him this year the Ciccilo exhibition like this one of Sesc 24 de Maio, the Retirantes by Portinari, from the
Matarazzo prize, from the Brazilian Association of Art Critics (ABCA). Hierarchically, MASP collection, is a surprise. As well as seeing a small Sérvulo Esmeraldo at the
there seems to be no task that supplants another in the daily life of the entrepreneur, same time that we confessed the difficulty in locating Brennand, João Câmara, or
demarcated by the coexistence between all the activities with which it is involved. Miguel dos Santos.
Research is, for him, a fundamental piece, which makes him critical of the superficiality And suddenly we find Montez Magno, among a crowd of unexpected diversified creators,
of some curatorial works. To deepen knowledge is to make the field of art a complex with no logic of presentation in space. The oppisite to the long-awaited exhibitionism
and dynamic space, but this is not always the case. “When there is an exhibition that attracts a multitude of heterogeneous visitors who deserve a clear orientation
there are curators who apply the copy/paste process, in works already published. to come out with a notion about the artistic expression in a region so extensive and
They do not care about a serious, deep, content text”. Adopting the same procedure broad in its creativity. Maybe this show settles before how one should not make an
for his role as publisher of art books, he is emphatic: “I do not make sticker albums, exposition (and could not have been divided into steps according to the diversity of
books must have content”. In his work in the book market he tries to change this languages?). In fact, curatorship is not an easy task to be conceived.

BOOK_ARTE_47_JUNHO2019.indb 106 17/06/19 22:33