Page 106 - ARTE!Brasileiros #48

THE ART OF MEMORY ENGLISH VERSION

daily timeline is a lively extension of a field of attraction and repulsion, driven by poetic “IT IS NO LONGER WORTH SEEING THE HAMMOCKS AS A SPACE OF REST AND DECORATION.
and social forces. The show closes, Truck Sistem, which touches on one of the cruelest There is need to admire its representation and to understand that materiality
aspects of Brazilian labor, debt bondage. With around 30 carbon papers, collected and is the proof of the Amerindian resistance. That behind beauty and form there
graphed, Márcio Almeida puts into question the recurrent debt slavery experienced are pockets of resistance. That weaving or creating from them is art, is activism.
by the working class of the city and the countryside. This abuse procedure in force in It’s activity. It’s survival. It is to be”, says Naine Terena in the catalog of the
Brazil shows that the worker can not settle his debts with the boss, even those of the exposition Vaivém, seen until July in the Centro Cultural Banco do Brasil in
canteen, becoming a permanent slave of the employer. São Paulo and, now in September, being opened in the bank’s headquarters
Nowadays, with the man subtracted from the time to which he is entitled, Genealogia of Brasilia, following then to Rio and Belo Horizonte.
do ócio tropical could be a starting point for the package leaflet: Vida outro Modo Vaivém is the kind of show that goes beyond the field of art to deal with the
de Usar? The artist believes so. “I see production as directly linked to free thinking, culture in a broader way, and there is its greatest value.
without compromise, it is precisely in these moments of reflection that we are most
productive.” Márcio Almeida constantly proves this remedy. Just start working a More than simply to present sequentially several representations of one of
work, without any instrument, thinking quietly lying in the hammock, devising the most typical objects of Brazilian culture, the exhibition curated by Raphael
ideas, literally in idleness. Fonseca presents several aspects of the meanings of the hammocks, as Naine
points out in the citation above, going far beyond the cliché of the laziness
BOOKS AI-5 50 ANOS | PAGE 86 demarcated by colonialism.
FOR AN ALLOWED LIST This is made clear at the first room of the show, when the importance
of the production of the artifact of indigenous origin in the northeast is
contextualized, more specifically in São Bento, Paraíba, where there are
ORGANIZED BY PAULO MIYADA, BOOK AI-5 50 ANOS: AINDA NÃO TERMINOU DE produced no less than 12 million hammocks/year. The numbers there already
ACABAR SEIZES THE HOMONYMOUS EXHIBITION THAT TOOK PLACE IN 2018 make it clear that the impact of trade goes beyond the stereotype that one
can have. The city internet portal has an immense network to mark position.
BY JAMYLE RKAIN
Thus, the show follows in a succession of somewhat surprising narratives
“FOOL YOU WHO SAYS / YOUR FUTURE WILL BE THE MIRROR OF THIS GREATNESS.” The verse along six modules, which address from the different forms of representation
from Anna Maria Maiolino’s 1976 poem that opens the book AI-5 50 ANOS: ainda of hammock, either in Brazilian modernism, or in the comics of Walt Disney
não terminou de acabar is an epigraph not only for the publication, but also for the with Zé Carioca, until its function of Identity generator, as well Naine Terena
situation in which Brazil finds itself today. To Paulo Miyada, the book’s organizer and points out in relation to indigenous peoples.
curator of the exhibition that gave rise to it, “What we are living now is a burning It comes from them, incidentally, some of the most powerful images of the
aftermath of how profound the damage left by the years of military rule, compounded show, most of them commissioned by the curator, among them produced by
by the precarious character of democratic institutions that were not as revised and Yermollay Caripoune, Alzelina Luiza, Carmézia Emiliano and Jaider Esbell,
strengthened over the last three decades as it would have been necessary. ” The excerpt among others. In the catalogue, Clarissa Diniz cites a speech by Esbell,
is present in the article Não terminou de acabar, which is part of the book and was which points in an exact way why the show achieves high political voltage:
originally published on the ARTE!Brasileiros platform in November 2018, under the “There is no way to discuss decolonization without entering the doors of the
subtitle As lacunas na memória brasileira e a extensão do AI-5 (the Gaps in Brazilian cosmovisions of the originating peoples”.
Memory and the Extension of AI-5).
At this juncture, gathering the material from one of the most important exhibitions of There is a huge curatorial success, after all, even if contemporary artists have
recent years in a book is a way of not allowing gaps to exist, recording the memory of appropriated the hammock in their works, from Hélio Oiticica to Tunga, from
physical form, with the collaboration of over 80 artists and authors in 600 pages of Paulo Nazareth to OPAVIVARÁ – all present in the show, it is in the indigenous
articles, texts about artists, facsimiles, images, among others. Made collaboratively, context that it gains character of anti-hegemonic manifesto.
through donations, the collection of the necessary means for the production and printing The exhibition is still generous in presenting the various representations of
of the publication was successful. It shows that a lot of people are not willing to forget the hammock over the centuries, whether in the traveling artists in the time
of the monarchy of Brazil, or for its critical revision, so well performed by
REVIEW CCBB | PAGE 88 Denilson Baniwa.
VAIVÉM DEALS WITH The exhibition is undoubtedly audacious, by presenting more than 300 works
of 140 artists, in a period of five centuries, from the 16th to the present.
BRAZILIAN CULTURE However, its focus is accurate, and pass through it is an effective experience.
BEYOND ART It is essential to remember that the exposition is the result of a doctorate
conducted by the curator over five years, therefore a research of breath, which
materializes in the exhibition space adequately and really as an experience,
EXHIBITION CURATED BY RAPHAEL FONSECA ADDRESSES THE HAMMOCK that to say , it is not a transposition of a thesis. In times of questioning of
UNDER MULTIPLE PERSPECTIVES IN CCBB science and the academy, Vaivém also functions to point out how the university
environment is essential for the reflection of Brazilian culture, as well as capable
BY FABIO CYPRIANO of transpose the academic environment to a powerful dialogue with society.

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