Page 98 - ARTE!Brasileiros #48

THE ART OF MEMORY ENGLISH VERSION
activated, she made it clear that the business there is not just entertainment. presents Negrx Re–existence, a poetic–political immersion and two other performances.
It makes perfect sense to resume Beuys because after all it is one of the most important With all this, we are many, curated by Amanda Arantes, Fernanda Pitta and Jochen Volz
artistic proposals, defended since 1977, as read in the text Entry into a living being, puts the Pinacoteca with a living space that rethinks art and its context, as did Beuys
reproduced in the catalog of the exhibition, which states: “Every human being is an and Oiticica in their time.
artist, because he experience the creative essence itself, the formative essence that
relates to all the problem fields of life, all the fields in which this human being moves”.
This is the key to a still unexplored thought, which is the understanding that art is a EXHIBITION SÃO PAULO | PAGES 42 TO 45
since Marcel Duchamp had long argued that playing chess was art, but Beuys obviously IN THE PATHS OF THE SERTÃO
broad field and can unfold into several other fields. This is not absolutely groundbreaking,
went much further.
TH
Founder of the Green Party in Germany in 1980, an advocate of direct democracy, an 36 PANORAMA DA ARTE BRASILEIRA OCCUPIES THE MUSEUM OF MODERN
ecologist, his activism has always been an important facet of his artistic activity. In the ART OF SÃO PAULO (MAM–SP) WITH WORKS THAT PROPOSE EXPERIENCES

field of art, Beuys defended the idea of “social sculpture”, a strategy to reconcile artistic OUTSIDE THE MAJOR URBAN CENTERS
practice with social intervention, as occurred in Seven Thousand Oaks. In 1979, on the
occasion of the Kassel Documenta, Beuys and locals planted 7,000 oaks to transform BY JAMYLE RKAIN. PHOTOS BY KARINA BACCI
the arid German city, one of the most destroyed in World War II. Today, Kassel is an
example of “social sculpture. As announced by curator Júlia Rebouças in an interview for the 47th edition for
Beuys was also a critic of exclusion systems. He was expelled from the University ARTE!Brasileiros, the “sertão” over which the 36th Panorama da Arte Brasileira focuses
of Düsseldorf in 1972 for arguing that his classes should be attended by anyone is not the geographical place, but rather a “way of thinking and acting”. With the opening of
and not just those enrolled in his classes. He created Frei Internationale the exhibition to the public on August 17, it is certain that not everything is or not everything
Universität with other colleagues in 1983 in his own studio in Düsseldorf. arrives in São Paulo: “This is something that Panorama says. Not everything is concentrated
As it turns out, the political and educational dimensions are essential in his thinking, but not here, not all intelligence is in this place, not all wealth. There is a lot of intelligence and
only: he also had a view of the symbolic importance of art, and the first rooms of Somos sophistication that we don’t see”, she says in conversation during the exhibition.
mu + s prove this concern. In addition to drawings that accompany important issues in Julia chose to ask that the exhibition, made in partnership with Risco Studio, be more

his work, the Sculpture Honey Bomb at Work, a machine that pumped honey through the open, exercising the idea of what would be a public space or a shared space between all
Fridericianum Museum over the 100 days of Documenta 6 in 1977, deals precisely with artists: “Or even a landscape, but not a closed room or a private place”, she explains. The
the infiltration of a natural substance, fertilizer, source of life and immortality. Honey and curator says the intention is for the audience to be able to see multiple works at once
fat are common elements of Beuys poetics. With honey he brings life and sweetens the and reflect on how they relate to each other. “I wish things had to live together, either
institutions of art and, in this sense, it is to be regretted that the work is seen only as an harmoniously or more conflictually.”
inanimate sculpture, without actually going through the Pinacoteca. The works present in the show invite the public to go far, two of them literally. The artist
However, the show provides other possible experiences of collectivity, such as Mauricio Raquel Versieux, born in Belo Horizonte and currently living in Ceará, proposes that
Ianês performance Ágora, which will be present during its three months of duration. In it, the public go to Cariri cearense. She presents the Manejo Movente project, carried out
he creates a living space where he serves tea and coffee and allows visitors to manifest in collaboration with Elis Rigoni. The intention is to gather the public in meetings with
through the walls painted in deep red. artists, farmers, students and local leaders to perform land practices, social practices
Already Monica Nador and the Jardim Miriam Arte Club (Jamac) are seen in and image practices. The meetings take place in four moments: three in the Cariri region
a partnership with the Pinacoteca Educational Action Center with the project and one last in São Paulo, MAM, all on weekends.
Extramuros, which has existed since 2008. For the show were held drawing and The work of the Santa Catarina duo Gabi Bresola and Mariana Berta takes those who
woodcut workshops, with the results part seen on the exhibit itself or outside the are willing to go to the city of Joaçaba, in the interior of Santa Catarina, to attend the
museum. Surungo dance ball, also the title of the artists’ work. They offer the public a 14–hour bus
Another experience is Tania Bruguera’s School of Useful Art, which occupies a show room ticket to the location on the bank of Peixe River so that those interested can indulge in
with intense programming throughout its 11 weeks, including a three–day workshop with the Surungo experience. “Our center is different”, Mariana writes, “it is for this art circuit
the artist herself, from 9–11 October. . that we decided to point out, because it could not be different”.
Useful Art is a concept developed by Bruguera in recent years that argues that art should A veteran of the 29 artists and collectives participating in Panorama, Gervane de Paula,
be able to serve as a tool for social change, capable of being implemented through long a native of Cuiabá, presents three works at the exhibition: Deus Ápis, suas esposas e seu
term projects, the subject matter of the last edition of ARTE! Brasileiros. Everything to rebanho or O Mundo Animal (2016–2019), set of wood carvings, antlers and crafts; Art,
do with Beuys’s proposals. Not Invent (2016); and Arte Aqui Eu Mato (2016), both oil paintings on iron plate. This
From Oiticica, the show presents the immersive Appropriation Environment (Pool Table, last one, cover of this edition of ARTE!Brasileiros magazine. The title of the work is a
d’après “Van Gogh’s Night Café”), first seen in the Opinion 66 show at the Rio de Janeiro pun on the name of the book of art critic Mato Grosso Aline Figueiredo, Art here is bush,
Museum of Modern Art in 1966. In it, a royal pool table is available to visitors in a space launched in 1990. “Cuiabá, despite being a city far from the major centers, has a strong
with red walls similar to Van Gogh’s painting. Thus, in addition to having coffee with Iane, movement of art, especially of painters. And this book of hers speaks of this abundance
visitors can also play pool at the show. There, Oiticica includes an important element in his of artists,”, he says. But at the same time, the artist realized what he calls “a decay”: “An
work which is the pleasure of the game as an element for creating bonds, a transforming art that is produced and has no resonance, has no public, its authors live full of privations
concept, especially in opposition to Beuys’s Germanic proposals. and, because it is closed, it is very resistant to the new. Arte Aqui Eu Mato can also be
In fact, Vivian Caccuri’s work in the show, Ode ao Triangulo, uses the musical instrument the president’s hand, pointing a gun at art, at us, can’t it? ”, he asks.
to create an installation about the possible elements linked to its form and function, which Gervane uses materials characteristic of the region where he was born and lives, such as
reverberates in dialogue with works from the collection and activations. throughout barbed wire and the wood of corral posts. “This wood comes with a load of time, a poetic load,
the show. because they are posts that have been there for over 10 years suffering the transformations
Finally, the Pinacoteca octagon is occupied by a demonstration platform, created by artist of time. I do not cut down tree to do my works. I collect this old stuff”, he explains.
Rirkrit Tiravanija in 2000, which has been having different versions since then. It is a free The video installation Desaquenda (2016–2019), by artist Vulcanica Pokaropa, features 12
space to be occupied by various activations throughout the show, from yoga classes to channels with testimonials from travesty, transsexual and non–binary people who work in
graduation parties. There the Collective Self Defense and Aliadxs, formed with the intention the arts. The work discusses the positioning of these people in institutional spaces and
of working a poetic of the image of blackness and its social and historical developments, their performance in non marginalized spaces. In addition to the video series, the work

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