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also consists of paintings and prints on canvas. The testimonies include artists such as There is no rule, but in general, first arises a question, then I find the matter, the form and
Lyz Parayzo, Rosa Luz (also a participant in Panorama) and Jota Mombaça. the language through which I will explore it. I ended up coming to an idea of “opposition”
Originally from Ceilândia, Federal District, the artist Antônio Obá brings to Panorama that almost always guides my choices, like the bloody chronicles of my memories from
four paintings, one larger, entitled Mama (2019), in which a black woman holds two Contagem narrated in small handmade embroideries; or the flags of Profecias, made with
felines in a maternal gesture, proposing a reflection on the country’s identity, and a rags from bedclothes, table linens and towels, to deal with public affairs and social issues
series of three other smaller paintings that refer to the black body and traditions, also related to Brazil. Ultimately, I authorize myself to experiment with any kind of material
approaching a religious context. Already the artist Gê Viana, born in Maranhão, exposes or process, you learn from your mistakes.
three photographs printed as licks and fixed in huge canvas hanging on the ceiling.
Retiro de caça ou um outro capelobo (2019), as the work is titled, comes, according to Speaking of Profecias, when I first saw your work, I immediately referred to the
the artist, as she says, “from the need to talk about the things that happened to our recent history of Latin America and the historical and symbolic weight that has the
people removed from their place of origin”. textile use and the embroidery in the works of resistance. What aspects of textiles
She says that when she asked one of her grandparents if the family had an indigenous interest you in your work?
background, the answer was: “My mother was angry. She was caught in the woods”. From R. L: My contact with the textile started at home watching my grandmother sew. My
then on, Gê began to question the history of some families in which the constitution took mother used to work in the industry sewing car seats for Fiat and, well before that, my
place through violence, such as imprisonment and rape. paternal grandfather was a tailor. But it was after knowing the embroidery of Violeta Parra
As much as the varied supports, themes or formats of the works that make up the 36th that I started to be interested in textiles as an expressive possibility. From her work I met
Panorama may make them think that they move away from each other, we must be aware the tradition of the Chilean Arpilleras and they impacted me strongly. I felt since then
of a strong feature among the 29 participating artists and collectives: they are people very influenced, especially by the aspect of social and political denunciation that these
who, as Gervane says, chose to take over their region. works demonstrate. Gradually I was acquainted with the work of other artists such as
Bispo do Rosário, Louise Bourgeois, Tracey Emin, Leonilson, Sonia Gomes and Feliciano
Centurión, whose influence led me to explore another aspect of textile production, more
INTERVIEW RANDOLPHO LAMONIER | PAGES 46 AND 47 emotional and affective, when the Intimacy becomes political.
IMPROVISATION AS A METHOD In your work it seems to mix the intimate and private, what happens in personal

everyday spaces and what happens on the street. For you there is an undifferentiation
INTERVIEW WITH RANDOLPHO LAMONIER, ARTIST FROM MINAS GERAIS between the public and the private that you seek to manifest in the images/works?
PARTICIPATING IN THE 36TH PANORAMA DA ARTE BRASILEIRA I try to explore in the territory of intimate matters everything that may be relevant to the
public sphere, and in the same way the contrary, I am involved with public affairs with an
BY ALEXIA TALA often sentimental and cathartic engagement. So that I am always blurting the barriers
between these two universes in an attempt to create a third space where I circulate with
Alexia Tala: When I observe your work I see that there is a deep demand for supports as much freedom as possible.
and formats. You use graphic arts, photography, audiovisual, textiles, etc. This
versatility makes your work not limited to a particular aesthetic. How is the process Your work talks about violence, oppression and some social struggles related to
in which you choose to work an idea, on one or on another support? underdevelopment and marginality. How are you assimilating your work to the
Randolpho Lamonier: Since the beginning of my research on art I have been dealing current Brazilian situation?
with a lot of experimentation and the act of improvising has become one of my main As an artist interested in telling stories and dialoguing with the questions of my time,
working methodologies. It was something that I assimilated completely intuitively as it would be impossible not to feel totally crossed by the general crisis that Brazil is
a response to a series of barriers and faults, because when I started producing there experiencing. I already had an idea of how the world interferes with my work and now I’m
was no money for materials, technical knowledge or references from the art world. So learning in what ways it responds to what I produce. It is a conception of responsibility
I began by observing what was around me and by improvising with the situations my that has broadened my consciousness in relation to the potency of all that subjectivity
reality offered. This marked in me the feeling that I can work with any material, media can. I am seeking all the desire, irreverence and courage that can be extracted from
or support, as long as there is need and desire. these days of pure horror.

How and what was the influence that started your artistic doing?
I grew up in Contagem outskirts, in the state of Minas Gerais, in a context where we had EXHIBITION SÃO PAULO | PAGES 48 TO 51
was working. I believe that the aesthetics of the blockbusters on Sessão da Tarde, an THEY ALWAYS WERE
no access to virtually any cultural apparatus. I was raised watching TV while my mom
afternoon tv program showing movies, the sensationalist programs of the Brazilian TV
of the years 90 and the video clips of MTV were the first stimulus that could get close to EXHIBITIONS “WOMEN’S HISTORIES” AND “FEMINIST HISTORIES” AT MASP MAP
an influence said “artistic”. Still in childhood, I helped my aunt and uncle in a small family THE PLASTIC CREATION OF AUTHORS IN DIFFERENT HISTORICAL MOMENTS
business of filming weddings, parties and other events. So the capture and reproduction
of image through the VHS was also something that caught my attention. BY MARIA HIRSZMAN
Later, while I was beginning to explore the field of visual arts, I began to study theater and
was soon working in some companies. My short passage by the Grupo Oficina Multimidia, SINCE 2016, MASP has been articulating its programming around “Histories”, illuminating in
in Belo Horizonte, was one of my main influences at that time, for its intrinsic relationship this process complex relationships between art and historically deprived social segments.
with the visual arts and its bold research with videoinstallations, scenic objects, costumes Each year, a theme – such as Histories of Sexuality and Afro–Atlantic Histories – guides the
and scenographies. Then I started photographing my friends, almost all from the theater, exhibitions and activities organized by the museum. Now it’s women’s turn. Rethinking
and the narrative and aesthetic proposals that we created to photograph led me to be the relationship between them and the visual arts, shedding light on the uneven structure
interested in photo–performance and video production. of the artistic production system, is urgent, necessary and can be done from a multiple
approach, as shown by the broad strategy adopted by the museum, which involves debate
Your process is very interesting. What arises first, the matter or the encounter cycles, monographic exhibitions by leading 20th century artists and print publications. In
with the matter? this process, the work of designing and conducting curatorial research is of fundamental

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