Page 108 - ARTE!Brasileiros #49

IT’S ENOUGH ENGLISH VERSION
Book_ARTEBrasileiros_49.indb
EDITORIAL | PAGE 12
INTO THE HURRICANE
BY PATRICIA ROUSSEAUX, EDITORIAL DIRECTOR
THIS IS OUR LAST ISSUE OF 2019, a year where all the productive areas in this country had to work beyond their strength
in a petty environment. It was a year of economic difficulties for most of the population. If that were not enough, we
are in the midst of an incredible display of intellectual poverty.
Within the poverty of widespread thinking, the government has decided to make culture an appendix to the Ministry of
Tourism. They may have thought: “See, in the tour guides there are directions to the movies, theaters, and museums,
let’s put it all together.” It would be comical if it was not tragic.
Nevertheless, as we listened to the stupidity of countless bravados – some of which set us back decades in the history
of our lives and the country –, art saved us once again, with its absolutely unbreakable strength. The possibility of still
having access to culture allowed the population to go massively to exhibitions in museums and cultural institutions.
ARTE!Brasileiros, in partnership with Itaú Cultural, managed to hold a deep debate on various approaches and possible
alternatives for the sustainability of institutions and the importance of cultural management at the Cultural Management:
Contemporary Challenges seminar. From then on, we decided to start a series of interviews that would allow us to hear
and follow other voices permanently. The idea of a participatory cultural institution, capable of involving the population
in its causes, and not just a space of contemplation, is increasingly reinforced.
In this petty role, the state only deepens the scars of centuries of discrimination and violence and paves the way for
more violence. In art the answer is an active denunciation. Artists seek to express themselves, aesthetically and ethically.
They research archives, supports and themes that help them talk. Gender-based racial struggles against censorship
were present throughout the year in the works of biennials, such as Sesc_ Videobrasil, in prizes at both Marcantonio
Vilaça and Pipa, and in most national exhibitions.
More than 30 artists participate in an exhibition at the 9 de Julho Occupation in São Paulo, engaging in supporting the
struggle for housing movement. Young artists like Aline Motta, one of the Marcantonio Vilaça Prize winners, make her
work a permanent search, at its roots, for the collective memory of thousands of Brazilian families built (or destroyed)
in the violent process of the country’s formation, based on slavery and in the patriarchal structure.
Guerreiro do Divino Amor, winner of this year’s Pipa Prize, in completely original language and experimentation,
names the oxen and denounces the maneuvers of fascist evangelical sectors, defenders of outdated customs and the
responsibility that certain media groups are taking on it.
Our cover, the work the artist No Martins, from São Paulo, which is undoubtedly part of this ethos, somehow synthesizes
our feeling, also expressed in the text extracted from the book Critique of Black Reason, edited by n-1 edições, by
Cameroonian Achille Mbembe: “The Black Man, despised and profoundly dishonored, is the only human in the modern
order whose skin has been transformed into the form and spirit of merchandise—the living crypt of capital. But there
is also a manifest dualism to Blackness. In a spectacular reversal, it becomes the symbol of a conscious desire for life,
a force springing forth, buoyant and plastic, fully engaged in the act of creation and capable of living in the midst of
several Introduction 7 times and several histories at once”.
Just like No Martins, we say: IT IS ENOUGH!
COLLABORATORS | PAGE 10
ISSUE 49 DECEMBER JANUARY FEBRUARY 2019 2020 artebrasileiros.com.br
DERECK MAROUÇO is an art researcher, graduated in Art History, Criticism and Curatorship from the Pontifical Catholic
University of São Paulo. He was an assistant at the curatorship crew of the Pinacoteca of the State of São Paulo and
at the São Paulo Art Museum (MASP), assisting in several exhibitions and research. Now, he lives and works in Berlin.
GABRIELA DE LAURENTIIS is a visual artist and researcher. She is the author of the book Louise Bourgeois and feminist
ways of creating. She holds a degree in Social Sciences from PUC-SP and a master’s degree from the Department of
Cultural History at UNICAMP. She is currently a doctoral student at FAU-USP, with research on Anna Bella Geiger, whose
she writes about for this issue of ARTE!Brasileiros.
GUSTAVO VON HA is a visual artist. Lives and works in São Paulo. His works are present in private and public collections,
such as the Pinacoteca of the State of São Paulo, Rio Art Museum and MAC-USP. He is currently at Yaddo art residency,
in the state of New York. He writes about the new MoMA for our 49th issue.
CLARISSA DINIZ is a curator and writer. She holds a master’s degree in Art History from UERJ and a doctoral student in
Anthropology from UFRJ. She was editor of Tatuí magazine and published texts, catalogs and books, such as Crachá -
aspectos da legitimação artística. She has curated shows at many institutions, such as Sesc and Rio Art Museum. She
is a teacher at the Parque Lage School of Visual Arts.
COIL LOPES is web editor of ARTE!Brasileiros platform. He works assisting in various digital areas, holding the functions
of programmer, videomaker and video editor. He is specialized in digital marketing and he is also a DJ in his spare time.
He has worked at Editora Brasileiros since its formation. He is a pet-father of Twiggy Piglioli.
Cover: No Martins, work in the series “#JáBasta” (#ItIsEnough), 2019.
BIENNIALS CURITIBA | PAGES 14 TO 16
14 CURITIBA BIENNIAL AND
TH
THE CURRENT URGENCIES
WITH OPEN BORDERS AS A THEME, THE EXHIBITION IS INSPIRED BY THE CELEBRATIONS OF THE 30TH
ANNIVERSARY OF THE FALL OF BERLIN WALL
BY LEONOR AMARANTE
108 14/11/19 01:00