Page 111 - ARTE!Brasileiros #49

project, Meridians articulates a very organic exchange of ideas and positions, unveiling national policy, such a conservative moment - not to use a harsher word - I tend not to
conceptual overlaps, themes and interests that have emerged from this year’s strong want to debate where the mistake lies over there, but to think about what has allowed
selection of projects”, Arriola said during the project announcement. us to reach this moment. We stopped doing something so that society would see us
In the exhibitors sectors, the Brazilian galleries appear as usual. The galleries Jaqueline in a not so meritorious way”, said Saron.
Martins and Luciana Brito announced that they will make a joint participation in the According to him, while society questions the need for public investment in culture and
fair, with works by the artists Robert Barry, Lydia Okumura, Augusto de Campos and the government tries to criminalize artists, “the world of culture rarely crosses the street
Geraldo de Barros. It is the first time in the history of the fair that two galleries are to empathize with the other field.” From this diagnosis, Saron proposed an analysis of
sharing a booth in the main event space, provoking dialogues between artists who what has happened in Brazil over the past 20 years, a period largely characterized by
they represent: “The joint project seeks to create a space where both intersections economic growth centered on the commodity boom and the strengthening of state-
and differences between their productions can be perceived by visitors”, says the owned companies as sponsors of culture.
galleries’ report. “And a policy that focused on the democratization of access predominated. That was
Anita Schwartz Art Gallery, from Rio de Janeiro, will make a solo stand with works by the key idea when Lula takes over, for example”. From this point of view, “turning
the artist Paulo Vivacqua. Babbling Forms and Corale work as musical poems, says the turnstile” has become a major indicator of cultural relevance, with many projects
the gallery owner. “They deal with the same starting point: the speakers, which set based on what Saron called spectacularization. It was also the period of construction
a counterpart to each other”, she explains. “While Corale emphasizes form, with a of many new cultural buildings, to the detriment of carelessness with historic buildings
composition of sculptures made from color speakers in nuances of color, Babbling and existing spaces.
Forms is deeply involved with the function of language, where ‘pre-verbal’ sounds The democratization discourse eventually legitimized culture as an “instrument and
talk”. Their interaction focuses on artistic inquiry into how the preconceived ideas mechanism”, not as an end in itself. “And we didn’t know how to make the leap about
of sculpture disappear and shift in unexpected directions. The artist considers the the true role of the arts in transforming society.” For Saron, culture itself must be
transmission of sound and silence as a musical state that acquires concreteness and located as a field of transformation, and for that democratization is not enough. Enter
presence in space - music as sculpture. the word “participation”, which by proposing “a field where we bring the individual
In turn, Casa Triângulo will present some of its artists to the fair, but the gallerists to act, we stop putting ourselves as an instrument and broaden our understanding of
bet on a pair of artists, Ascânio MMM and Mariana Palma. According to the gallery’s the role of culture in the construction of humanistic thinking, from the perspective
director, Camila Siqueira, Ascânio sculptures produced between the 60’s and 70’s will of democracy. cultural”.
be shown. “To reinforce the historical importance of his production during this period”, “Then the referential becomes the enjoyment - the pleasure of the other in contact with
she says. In 2020, Mariana Palma will have an individual at the Tomie Ohtake Institute. art -, the fomentation - a policy for the arts in the country - and the formation - which
Thus, the gallery also focuses on her paintings that exploits an exuberance of colors. is the core of our role as transformers of a society. Thus, art and culture can address
many of society’s problems, such as education and public safety, with greater power
AROUND and speed than other public policies, including lower costs, he concluded.
After Saron’s speech, Fabio Szwarcwald told a little about his work at the Parque Lage
Kogan Amaro Gallery debuts at SCOPE, one of the main fairs of the contemporary School of Visual Arts in Rio de Janeiro, where he has been since 2017. The economist and
circuit, which reaches its 19th edition in 2019. Gallery director Marlise Corsato researched collector, who worked in banks for 22 years, took over the EAV board after a few years on
other fairs in Miami during her visits to Art Basel. As an international fair that has its board, and in a period of deep crisis in the institution with the withdrawal of financial
been in the market for a long time, already established, but with a younger, lighter transfers from the state.
and more casual feel, Marlise bet on SCOPE for the gallery’s debut in a fair outside “EAV was founded during the Military Dictatorship, so it already has this DNA of a place
Brazil: “I felt it would be interesting for us to start at an international fair in this style”. of resistance, of struggle. It was created by Rubens Gerchman as a counterpoint to the
Daniel Mullen, Mundano, Nunca and Samuel de Saboia are the four artists who will existing academic schools. So we are a free school from the beginning and we understand
be at the booth of Kogan Amaro, the only Brazilian to participate in SCOPE. Mundano that to be free the school must be able to afford itself, pay its own bills”, he said. “So all
and Nunca will create some outdoor work in Miami, as both work with street art. The my work was to rescue this autonomy, this freedom of action so important these days.”
actions were thought to happen due to the participation in the fair, incorporating the According to the economist, EAV focused on a rapprochement with the public, in
artists to the city. addition to reinforcing the role of the association of friends responsible for the school’s
financial administration. “And the idea was to open the school as much as possible
because, as Saron said, many times we who work with art speak only to ourselves.
SEMINAR CULTURAL MANAGEMENT | PAGE 32 TO 37 And we had to open to the periphery. I mean, open to society because it will give us
the strength of resistance, maintenance and even financial support”.
CULTURAL MANAGEMENT Through sponsorships; charity nights; the insertion of EAV in the ArtRio and SP-Arte
fairs, with works provided by several artists; of an unprecedented partnership with
IN TIMES OF ECONOMIC Candido Mendes University, bringing the paid curator course; and the creation of two
stores, EAV was able to rebuild itself. This year, the institution also approved an annual
AND POLITICAL CRISIS plan of R $ 8 million in the Culture Incentive Law. “This was all very important to redeem
the free training program that is fundamental to our students’ development. And we
increasingly want to bring these students who would not be able to afford a course”.
SEMINAR HELD BY ARTE!Brasileiros AND ITAÚ CULTURAL BROUGHT TOGETHER By accepting the Queermuseu exhibition - which ended after a defamatory campaign at
MANAGERS, ARTISTS AND EXPERTS TO DISCUSS THE CHALLENGES AND WAYS Santander Cultural in Porto Alegre and censored by Marcelo Crivella in MAR - Parque
FOR CULTURAL MANAGEMENT IN THE CONTEMPORARY CONTEXT; LEARN WHAT Lage organized a crowdfunding campaign that raised over R $ 1 million to set up the
show. “This also revealed the society’s revolt to see, in 2017, an exhibition with 250
EDUARDO SARON, FABIO SZWARCWALD, JOCHEN VOLZ, GABRIELA NOUJAIM, artists being censored in Brazil,” said Szwarcwald.
JONATHAS DE ANDRADE, ANA CARLA FONSECA AND KATIA DE MARCO The director also spoke about the training program for public school teachers, about
Parquinho Lage, with classes for children, and the extramural partnerships, with
BY MARCOS GRINSPUM FERRAZ classes in peripheral areas of Rio. “We started 2017 with 600 students and this year
we have more than 6,000, 90% of which is free of charge”, he summarized of the EAV
HELD ON OCTOBER 21, in São Paulo, the seminar Cultural Management: Contemporary figures. “People were very homesick for the school in the 1980s, because of her role
Challenges discussed essential management issues in the present times, in a context in the past, and now we have been seen, frequented, as a result of working to face the
of political and economic crises in the country. Divided into two tables, the event was challenges, know the difficulties and set new goals,” he concluded. .
presented and hosted by the editorial director of ARTE!Brasileiros, Patricia Rousseaux, Finally, the curator and director of the Pinacoteca de São Paulo, Jochen Volz, began
who highlighted in her opening speech some of the themes that guided the debate. his presentation by quoting a curious fact for the present times, which shows that in
“Theoretical, legal, economic and political issues have always been part of academic the first six months of 2019, 30 Brazilian museums had a 30% increase in audience.
programs and debates. However, the precariousness of state investments, the “This is extremely interesting because it goes against what we might expect at this
acceleration of sociocultural changes, the discussion of environmental and migratory time of crisis. So for me, in a museum like Pinacoteca, we have to try to understand
issues, the rise of the debate on our colonial history, gender issues and movements what kind of situation we are living in and how to react to it”.
of censorship towards freedom of expression have made culture an almost primordial According to him, in times of radicalization, in which everything is polar and dual, one
stage of demonstrations,” said Rousseaux. “This situation presents real challenges for can also perceive “something that is the opposite of this, something that William Wisnik
managers and different agents of culture and contemporary art. It requires extraordinary described very beautifully in the book Inside the Fog. Which is that big fog where we
flexibility, a broad, democratic and ethical vision capable of understanding the demands realize that everything we knew might not be enough anymore”, said Volz. “And we are
of debate in public and private institutions”, he added. at the moment when the narratives we thought were linear are not enough, because
The first table, which was also attended by Fabio Szwarcwald, CEO of EAV Parque there are many stories, not just one.”
Lage, and Jochen Volz, director of Pinacoteca de São Paulo, began with the speech For the curator, the current challenge goes beyond finance and management issues,
of Eduardo Saron, director of Itaú Cultural. “At such a destabilized moment of our and focuses especially on the relationship with the public. “It is the public who will

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