Page 112 - ARTE!Brasileiros #49

IT’S ENOUGH ENGLISH VERSION
protect us.” Based on these findings, Volz spoke about a specific exhibition presented Fonseca presented five examples of projects developed or monitored by the company,
this year at Pinacoteca, entitled Somos Muit + s: Experiments on collectivity, which among them the competition held to select innovative visual identities for sardines in Lisbon.
started with the question of how to create ways to reflect with the public. - “even with The process, which exemplifies how it is possible to work with the traditions and intangible
those across the street who have turned their backs on culture.” “Because we believe heritage of a place in an original way, has in many ways reflected in the local economy. A
that the place of art is to generate imagination about other ways of living together, former ceramics company, for example, started to produce stamped tableware with the
other ways of imagining a democratic coexistence.” illustrations selected in the competition, creating a new and profitable market segment.
The exhibition came from the work and thought of two key historical figures to think Fonseca also spoke about the work of the Cuban company Habaguanex, which for
about participation in art: Joseph Beuys and Helio Oiticica. “Beyus already said in the over 20 years helped revitalize buildings in the historic Habana Vieja region through
1970s that art is not a medium for something, it is the place of imagination. It has an a careful project of heritage management; from a pizzeria in Mexico that created a
economic value not for what it yields, but because creativity has an economic value hybrid business model, where every five pieces of pizza sold the company targets one
in itself”, said the curator, stressing that the construction of a cultural life must go for homeless people with drug problems; and from a Chilean company that, working
through a collective process of participation. simultaneously with ancestry and technology, created speakers made of clay structure
From the works of the two historical artists, the show brought together other using traditional techniques.
contemporary works, including the one by Rirkrit Tiravanija - Untitled 2019 (demo Last participant to speak, Katia de Marco briefly presented the work of the Brazilian
station n.7) -, which occupied the Pinacoteca octagon with “an open stage, too high, Association of Cultural Management (ABGC) - which in addition to the focus on
dysfunctional , which from below you can not see anything. But for those on top, the teaching assumes a role of militancy in cultural causes - of which she is founder and
view is wonderful”, commented Volz. “So there’s a role reversal, it’s a work that talks president, and raised questions about the contemporary challenges. Katia, who is
a lot more about power, about the relationships between ‘us together’.” also coordinator of the postgraduate studies in cultural and social studies at Candido
To perform on this stage, Pinacoteca drew artists and collectives such as Legitimate Mendes University and director of the Antonio Parreiras Museum (Niterói), highlighted
Defense, the Casa do Povo choir and JAMAC, among many others. “We had a total of the striking differences between the first two decades of the 21st century regarding
90 performances, with almost a thousand people actively participating. And it is not the cultural field in Brazil.
numbers that I am dealing with, but a proposal to think about who has the space to “We started the century in a very promising way, with high hopes, having this binomial
speak in this institution. The idea of thinking about who has the power, breaking the culture and development in a very open and very free way”, she said. “Culture emerged

privileges, thinking about which voices need to conquer these spaces, Volz continued. at this time in its larger dimension, interacting with various layers of knowledge,
This means, he said, that institutions like Pinacoteca need to put themselves in this instrumental life, exchanges with the economy, as a support for development policies,
position of listening, listening, celebrating diversity and “understanding that perhaps our as a communication channel between various fields.”
privilege is to be able to offer an open stage.” “If we cannot create this identification, In Brazil, according to her, this was reflected in the work of the Ministry of Culture,
how, if political or censorship situations tighten even further, will we believe that we based on a humanistic and social vision. From there she drew an overview of some
will be defended by people, including those who are not usually interested in culture?” ideas, concepts and events that illustrated this period, in a context of bankruptcy of
Concluded the curator. the neoliberal model in the late 20th century. With the holding of several meetings
and the implementation of international agreements, concepts emerged that pass
ARTISTS BENEFITED BY GOOD MANAGEMENT through ideas of sustainability, technology, management, citizenship, well-being and
Following the debate with the institution managers, the second table of the seminar inclusion. In this transition also appears a need for action and empowerment of civil
brought together two artists, Gabriela Noujaim and Jonathas de Andrade, and two society, as explained the president of ABGC. “This is before the humanistic blackout
specialists in cultural management and creative solutions, Ana Carla Fonseca and Katia we are experiencing in this second decade”, she said.
Araújo by Marco Scorzelli. First to speak, Noujaim, who has a degree in printmaking Considering the social, environmental, and political issues that spanned these two
from the UFRJ School of Fine Arts, told about the importance of the free courses she decades of the 21st century and ended in the current obscure picture, phenomena
took over the years at EAV Parque Lage, with teachers such as Dionísio del Santo, such as resource scarcity, chaotic city growth, terrorism, migratory flows, and the
Evany Cardoso, Anna Bella Geiger. and Fernando Cocchiarale. “They were fundamental rise of the far right arise. “And in this scenario, to think about the future of the planet
to my education as an artist. And if they weren’t free, I wouldn’t have been able to you need to create outputs, alternatives, new institutions, new business models and
do it”, she said. concepts,” said the professor. The answers often come from artists, “if we think that
In addition to presenting her work, which deals with body, memory and ancestry and art is like a radar that foresees and at the same time reflects its tim”.
raises political questions about indigenous and environmental causes, Noujaim entered “One thing that seemed unthinkable, and one we’re living in, is this authoritarianism
the theme of cultural management by talking about her ten-year experience with that appeals to censorship in art. And this is impacting the cultural environment so
projects sponsored by Banco do Nordeste Cultural Center. Through the institution, much because in Brazil about 70% of cultural facilities are tied to public management,
the artist has done more than a dozen projects in the region. “It was fundamental to governments. And then we think that maybe it is time to disengage a little from the
know the interior of the country and our culture”. state, create mechanisms of autonomy in the artistic institutions”, defended Katia.
“These cultural centers, directly linked to the federal government, also support some Solutions such as equity funds emerge, for example, among other alternatives to “this
points of culture in smaller cities. And currently they are facing many difficulties, moment when we no longer have that atmosphere of the first decade of this century, of
they are at risk”, she said. “And I consider the permanence of these centers to be culture being expressed in inclusive cultural and socialization policies,” she concluded.
fundamental, because in these cities they are the only existing cultural movement
that provides access to theater, cinema, contemporary art and free art workshops.”
The second to speak was the artist from Alagoas Jonathas de Andrade, who stressed SEMINAR CULTURAL MANAGEMENT | PAGE 38 TO 40
the importance of scholarships, incentives and residences in his career. “I am quite
developing myself as an artist”, he said, referring to what he called a “scrapping and OTHER VOICES
clear that if I were starting at this current juncture, I would have much more difficulty
cultural dismantling process that we live in Brazil today”.
Jonathas, who attended the 7th Mercosur Biennial, the 32nd São Paulo Biennial and LEARN WHAT LUCIMARA LETELIER, FOUNDER AND DIRECTOR OF THE VIVO
resided in several countries, told about his career in the arts that began at the end of MUSEUM; RENATA BITTENCOURT, EXECUTIVE DIRECTOR OF THE INHOTIM
the Social Communication course at UFPE. His first exhibition of photographs, set up
at the Joaquim Nabuco Foundation after a selection process for young artists, also INSTITUTE, AND CLAUDINEI ROBERTO DA SILVA, PROFESSOR AND CURATOR,
resulted in a publication funded by Funcultura. “At that time, when I was trying to SAY ON ISSUES SURROUNDING CULTURAL MANAGEMENT
understand myself as an artist, all the incentives, scholarships and public possibilities
were fundamental in the unfolding of things.” BY PATRICIA ROUSSEAUX AND JAMYLE RKAIN
Jonathas’ first show in São Paulo, in turn, took place at Itaú Cultural itself, and over the
years the artist had the support of Banco Real, Funarte and biennials, among others. ON THE OCCASION OF THE CONCEPTUALIZATION of the Cultural Management Seminar:
“And that makes me think that it is urgent that both institutions and companies that Contemporary Challenges, in addition to the speakers who added to the event, we
can afford to develop arts programs.” “At this critical moment we have ecological discovered numerous professionals who have been working together with the difficulties
disasters, genocides and a number of very pressing issues. But to think of culture as faced by culture in our country.
an articulator of all this, to really give this country a breath, I think that supporting the Here, an interview with Lucimara Letelier, founder and director of the Museu Vivo,
arts is also urgent, because we are dealing with memories that persist”, he concluded. consultancy for innovation and economic sustainability in museums and culture,
co-creator of HiperMuseus. She has been working in cultural, social and museum
MANAGEMENT CASES management for 20 years, with projects with over 40 organizations, such as the
The following presentation was by Ana Carla Fonseca, master of business administration Portuguese Language Museum, Immigration Museum, Villa Lobos Museum, Oi Futuro,
and doctorate in urbanism from USP, adviser to the UN and the IDB on creative economy Museum of Tomorrow, MAR and Espaço BNDES. She holds a master’s degree in cultural
and cities. She spoke especially about her work with Garimpo de Soluções, a company administration from Boston University, and was an adjunct director of the arts at the
that runs alongside Alejandro Castañé, focused on the creative economy, business British Council, director of fundraising at ActionAid. She is a counselor at ICOM Brazil
solutions and city development. and ICOM MPR, ActionAid and ABGC.

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