Page 96 - ARTE!Brasileiros #50

ENGLISH VERSION BACK TO THE NATURE

of her production. However, even if his works except to entertain, teach and, above all, to put deforestation in the Amazon - where diverse
from the anthropophagic phase are still as people’s heads to work? peoples live - are breaking records, as well as
significant as that of the “pau-brasil” period, the invasions of demarcated lands in the country.
the reception he obtained from the modernist [1] - The Collection will soon be made available Among these and others, it should be noted that
intellectuality seems to have not been the same. to the public at the Tarsila exhibition. Studies and the number of murders of indigenous leaders in
However, the leap of rationalism by Léger et Notes, to be inaugurated at the Marcos Amaro 2019 was the highest in the last decade.
al. for De Chirico’s metaphysics, he was not the Art Factory, in Itu, curated by Aracy Amaral and Faced with this panorama, it is in the
only one in those glorious years of Tarsila. On Regina Teixeira de Barros. opposite direction that the universe of visual
her visit to the Soviet Union, she suddenly took [2] - On the work of Tarsila do Amaral, consult: arts has turned to indigenous peoples, their
another leap (aesthetic / ideological), throwing SARTUNI, Maria Eugenia (Dir.) / BARROS, productions, their ways of thinking and living.
herself into the arms of socialist realism, an Regina Teixeira de (org.Ed.) Raisonné Tarsila This movement seems clear when one observes
aspect that was opposed, both to the rationality do Amaral catalog, São Paulo: Base 7 Cultural the recent agenda of several of the main cultural
of the constructive aspects, and to the mysteries Projects: Pinacoteca di State, 2008. Vol.1, 2, institutions in the country. Sesc, following other
of surrealism, both emanations of art “ bourgeois and 3. important projects in this area, will present
”for Soviet parameters. It is clear that she tried [3] - Read: “Tarsila. Drawings ”, by Aracy Amaral in 2020 the show Coração na Aldeia, Pés no
to mitigate the authoritarianism of the aspect and“ About the drawings by Tarsila ”, by Regina Mundo, in Piracicaba, and the conclusion of
that she had embraced, risking bringing to her T. de Barros. In AMARAL, Aracy; BARROS. the Sawé project, in Ipiranga, both linked to
a certain “delicacy” that had already permeated Regina T. de (curators.). Tarsila. Graphics. Itu: the struggle of indigenous women. Amerindian
its previous phases. But he was not happy in Marcos Amaro Foundation, 2020. In addition Encounters, in turn, at the Vila Mariana unit,
the endeavor. Between us: none of his paintings to the aforementioned texts and images of the will bring together contemporary works from
produced during his “socialist realist” phase works, the catalog also has important texts on different ethnic groups in the Americas.
and those produced afterwards, compare, in conservation and restoration of the works in The Afro Museum, after exhibits on African
terms of quality of conception / realization, to the Collection: “Conservation and restoration and Portuguese origins, ends its trilogy on
his two previous phases. I”, by Ana Maria C. Scablianti (and others the people who formed the country with the
Above I mentioned the fact that Tarsila, after ); “Conservation and restoration II”, by Ana exhibition Heranças de um Profundo Brasil.
her “realistic” phase, would have tried to “copy Nakanderkara and “Conservation in the works The Pinacoteca prepares a great show of
herself”, producing works that repeated themes of Tarsila do Amaral. Kogan Amaro Collection contemporary indigenous art, Véxoa, and MASp
and plastic solutions already developed in the ”, by Isis Baldini. defined Histórias Indígenas as its curatorial axis
1920s. This procedure takes us back to Giorgio [4] - Notice that in the Self-Portrait, despite its for 2021. One could still cite works presented in

de Chirico (dear to Tarsila ) who, during the “modern” geometric structure, values persisted the last biennials of SP, exhibitions held recently
final period of his life, carried on a series of very much to the celebration of the artist’s at Instituto Moreira Salles - such as A Luta
paintings in which he “painted himself”. Before “hand”, sweetening the image - a procedure, Yanomami , by Claudia Andujar, an artist who
he died, De Chirico, apparently like Tarsila, also moreover, that Tarsila will tend to suppress in her also won a permanent gallery in Inhotim - at the
produced a series of works in which he “remade” recognized self-portraits of that same decade. Rio Art Museum, at the Banco do Brasil Cultural
metaphysical paintings very close to those he [5] - On Mario de Andrade’s relations with Center and at the Tomie Ohtake Institute, among
had conceived at the beginning of his career. modern art, consult, among others: CHIARELLI, others.
However, unlike her, De Chirico embarked, Tadeu. Painting is not just beauty. Mario de To state what are the motivations for such a
during his long trajectory, on a particular return Andrade’s art criticism. Florianópolis: Letras movement would be risky, even because they are
to his origins. Only after moving through most Contemporânea, 2007. varied and imprecise. The very perception of the
of the main periods in the history of Western [6] - As the Italian critic Renato Barilli recalled on growing threat to indigenous peoples and the
art (De Chirico was Renaissance, Baroque, several occasions (See, among others, BARILLI, consequences of the climate crisis are certainly
Neoclassical, Romantic, etc.), did he return Renato. L’arte contemporanea. Da Cézanne alle among them. But there are also those who notice
to the metaphysical painting that he helped to ultime tendenze. Seconda edizione. Milano: other nuances. “I think that perhaps the world of
constitute at the beginning of the last century. Feltrinelli Editore, 1985. the arts has awakened more now because things
[6] Whether or not he appreciates his work, the started to reach a ‘whiteness ’that was quiet,
fact is that these productions from the last years ExHINITION: SãO pAULO [pAgES 28 TO 35] protected, trapped in romanticism. But there are
of De Chirico’s life maintain a coherence that, if people who were already used to persecution,
he was not faithful to the search for originality INDIGENOUS VIEWS who know what it is like to be at war. When there
(desired by moderns), he never betrayed his is a need, everything is learned faster”, stated
radical search for the origin of the painting itself. POINT TO ANOTHER the artist Guerreiro do Divino Amor in a recent
Unfortunately, this did not happen to Tarsila. POSSIBLE FUTURE interview with ARTE!BRASILEIROS. The speech
I conclude these considerations by returning dialogues with the statement recently given by
to the Collection of drawings by Tarsila that the indigenous leader Ailton Krenak: “We have
are at the Marcos Amaro Foundation and As attacks on indigenous peoples in been through so much offense that this one
paying attention to how essential it is that we Brazil increase, museums and major now will not take us seriously. I am concerned
have collections like this open to the public. art institutions in the country turn to about whether the whites will resist. We have
Direct contact with the artist’s drawings and contemporary indigenous production in been resisting for 500 years ”.
the possibility of also reading the curators’ their programs The focus given by the institutions is not
texts, present in the exhibition catalog that By MARCOS gRINSpUM FERRAz dissociated from the growing emphasis received
takes place from March 14 in Itu, managed to by contemporary indigenous artists, members
mobilize and, in some way, configure a series wIth a sharp speech at Flip 2014, Eduardo of different ethnicities and with different works
of questions that came cherishing the artist’s Viveiros de Castro stated that “we have to learn in their languages and themes. “Indigenous
production, but who, until then, had not had a to be indigenous people before it is too late”. The artists are increasingly important today in
chance to elaborate it and give it a first and still anthropologist referred to “us”, a western white Brazil. Indigenous filmmakers have had a well-
timid systematization. I leave this experience civilization, and stressed that it was necessary known presence for a long time, but in the arts
with another understanding of the role played to learn from indigenous peoples “how to live this is something new, different from what is
by Tarsila do Amaral in the Brazilian art scene in a country without destroying it, how to live seen in countries like Canada and Australia”,
of the first half of the last century and this was in a world without destroying it and how to be explains anthropologist Sylvia Caiuby Novaes,
only possible due to the generosity of the Marcos happy without needing credit card”. general coordinator of Encontros Ameríndios.
Amaro Foundation, which made this series of About six years later, it is difficult to say The exhibition, curated by Aristotle Barcelos
works public, after they were locked up during that things have moved in this direction. The Neto, brings together contemporary works
fifty years, in a private collection, and out of destruction of the environment and the climate by members of the Haida (British Columbia),
sight of everyone! crisis are worsening globally and, in Brazil, the Guna (Panama), Huni Kuin (Acre) and Shipibo
I hope that the Collection will not only provide situation of indigenous peoples is becoming Conibo (Peru) peoples.
new studies on Tarsila, that will deepen its more and more dramatic. As a country, we
importance and uniqueness, but also that a elected a president who claims that the size of from where you speak
new public will get in touch with the production indigenous lands is abusive, tries to liberate In this context of bringing institutions closer
of this artist who, in so few years, has done so mining in these territories and places a delegate to the indigenous universe, it is not a matter, as
much for the country’s visuality. And I end by supported by ruralists at the head of Funai. In in other moments in art history, of presenting
asking: and why are there collections like this, line with government policy, land grabbing and works by Western artists influenced by the

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