Page 88 - ARTE!Brasileiros #52

ENGLISH VERSION AGAINST THE DEVASTATION

philosopher, who since his youth aligns himself the negotiations and the contradictions that collapses that we have been experiencing”.
with libertarian movements such as May 1968 constitute the curatorial process. As three For Thiago, understanding this scenario
and the Italian autonomist movement, deed non-white curators, they realized the gap in was essential, as a way of building a curatorial
to say that we live in an apocalyptic moment. representation and chose to think about the practice that “seeks collaboration as an ethical
After all, in its etymological sense, “apocalypse negotiations and contradictions within these way of imagining the world in another way; to
means revelation, a sudden understanding that representative and identity policies. “We have ask how contemporary art can help us develop
something has gone horribly wrong.” a scenario in Brazil where seeing us here today a slightly less brutal horizon in which violence
“The real origin of the current disaster is would be in the category not of the art of the does not shape our existence ”.
capitalist aggression against people’s freedom, possible, as proposed by the theme of the To maintain this idea, they sought “curatorial
the environment, the acceleration of the pace seminar, but of the art of the impossible, and experiments in dialogue with artists who have
of exploitation, extractivism. All this has left that goes through our curatorship”, said Diane. life and practice directly connected with colonial
democracy empty. We are powerless.” And With the title The river is a serpent, this violence, without contributing to the assimilation
there is no point in thinking nationally anymore, edition of the Triennial brings together of these practices”, explains the curator.
since the effects of this emptying of politics cosmologies and worldviews “that do not pass
spread, like the virus, all over the world. The only through economic and social spheres, that when the river takes the shape oF a
epidemic in a way highlights the impasse sustain a collection of knowledge and Afro- serpent
before which we are. It makes the collapse indigenous, native and ancestral thoughts”, In his speech, Thiago explained that, in this
more intense and palpable. says the curator. For the trio, “The river is second half of 2020, the trio develops a program
“Covid-19 is not the catastrophe itself,” says a serpent is not a theme, but a worldview of studies, based on meetings with a group of
Berardi, who in the heat of the hour, during interested in gathering and presenting the 15 artists. Composed of training activities, it
the quarantine confinement, wrote a kind of lessons we have learned so far”, explains Diane. aims to promote radical educational practices
diary. Extreme – Chronicles of Psychodeflation and, at the same time, encourage policies for
plunges into the meaning of this pandemic, between negotiations anD ContraDiCtions redistribution and access to art. In addition to
seeks to analyze its effects on the collective Beatriz Lemos points out that the this program, free and open online actions are
unconscious and revived the hopes of a apprenticeships started with the understanding planned, such as courses, seminars, lectures,
profound change, led by pleasure and not by of which is the Sorocaba floor, where Frestas editorial releases, film and video shows and a
the destructive politics of “people who hate would be installed. For this, they held listening teacher training program.
the world, because they hate their own lives”. meetings in the city and created a dialogue with The result of Frestas is different from what was
“Political reason cannot deal with this kind artists, producers, managers and educators. thought at the beginning, because the edition
of contraction, of suffering. Psychoanalysis, “It was from there that we realized that our was prepared in a pre-pandemic world. However,
music, poetry, those are the political languages starting points would be the territory and the the situation seemed to intensify the message
of the future.” educational”, she explains. that the curatorship intended to convey. “The
In order to expand these negotiations pandemic not only reveals the obscenity of the
international seminar | day 2 [pages 28 to 31] and understand other Brazilian narratives, country’s racial and class structures, but also the
NEW TERRITORIES in addition to their own knowledge and obscenity in the sense of what the art system has
always tried to hide,” explains Diane. For her, the
repertoires, the trio embarked on a trip around
EXPAND REFLECTION the country. “The most important thing for us global situation did not prevent it, but at certain
ON ART was to build a collective trip, so that from this points it even reinforced an important question of
Curators of the 3rd edition of Frestas body in movement and in conflict with other this thought: What does it mean to be a dissident
- Triennial of Arts, entitled The river is a territories we could create this curatorial body”, and racialized body within the contemporary art
serpent, bring together knowledge and
Afro-indigenous, native and ancestral says Beatriz. circuit, which has always made our knowledge
thoughts to think an art of the impossible They made an initial two-month route through invisible and subordinate? And it is this issue that
locations in the North and Northeast. Thus The river is a serpent intends to reflect.
By giUlia garCia they came into contact with the local logic
of the art circuits and the sociability of these international seminar | day 2 [pages 32 to 37]
the seConD DaY oF the ARTE!Brasileiros specific regions. “We seek to understand in THE RESISTANCE
International Seminar, on October 9, started different ways the grandeur of these natures
with a conversation with the curatorial team and how environmental crime strategies FROM DISTANCE
of the 3rd edition of Frestas - Triennial of Arts. operated”, she says. For Beatriz, this would On the second day of the seminar, the
Organized by Sesc-SP, based on the Sorocaba be the way to understand how large private curatorial team and artists from the 11th
unit, the continuous program brings together initiatives affect traditional, quilombola and Berlin Biennial, an event that gained even
more force with the pandemic, spoke
local artists from regional and international indigenous communities in the regions, through about their work and the challenge
productions, establishing a dialogue between environmental racism. This, in turn, consists of maintaining resilience despite the
social issues specific to the Brazilian context of “practices, historically legitimized, which isolation
and reflections from the global sphere. cancel out a fruition of pleasure and contact By edUardo simões
In this edition, the curatorial team is formed of environmental means to black, indigenous,
by Beatriz Lemos, Diane Lima and Thiago de non-white and migrant communities”, explains For lisette lagnaDo, one of the four curators
Paula Souza, who participated in the seminar. Beatriz. To which Diane complements: “In at the 11th Berlin Biennial, the new coronavirus
Early in her speech, Diane pointed out that, as a fact, artistic practices and their expressions highlighted even more issues that the event itself,
collective curator, two key points are triggered: are tools to overcome these natural whose official opening took place on September

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