Page 90 - ARTE!Brasileiros #52

ENGLISH VERSION AGAINST THE DEVASTATION

the denial of knowledge, which has been them, curators, artists, and managers from the artistic direction of the Museum of
segregated for years, is implicit”, argues Agustín. different museums and from different units Modern Art in Rio and, together, defend a
logic marked by diversity and negotiation
The curator then mentioned the work of of the Goethe-Institut in Latin America. On for the institution
Antonio Pichillá, also from Guatemala, presented this day, in addition to the curators, the artists
at the Berlin exhibition: the video Action of a tree Osías Yanov (Argentina) and Castiel Vitorino By faBio Cypriano
character, shown at the Gropius Bau, which (Brazil) participated.
houses the segment The inverted museum of the In Berlin, Osías participated in the space sinCe september 1st, the Museum of Modern
biennial, an attempt to “counter-narrative” to the dedicated to the show’s experiments, Art of Rio (mam Rio) has been leading a new
Eurocentric perspective on art. “To understand the ExRotaprint. Part of his project was artistic direction, chosen from a public notice, in
how this colonial vision is perpetuated by the compromised by the sanitary restrictions of an exercise of transparency rare in the national
institutions,” said Agustín, citing the Humboldt the pandemic, including his group exercises, scene. The proposal came from the museum’s
Forum, a museum space that will open later which he had already done in Argentina, in a executive director, Fabio Szwarcwald, who took
this year in Berlin. reflection on the repression of bodies, among over the post earlier this year.
Agustín also criticized the reception of the other issues. This new artistic direction carries yet another
works by German journalists: “They can only The artist sought to maintain the necessary novelty: the management exercised by a duo, the
see the ethnography of these works and fail to distance contact with his group of performers, Brazilian Keyna Eleison and the Spanish Pablo
consider them from a philosophical, aesthetic who drew drawings and read short stories. The Lafuente, who has lived in Brazil for seven years,
and artistic root as contemporary works. Or, for results were presented at the biennial, along since he was part of the curatorial team of the
them, they are works with something esoteric. It with elements dear to his artistic research: 31st Bienal de São Paulo, entitled Como (...)
is very interesting to see that all these critics and spoons - cucharitas - that refer to the act coisas que não existem. In common, both went
German culture have allowed this racism and of sleeping embraced with someone, and “through the various positions that involve the
this way of seeing otherness to be perpetuated, appeared in sculptural forms, and salt - a practice of art: writing, curation, management,
based on their Eurocentric ethnography”, he substance linked to the notion of purification education”, as Lafuente defined it during a
said. “And since esotericism in Germany is and healing. Through loudspeakers, the sound virtual interview granted to arte!Brasileiros in
very close to the extreme right, they prefer not recording of the readings made acrylic tables early October. Enthusiastic about the new role,
to talk about these works”. vibrate on the floor, creating drawings in the they responded with humor and taking turns, in
salt in contact with them. a characteristic tune of a new couple.
Demolition, retribution Lisette Lagnado stressed the importance of During the military dictatorship, mam
How, then, to avoid the extraction of biennials listening in Osías’ work and mentioned another carioca starred in some of the most remarkable
and other cultural events? How did the experiment carried out on ExRotaprint with the moments in the history of art in Brazil, as in the
curatorial quartet at the Berlin exhibition deal feminist collective fCnn, which discussed the show Nova Objetividade, in 1967, where Hélio
with the issue? “Patriarchy, colonial sores, are institutional space that art leaves for young Oiticica presented his penetrable Tropicália, and
suffocating us, and we have to react even with mother artists, who have nowhere to leave on Sundays of Creation, meetings promoted by
violence. On the other hand, there is a question their children. The presence of women at the Frederico Morais with experimental artists in
of care. So, how to be violent and, at the same biennial, in the fight against patriarchy, is also the external area of the museum, in 1971. Since
time, welcome other voices, and these more one of the important themes of the exhibition. then, however, the institution has closed and has
vulnerable lives? What always guides me is a In Berlin, the curator had the opportunity to long ceased to be a reference, a challenge that
mixture of intuition and ethics. And in that sense, read a book on motherhood, by the Egyptian is imposed on the pair. “We share this reading
listening has been our compass”. For Agustín, Iman Mersal, which brought up the idea of about historical power, and, in our project, we
in addition to listening, a non-extractive way a child destroying the possible future of the discussed what can be a process of opening
would be to understand that you take something, mother, in a hurry to reach the new world. “It was mam”, says Eleison.
but also return it. “The idea of restitution, with something we were feeling about the biennial, “mam, even before Frederico Morais, started
artists, communities, vulnerable museums”, facing the pandemic, and we borrowed this in a building that was the Bloco Escola (opened
he concluded. notion of crack, fissure, for the title.” in 1958) and only after that came the Bloco de
Castiel took a series of photographs to Berlin Exposições (1967). So, it already starts with other
[pages 36 and 37] in which he appears wearing masks bought at an practices such as pedagogy, which is part of
STRATEGIES OF THE antiques store in Santos (sp), sold as African, but creation, and results in exhibition processes,
actually made by a friend of the store owner. With
which in turn result in pedagogical projects,
POSSIBLE the work, the artist exposes the exoticization all accompanied by the Cinematheque, an
In a video conference of the Goethe- of the colonizing discourse about the cultures archive that is preserved and displayed. This
Institut, the Argentine Osías Yanov and the of the continent. “With photography, I try to combination of practices is fundamental to the
Brazilian Castiel Vitorino talked about the
works they exhibited in Berlin create images to remind me of the possibility history of mam”, explains Lafuente. For him, this
of living outside circumscribed and ordered by represents “an organic complexity, where all
By edUardo simões racial mythology,” he said. the processes feed on each other, without any
of them being the center”.
to Complement the open seminar, institUtions | mam rio [pages 38 to 40] Considering this context, the new
the Goethe-Institut Rio also held a specially “DE-VERTICALIZE” management comes in keeping with the
organized videoconference for a group of agenda left by the predecessors. “We have an
guests who were unable to travel when the 11th THE MUSEUM institutional legacy to celebrate. And that is the
Berlin Biennial opened in September. Among Keyna Eleison and Pablo Lafuente assume word, because it is common that when a new

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