Page 91 - ARTE!Brasileiros #52

direction enters, the old one is demonized. It is everyday life. After all, we remain the artistic because what is called the exotic is formative
not in this sense that we want to work. So it will directors, there are managers, they have of our structure”, concludes the director.
be from July of next year that we will have greater appointments that are important to be given
force,” says Eleison. Fernando Cocchiarale and held accountable for, and there are salaries institUtions | JosÉ rUfino [pages 42 to 45]
and Fernanda Lopes leave the curatorship in too,” defines Eleison. INSTITUTO RUFINO,
October and a new vacancy opens and will be “We have to negotiate our proposals with
filled by competition. different teams, we are responsible for a large A PLACE OF THINKING
But, if from the programming point of view group, and they have other managements that ABOUT ART, SCIENCE
the proposal of the pair will only be more are not ours. So, we have a proposal that has to AND NATURE
visible in 2021, there is a distinct management be negotiated by whoever is here”, says Lafuente.
component, as Lafuente says, which will now With this, they hope to socialize, with internal Located in the municipality of Bayeux, in
be exercised: “mam had no artistic direction. and external audiences, decisions, both the great João Pessoa, the space is one
It was curated, curated by the cinematheque. artistic and management. And by providing of the well-finished examples of what man
can do for the environment
We have the responsibility to create an artistic visibility, these processes can be monitored
project identity for this diversity of actions.” and evaluated. “We want to force the structure By leonor amarante
Thus, in addition to the program itself, there to see how far it can go, repeating for repeating
is a new attitude to be revised in the museum does not make sense”, says Lafuente. In the nature seDuCes, transforms, marvels,
created from shared management. “The pair is project presented there is a detailed schedule for the exuberance and responsibility on the
important to us because it necessarily creates of how the decision-making process will take planet. There are artists who incorporate the
diversity. There is no way for two people to place in the museum, which includes weekly environment in their research driven by the
have an identical look. People coincide in many and biweekly team meetings. trend of the moment and others who already
perspectives, but they also differ in appraisals Among the actions that should mark the bring it naturally within themselves. José Rufino
and stories. Diversity is constitutive and so is management is the use of the iconic building experimented with rural knowledge as a farm
negotiation”, follows Lafuente. designed by Affonso Eduardo Reidy (1909- boy, graduated in geology and paleontology,
In the winning project presented to the 1964). “Recovering the view of the building is worked with Marlene Almeida, his mother, in
selection committee for the artistic director of essential, since it is a museum that is thought a research on the pigments of the land and
the museum, with 38 pages, the work in pairs is to be structurally open. Reidy has a beautiful now finds a special place to reverberate his
placed in a historical context: “Double directors text about the light that comes through the experiences, the José Rufino Institute. This
are not new in artistic contexts or in non-artistic windows, how it creates a sensory experience opens a new understanding of nature and
settings. One of the operating principles of the that enriches any experience of works of art. artistic practice in your life. In a bureaucratic
German Green Party is the Doppelspitze, which This in the history of art is controversial, as it process, the space is still called Sítio Sabiá, the
stipulates that all boards must consist of two escapes the white cube. And over the years, name of the old place, and extends over the 50
people, one female and one male”. walls have been placed in front of the windows thousand square meter land, which will soon
Proposing new ways of managing art so that the light, the sun, the trees, and the be 70. Located in the municipality of Bayeux, in
institutions is essential in the Brazilian context, giant rocks of Guanabara Bay do not enter. We the great João Pessoa (Paraíba), it is a place
marked in general by a huge centralization and want to recover this physically and symbolically, to think about art, nature, culture and develop
personalization, already from its presidencies, so that the external influences the internal”, research taking into account the environment.
as it happened in the São Paulo mam during the says Lafuente. What makes this space provocative? José
management of Milú Villela, who remained in Another axis that the duo intends to Rufino mixes his scientific knowledge in
power for nothing less than 24 years, from 1995 implement is to open the institution to what is situations full of ambiguities, discoveries and
to 2019, with absolute powers. not there - objects, knowledge, people - to be many experiments with wild and domesticated
able to enter, as Eleison says: “It is a very strong vegetation. “The Institute has about 160 species
new orDer institutional questioning management. One of the Araceae family, anthuriums, imbés and
“We want to understand mam as a single of the big questions is not only to look at the philodendrons, plus 250 of the Arecaceae family,
structure, which is our biggest game within absence of bodies, intelligences, and objects of palm trees, in addition to a collection of native
the institution,” says Eleison, who is completed within the collections, but when they enter, how species, among which I highlight the tucum
by Lafuente: “We are creating more extensive they do it. As a black woman I am interested in a (bactris ferruginea), whose spines are used
decision-making bodies; not only is the person in type of research on people who were not placed as an indigenous body element. “I consider
education and participation management going here, why they were not placed here and what my collection of plants to be a living archive of
to decide in isolation what the public program they were doing”. lived experiences. Each represents a sensory,
will be, but he will activate other areas inside With this, mam Rio can exercise a more ethnographic collection, a living sculpture,”
and even outside the museum. ” authentic relationship with the production that he says. All the paths that cut through the
So, in order to think about how a museum is now occupying other institutions, such as the landscape are irregular, subject to the interest
should act now, does the new management female, black, indigenous or queer - but in a and development of the plants themselves.
seek to exercise this in the administration of somewhat statistical way, as to fulfill an agenda, an emancipated spatial reflection that also
the institution itself, creating more horizontal without, however, create effective links. “We do contemplates animals from the families of

relationships? “We are trying to work on not want to work with the idea of an invitation, anteaters, three-toed sloths, capybaras, foxes,
de-verticalizing the museum. I think it is better because when there is an invitation, it is clear raccoons, marmosets, among many others. This
to de-verticalize than to horizontalize, because that the guest is not from that place. And we expansion of the experience reaches the large
the term horizontal itself does not proceed in really want to question the idea of the exotic, studio that can be occupied by both Rufino and

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