Page 93 - ARTE!Brasileiros #52

of a future in which nature and society coexist in In the exhibition Trópicos Malditos, dictatorship, and today have children, see the
a sustainable way and guarantee life to the land. Gozosos e Devotos, on display in the cycle, the return of the repressed, perceive a
Terzo Paradiso means the passing of a new level New York gallery Tanya Bonakdar, artist unity and also that fascism is not on the outside.
warns of the need to name, embody and
of planetary civility. face fears in their intimate or collective It is on the inside,” she says, always claiming
“The term paradise was appropriated by dimensions this emphasis on fear as a social phenomenon,
religion as a doctrine, but it belongs to the of the need to connect any personal dive with
Persian language which means protected By maria hirszman more totalizing aspects. Private cases are also
garden. In that culture Paradiso refers to illuminating how this fundamental affection
agriculture, the way of producing vegetables in haunting DaYs like the present, Rivane is manipulated within the social field, of how
in the desert, building two parallel walls of Neuenschwander throw salt on the wound while it is calculatedly used for the maintenance of
stones, with enough space between them to dealing, in an shrewd and persistent way, with authoritarian forces within society.
stop the humidity and allow the plantation to some of the ghosts that plague our time. There Starting from references such as Vladimir
flourish. From the point of view of religion, it is are three central axes that conduct his exhibition Safatle and a permanent appropriation of
configured as the garden that can be reached Trópicos Malditos, Gozosos e Devotos, on references from the field of psychoanalysis –
after death ”, he explains. But men want a garden display until October 24 at the New York gallery “there are some psychoanalytic concepts that
in their earthly life, so the artist created a symbol Tanya Bonakdar: fear, sexual violence and war. In I borrow without major conceptual, academic
based on trinamics, an element taken from the four series of apparently independent works, the commitments; a rich word that allows me to
mathematical sign of infinity. “I want to talk artist rescues themes that have been part of her make these drifts, these jokes” –, Rivane warns
about our finite life in society, to create a third personal repertoire for some time, promoting a of the need to name, embody and face fears, in
space that represents the beginning and the connection, now subtle, now explicit, between their intimate or collective dimensions. “We
end of our existence. After all, everything that the intimate, constructive and poetic aspects wake up every day, even fighting against this fear.
exists has a duration and then ends ”. of the works with the social and political crisis So we have to fight this melancholy, but it’s hard
In this perspective Terzo Paradiso is of today. “Fear is also a social construction. It is because the destruction is too great. We get
participatory, spatial and, above all, political. important to me because we see this connection very touched, because it’s suicide. Destruction
“Art cannot be separated from politics. Art of the cyclical, historical thing coming back”, is in every way. She’s physical, she’s symbolic,
is politics and politics has to be art. Art has she says commenting on the frequent presence it happens everywhere. The immoral atrocities
the freedom to be free and responsible”. of elements linked to the feeling of impotence, they commit in the name of false morality”,
Cittadellarte, its art center in Biella, where it anguish and fear in its production. And she also has her roots in history. The
was born, is the headquarters of Terzo Paradiso. Fear is an affection associated with childhood. series Trópicos Malditos, Gozosos e Devotos,
There he made the exhibition A Crítica é And it is in the investigation of children’s fears reference to the work with a similar title by Hilda
Suficiente, a kind of response to artists who that begins the research that Rivane has been Hilst and which names the entire exhibition of
criticize the status quo without proposing developing for at least four years. In a series of Rivane, proposes an interesting amalgam of
anything new in return. “Criticism is utopia workshops, held in institutions such as Parque references, sexual, symbolic and historical,
and if it is simply blocked in one situation, it Lage (Rio) and White Chapel (London), the artist which refer both to our peripheral situation and
does not provoke the new. It is not enough for asked children to reveal their fears and at the to the predatory and violent relationship of our
an artist to criticize the system, he must have same time exorcise these vulnerabilities by colonization. Inspired by the Shungas, Japanese
a proposal for change”. idealizing protective covers as a way to shelter erotic prints of the Edo period (1603-1867) and
Considered one of the fundamental artists or scare away their fears. He carried out a similar also tributaries of the graphic simplification of
of contemporary art, Pistoletto, at 86, tested process, of purification scary images, with his string literature, these paintings and tapestries
positive for Covid-19, spent a month in the young children through naming games and are representations of intense clashes that refer,
hospital, recovered, continues to work and describing ghosts that supposedly prowled according to the artist, to rape as the inaugural
assumed a new identity, as he says, moving the house and minds, until the vague sense of act of Brazilian society.
from individual subject to collective subject haunting turned into a safe and threat-free ground. These works, especially tapestries, also
of artistic creation. “Art must be placed at This process of exchange and investigation ended reinforce the importance of references and
the center of a transformation, introducing an up providing him with a wide repertoire of images collective work in Rivane’s trajectory. Determined
attention to ecology and practical research, and references that have taken on different bodies to transpose these images - situated on a tenuous
accompanied by a mental process that allows and forms, echoing here and there in his poetics. boundary between eroticism and aggression,
people to start living with new motivations. Art “Sometimes there are latencies from one job to desire and violence - into language other than
is an enzyme of social fermentation, balance of the next, something that bothers you and that just painting, the artist chose to incorporate the
the effective reality of the worl”, he concludes. you won’t solve until years later. Maybe through work of other craftsmen into the making of the
another work,” he explains. work. She invited three artists who master the
exhiBitions | neW yorK [pages 50 to 55] Two of the works on display in New York technique developed by an Uruguayan tapestry
RIVANE dialogue directly with this process of collection maker, Ernesto Aroztegui, to participate in the
and reworking: the series À Espreita, a set of
project: Elke Hülse, Magalí Sánchez Vera and
NEUENSCHWANDER drawings made from material collected with Jorge Soto. With the loom, in a slow and careful
FACES PARALYSIS children and reworked as if they were shadow process, they transferred the images carefully
OF FEAR IN theaters, and Fear of, an assemblage in which planned by Rivane, with a challenge ahead: to
CONTEMPORARY potent and paralyzing fears of contemporary propose a personal reading for the fields in red,
society are named and intertwined. “The people
which embody the blood and more explicitly
SOCIETY who lived, were children during the military witness the violence contained in the images.
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