Page 84 - ARTE!Brasileiros #54

ENGLISH VERSION IN THE DEBACLE...

EditoRiAl [PAgE 54]
alexia tala is a curator and art critic world of art outside the US-Europe axis, the
IN THE DEBACLE... specialized in Latin America. She was transposition of certain analyzes to Brazil is
responsible for several exhibitions and
inevitable and helps to understand a little bit
immerseD in a Country aDriFt, wrapped biennials in the region, she is the author of a of the roots of the exhaustion that cultural
in lies and cynicism, with more than 2,000 daily series of articles and is currently chief curator agents are currently experiencing.
deaths and no decent policies to protect the of the Paiz Art Biennial - Guatemala and artistic After all, how to give credibility to an art
population, we found that what allows us to director of Plataforma Atacama, in Chile. institution like the Bienal de São Paulo when
stand is to have an ethics capable of aiming Credit Suisse, a company run by its president,
for a better world. ClauDinei roberto Da silva is a visual banker José Olympio da Veiga Pereira,
All the subjects of this edition show the artist, curator and professor of Artistic organizes a meeting in support of President
singular brushstroke that young artists Education at USP. He was coordinator of Bolsonaro, recently criticized in a manifesto
and managers, photographers, critics and the Education Center at the Afro Museum, headed by religious and intellectuals like
academics print to their work trying to co-curator of the 13th edition of the Bienal Naïfs Leonardo Boff and Chico Buarque, which starts
overcome suffering and, through sensitive do Brasil and curator of several exhibitions, with: “Brazil screams for help. Brazilians and
initiatives, understand the human. among them PretAtitude. Brazilians committed to life are held hostage
There is also a reading of the past, as in the by the genocidal Jair Bolsonaro, who holds the
rediscovery of Glauco Rodrigues’ work, where miguel groisman is a journalist graduated presidency of Brazil, together with a gang of
his images “transcend the specificities of his from Faculdade Cásper Líbero and majoring fanatics driven by fascist irrationality”.
time, form or content to approach the present in Cinema at FAAP. He has already written This mismatch between leaders of cultural
in an unsettling way”. This phrase, spoken about cinema and photography for Revista institutions and the reality of the country is
by critic Peter Eleey about the September 11 Esquinas and was a student researcher under addressed in the fifth essay in the book, Father
exhibition, held at MoMA PS 1 (New York), is the guidance of Simonetta Persichetti. He is Trump, where, quoting the German sociologist
remembered by philosopher Hal Foster in his currently a reporter at arte!brasileiros. Siegfried Kracauer (1889-1966), he draws a
latest book, What Comes After Farce. The critic parallel between the Republic of Weimar and
referred to how images of 1956 photographer pollyana quintella is a curator, teacher and the present day: “There has never been a time
Diane Arbus, exhibited there, were resignified researcher. Graduated in Art History at UFRJ, so well informed about itself (...) and never has a
to the viewer almost 50 years later, after the she has a master’s degree in Contemporary time been so poorly informed about itself”. This
events of the overthrow of the Twin Towers. Art and Culture from UERJ and she is currently information paradox leads Foster to remember
In fact, Foster’s book, commented in this a doctoral student at the same institution. She the concept of “cynical reason”, developed by
edition by Fabio Cypriano, an art critic and collaborated with research and curatorship for another German, this more contemporary one,
journalist, gives an overview of the dark the Museum of Art of Rio (MAR) and writes for Peter Sloterdijk.
aspects and reactions of artists and cultural several publications. She was adjunct curator This idea of cynical reason was based on
institutions to “a world that has escaped us from of FARSA - Language, Fracture, Fiction: Brazil- the blind eye that the German people had
control”, where “nothing is guaranteed”. Still he Portugal, at Sesc Pompeia. towards Nazism, and a specific case in this
formulates a fundamental reflection that calls regard is Eichman, the official responsible for
us to go ahead: “This is where my other term taDeu Chiarelli is a curator and art critic. transporting Jews to concentration camps,
‘debacle’ comes into play [the author refers to He is a full professor in the Visual Arts course who claimed to be an order-taker. That is,
the key term of the book, ‘farce’]. It also derives at USP. He was director of the Pinacoteca de cynical reason has to do with the inability of
from the French ‘fall, collapse, disaster’ but its São Paulo and the Museum of Contemporary critical judgments, which is very similar both
root is débâcler, ‘liberate’. Debacle could even Art at USP (MAC-USP). He has also worked as to support for Trump’s baseless allegations,
indicate a dialectic between breaking and doing chief curator of the Museum of Modern Art of as Foster analyzes, as to support by the Faria
differently from conventions, institutions, and São Paulo (MAM-SP). He is a columnist on the Lima gang to his Brazilian counterpart. “How
laws. Such is the opportunity in the present arte!brasileiros website. can we belittle a leader who is not ashamed?
period of political upheaval: to transform the How to ‘disdain’ President Ubu?”, asks the
disruptive emergency into structural change, or dEBAtE | hAl FoStER [PAgES 10 to 13] author. It is necessary to react, he defends:
at least to press the gaps in the social order in “Convert the disruptive emergency into
which it is possible to resist power and rework it.” EVERYTHING IS ABOUT structural change.”
In response to this ambiguous disuptake, we For Foster, in this sense, three movements
decided to invest in an art*training division. A FIGHTING have been essential to rethink the arts
Cultural Extension Program of distance learning system: #MeToo (emerged in 2017), against
where, with renowned specialists and teachers, In the book “What comes after farce?”, the harassment of the patriarchy, Black Lives
we can, in addition to informing, systematize Hal Foster analyzes the effects of Matter (2013), against structural racism, Occupy
founding concepts of art in permanent trumpism in the American arts scene and Wall Street (of 2011), against economic and
conversation with other disciplines such as points out forms of resistance. social inequalities and the excessive power of
psychoanalysis, philosophy, history and science. companies. “As codes of conduct are discarded
The launch takes place in April with the first course, By FABio CyPRiAno in one profession after another, it is up to
taught by the curator and researcher Moacir dos cultural institutions to insist on them more
Anjos and the philosopher and professor Ernani What cOmes after farce?, the title of the strongly and to be examples in this regard”,
Chaves. It will be 36 hours in 16 meetings over the new book by the American professor Hal Foster, defends Foster. Thus, to counter cynical
months of April, May and June.* is not a merely rhetorical question. It starts behavior, museums and other institutions in
In the current context, you can see a single from one of Karl Marx’s best-known ideas - that the circuit need to create exemplary practices.
advantage in so much isolation time. We had the story is usually staged twice, the first as a An example that he does not cite, but that
access to technology in order to make it less tragedy and the second as a farce - to reflect on deserves to be remembered is the action of
a villain and more a support tool in solitude, the North American context of the last years of the North American photographer Nan Goldin,
so we could keep in touch with friends, work Trump’s administration, considered as a farce. who has been leading a movement against
teams, be able to see shows virtually and The book was published at the beginning the family of patrons Sackler, who sponsored
listen to lectures and debates and access to of last year, so there was no time to look at rooms and works in important museums in
a permanent education. what the new coronavirus pandemic added Europe and the United States, and are owners
If there is a space where lies do not hold to this scenario, including the overthrow of of the pharmaceutical company Purdue, which
up and we can exert our influence, it is in art Trump himself and the rise of the Joe Biden / makes highly addictive and deadly painkillers
and culture. Kamala Harris plate. However, it is not really an - calculations show that, since 1999, more than
analysis of the geopolitical question about what 450,000 people have died from the use of
Collaborators [PAgE 06] comes after the farce, but of the implications opioids. Thanks to the protests of the group
in the field of art, which is Foster’s space for P.A.I.N. (Prescription Addiction Intervention
number 54 march april may 2021 reflection, or in his own words in the preface: Now), which she created, museums such as
artebrasileiros.com.br “Where do artists and critics stand”. London’s Tate or Paris’s Louvre refused to
Despite passing away from the context of sponsor the Sacklers, or even removed the
Cover: Detail of “Diptych for a dining room”, the global South, which makes the publication family’s name from the rooms, as in the French
1974, Glauco Rodrigues. Photo: Courtesy somewhat displaced from the current museum. Foster, however, addresses the
from Fabiano Ribeiro Doyle Collection decolonial discussions, ignoring the entire question of the source of funding, pointing out
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