Page 88 - ARTE!Brasileiros #54

ENGLISH VERSION IN THE DEBACLE...

Organization. These are data that explain the was rung at dawn, despite the royal ban. This started a breathtaking project. In July 2020, the
perversity of an increasingly exclusionary path, challenge is resignified centuries later when series entitled “1 curadorx, 1 hora” premiered,
of radicalization of the neoliberal logic that the instrument is taken from Minas Gerais to with recorded interviews with curators and
has been imposing itself on the world and, in Brasília in order to enshrine the new capital curators of different ages, regions and areas
particular, on Brazil, where the head of state with its sound, inaugurated in 1960 and at of interest. Instead of broadcasting live,
reacts to thousands of deaths with a regrettable a time when Tiradentes was reaffirmed as a Fonseca prepared the interviews, conducted
“and so?!”. The inhumanity contained in this national hero, on the same April 21st. “It works recording, making small edits if he thought it
reaction serves as a synthesis for the analysis as a kind of tuning fork that helps us to tune an was necessary and posting the video on his
of both, making evident the findings of both instrument”, explains curator Jacopo Crivelli YouTube channel - and the podcast audio on
Krenak and Paulino about the deep limits of Visconti in the introduction of the live video. the platforms. Eight months later, that’s how
the worldview linked to a supposed civilizing Historical persistence, repetitions, he keeps doing it.
project, which only accepts equals and which reiterations and questioning of powerful The result is the impressive number of almost
relegates the “other “ the margin. moments from the past in reinterpretations 120 conversations carried out, about 70 of which
For years looking at the intersection of the present are among the most powerful have already been made available and, thus,
between art and science, working on the lines within the Biennial project and are present the formation of a vast public archive on art
constructions promoted by scientific racism, in the work of several of the selected artists, curation. The grandiosity of the project, carried
Rosana Paulino makes evident - in her speech among which Jota Mombaça, Ana Adamović, out without public or private support, was
as well as her artistic work - as this model Nina Beier and Vincent Meessen stand out, not in mind at the beginning of the process
of ordering cities, nature, knowledge it is all present at the online presentation held on and what appeared in an unpretentious way,
destructive and excluding. It is necessary February 25 and which will be made available partly even to appease a certain loneliness
to incorporate new knowledge: “the groups on the institution’s YouTube channel. Mombaça generated by the quarantine, is now part of
that were left out have technologies that were served as a kind of guiding thread for the the bibliography of university courses. Even
not recognized by this ordering of the world”, program, commenting on central aspects of so, even with dense conversations, “1 curadorx,
she denounces, revealing the urgent need to its reflection as the fundamental role of the 1 hora” still has an informal atmosphere and
revise this supposedly humanist logic. “When imagination as a way of taking us “beyond a colloquial language that make the content
someone affirms the principle of urbanity, of the realism within which we are confined”, accessible also to the non-specialized public.
colonizing the world, it destroys my world. the desire to break with representation, to In the dialogues, which run through the
It doesn’t include me. I can only integrate extrapolate, erasure the images in order to training processes, trajectories, memories,
without being myself anymore”, reiterates allow more radical experiences with reality. professional experiences and ideas about
Krenak, showing in a crystalline way the limits This issue, according to her, is central to work curatorship, Fonseca seems to play more of
of speeches that basically offer only illusory 2021, which she should present in partnership a role as a reporter, interviewer, than a curator
and sterile solutions, such as the palliative with Musa Michelle Mattiuzzi at the 34th Bienal. who is there to debate. “But in a way, this
ideas of overcoming, integration, enterprise, The other artists present at the live, through already has to do with my work as a curator.
acculturation and merit, always based on the videos recorded in advance, also deal with For me, the exercise of curation is an exercise
figure of the individual and that fulfill the desires different intensities and approaches, but of research and listening to artists. Of course,
of maintaining the status quo for few people. complementary, on issues such as historical you also speak, intervene, but I’m mainly there
Striking against this conformist stance, erasure, manipulation of images and symbols, to learn about art and people”, he says. It is
Krenak and Paulino preach the real and urgent revisiting critical points in history that may also worth mentioning the attention given
need to understand the fields of dispute and to initially be more restricted to a certain culture to very personal issues in the interviewees’
persist in the effort to imagine and build new or moment, but that end up reverberating trajectories: “I am very interested in the person
possible worlds, without surrendering to the with great intensity and brightness. It is also telling how his relationship with art began.
globalizing trend of financial capital. There is no interesting to note that most of these works We have children from artists or art critics
time to lose space for accommodation. “I can’t do not stick to the restricted universe of visual there to people with a trajectory like mine,
believe there is nothing more to be done. My arts, but deal intensively with performance, from extremely peripheral families, with no
ancestors arrived in a ship’s hold,” says Rosana. video and music. Two Choirs, by Serbian Ana relation to art. So, this sociological data is
Adamović, part of an old photograph, present in very important for the project”.
thE viRtUAl on PAndEMiC | SÃo PAUlo BiEnniAl an album dedicated to Tito (leader of the former The role of curator is also clear when Fonseca
[PAgE 25] Yugoslavia), in which you can see deaf children needs to select the guests - this time not artists
Historic bridges singing. Something paradoxical, which refers to for an exhibition or project, but curators for the
conversations. And the names are as varied
the violence or desire to force the vocalization in
search of a certain normality, which Adamović as possible, ranging from young people like
Jota Mombaça, Ana Adamović, Nina problematizes when recreating the scene, this Tiago Sant’Ana, Pollyana Quintella, Bernardo
Beier and Vincent Meessen talk about time asking the choir participants to sing Mosqueira, Isabella Rjeille, Hélio Menezes
their work that reinforces the focus of through sign language. The musicality and and Paulete Lindacelva to figures established
the 34th São Paulo Biennial on historical diversity in the gesture of these volunteers decades ago like Tadeu Chiarelli, Denise Mattar,
persistences, repetitions, reiterations is surprising. Fernando Bini, Fernando Cocchiarale, Marília
and questioning of moments of the past Panitz, Solange Frakas and Marcus Lontra.
in reinterpretations of the present thE viRtUAl on PAndEMiC | RAPhAEl FonSECA There are also Marcello Dantas, Ayrson
[PAgES 26 And 27] Heraclito, Júlia Rebouças, Kiki Mazzucchelli,
By MARiA hiRSZMAn Fernanda Pitta, Clarissa Diniz, Naine Terena
A vast public archive and many others.
in its thirD meeting oF the series “The on curatorship in Brazil Despite the diversity - or even to achieve
voices of artists”, the 34th edition of the São it - Fonseca says he has established some
Paulo Biennial deepened the relations between In his new book, Rodrigo Naves basic criteria for the selection. First of all,
the works of four of the guests to participate researches the varied motivations that bring people who, even if young, have a regular
in the exhibition with an object impregnated led the Dutch artist to a singular work, practice of curatorship, a baggage in the area.
with metaphorical and symbolic meanings: among them his bond with Calvinist “I realize that many curators who have worked for
the bell of Ouro Preto. Installed since the 18th thinking. a long time are not so well known to a younger
century in the Chapel of Padre Faria, in the generation. And there are people who start
then city of Vila Rica, this instrument itself By MARCoS gRinSPUM FERRAZ curating and put themselves as if they were
condenses a series of stories. It is imbued inventing something totally new. And when you
with experiences and meanings that establish in more than a hunDreD interviews listen to the reports of the elders, you see that a
a direct relationship with the more general ConDuCteD virtually with curators, lot was already there, it has already been done”,
proposal of the show, Though It’s Dark, Still I Raphael Fonseca presents the plurality of comments Fonseca. For him, therefore, it was
Sing, and it becomes one of its main statements, professionals from the country, their stories, important to learn from the trajectories of these
establishing bridges between two distinct research and the difficulties to work in a very professionals and “to shed light on curators
historical moments, of great intensity in the precarious market. who are currently not, shall we say, as much
history of the parents. The first of these is the After about four months of social isolation in the spotlight as people of my generation”.
night that Tiradentes was executed, in 1792. In observing the movement on social networks, In this sense, Fonseca comments that it
a gesture of rebellion and resistance, the bell Rio de Janeiro curator Raphael Fonseca, 33, has become more common, recently, “to see
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