Page 90 - ARTE!Brasileiros #54

ENGLISH VERSION IN THE DEBACLE...

heteronormativity, toxic machismo, class that, in fact, is conferred to the drawings due sometimes apocalyptic. This draws the
hatred, racism and pathological aversion to the sensitive use that the artist makes attention of the French critic Nicolas
to the different are accommodated, to the of the materials she uses, colored pencils, Bourriaud, who dedicated a room to Glauco
divergent body that does not reflect the ideal watercolors, pens, nail polish. The artist’s at the exhibition L´Ange de l´Histoire (Angel of
that consecrates the adult, white, bourgeois family nucleus is sometimes engaged in some History) in 2013 at the École Nationale de Beaux
man in power. of her actions that involve the construction Arts in Paris. At the time, Art Press magazine
This reality is explicit in times of pandemic and use of hybrid, relational objects, which publishes an article and puts Glauco’s work on
and necropolitics, in time to count the dead who investigate and propose relationships between the cover. In 2019, Bourriaud returns to exhibit
are at the base of the Brazilian social pyramid, to those bodies and the proletarian architecture Glauco at the Istanbul Biennale, when he was
account for the result of centuries of disregard they inhabit. general curator, and breaks the paradigm
for the lives of those who do not belong to what Garden brutality - Tropicália and the rise that Brazilian art always has to go through
is conventionally called “elite”. But as Castro of the Brazilian counterculture (São Paulo, the constructive project, from concretes and
Alves wrote in the epic Navio Negreiro: “And Publishing House UnESP, 2009, translated by neoconcretes.
there is a people that the flag lends to cover Cristina Yamagami) is the result of research by Most of the São Paulo exhibition brings
so much infamy and cowardice”. The poem the American professor Christopher Dunn, a together works from the 1960s and 1970s
is from 1868 and the auriverde tassel of our researcher at the prestigious Tulane University made in the climate of counterculture, the
land continues to serve the shroud people. in New Orleans. I met the professor when he Vietnam War and the Brazilian dictatorship. The
However, depending on where it comes from, visited the Museu Afro Brasil, an institution paintings are singular, progressive and reaffirm
the answer of the excluded has the strength where he was working at the time as coordinator the ballast of a multiple artist, apparently
of the phallus of fertilizer of Exu, life invokes of the Education Center. As the professor simple but conceptually sophisticated, who
Eros, refusing the utilitarian thought that sees writes: “The Tropicalista project manifested has passed through various segments of art.
in the indigenous a lazy and in the black a beast itself in a period of intense political and cultural Painter, graphic artist, engraver, he performed
of burden. conflicts in Brazil, simultaneously criticizing costumes and scenarios for theater, covers for
Certain peripheral thinking (periphery the military regime and the national-popular records and magazines, putting knowledge at
here is understood as power, not lack and project of the left”. I have the impression the service of a personal revolution with images
deficient structure) has always praised the that Wíllà’s work is part of this “tradition” rawly included on always white background, as
party as a privileged place for elaborating of insubmission when the artist refutes the fragments gravitating in space. He only began
vibrant subjectivities. Hence the satanization explicit political engagement so marked in working the basis of his paintings at the end
of parties by the heralds of the necropolitics. a certain portion of Afro-Brazilian artistic of the military dictatorship.
Born in 1993, Tadaskia Wíllà Oliveira Morais, production in favor of a rhetoric of freedom All the works deal with the history of the
better known as Max Wíllà Morais, is a visual and sensualist lyricism. This hedonism, before country carnivalized within an eclectic universe
artist, writer, performer, educator, researcher, any inconsequence, works in favor of a policy in which he merges from the image of São
trans and black woman. I was introduced of the body in keeping with the counterculture Sebastião, patron saint of Bagé, his hometown,
to her work by the clairvoyant curator from mentioned by Dunn in the title of his work. and Rio de Janeiro to girls in bikinis, tropical
Pernambuco Clarissa Diniz. The artist is And on second thought, Max’s body and work nature, photos of friends, Corcovado, Indians,
represented in São Paulo by the Sé gallery coincide and are, in a sense, a statement in bunches of bananas and passistas (dancers) of
and I met her personally at Pivô, where she was favor of life and an offense and an antidote to samba school. Glauco’s ideary is profane, even
in residence and participated, at the invitation necropolitics and their practices. when he portrays Christ and some saints, all
of Colombian curator Catalina Lozano, in the packed with the colors of the Brazilian flag that
collective exhibition A natural history of the ExhiBitionS | SÃo PAUlo [PAgES 38 to 43] dye all his paintings. With this, he confirms his
ruins-on display until April 17. Recently, some intentions loaded with criticism of the social
of her works were also present at Auroras, “IT TURNS OUT WE’RE political moment at the time, as Acontece que
where through the sensitive articulation of somos canibais (It turns out we’re cannibals)
the curator Gisela Domschke they were in CANNIBALS!”, SAYS the work that names the exposure.
dialogue with works by Ceará José Leonilson. GLAUCO RODRIGUES’ Glauco was born in 1929, in Bagé, Rio Grande
MAR (Museum of Art of Rio) has also hosted do Sul, where he began in art as a engraver,
her recent production. TROPICALIST POP then moves to Porto Alegre and joins the
The growing interest around the artist’s engravers Carlos Scliar and Vasco Prado. In
work is the result of the advances in struggles Considered a current and contemporary 1958 he arrived in Rio and, a year later, he was
against invisibility and the consequent artist by French critic Nicolas Bourriaud, part of the first team of Senhor magazine (1959-
epistemicide of divergent bodies and is also Rodrigues carnivalized the visual 1964), where he worked with Jaguar, Paulo
fully justified by the poetic thickness expressed history of Brazil within an eclectic Francis, without leaving his art aside. With
in this production. They are drawings, two- world, sometimes exulting, sometimes the award at the ix National Salon of Modern
dimensional, seams, paintings, installations, apocalyptic Art, he travelled to Europe and participates
photographs and actions that the artist calls in the Biennial in Paris in 1961. An invitation
“apparitions”, which elaborate a universe based By lEonoR AMARAntE takes him to live in Rome from 1962 to 1965 and
on the invisible and the visible, that is, in the there he participated in the Venice Biennale of
ritualized rescue of her black, afro-diasporic the show acOntece que sOmOs canibais!, 1964, when he met American pop art. He saw
ancestry, from its syncretic religiosity and by Glauco Rodrigues (1929-2004), has a carnival Robert Rauschenberg receive the Golden Lion
the organization of a material world that gives samba school atmosphere, full of colors and and become almost a hero. After all, he was
new and sensual meaning to the materials on allegories, born under the influence of pop the first American artist to receive the grand
which the artist works. Particularly powerful art. The paintings exhibited at the Bergamin prize at the world’s oldest Biennial (1895). Pop
are the drawings that I had access to and that & Gomide gallery are like a rescue gesture art impacts Glauco. He returns to Brazil and
can be seen at Pivô. They are, I suppose, the from the artist who was forgotten for a while. begins his Brazilian mythology, with futuristic
expression of a body that has not allowed itself For Lilia Schwarcz, who signs the text of the pop aesthetics mixed with a critical tropicalism.
to be tamed, they distinguish an attitude, they show, this occurred “perhaps because it did In Rio, he is part of the exhibition Opinião 66,
are fluid, atmospheric, sometimes giving the not correspond or fit in an obvious way in the at MAM, alongside Lygia Clark, Hélio Oiticica,
impression of volatility without, however, being canons of modernism of the time”. Thiago Antonio Dias and Carlos Vergara. Creates works
incorporeal. They are perfectly contained in Gomide, owner of the gallery along with Antonia on the questionable “Brazilian miracle”, with
the crooked margins of the paper that the Bergamin, recalls that they exhibited Glauco the screen Nossa Comida Abundando Está
artist cuts with her hands. There is something almost two years ago in the collective A Burrice !(1977) (Our Food Abounding Is!) (1977).
Tropicalist about the artist and her project, the dos Homens (A Stupidity of Men) (2019), curated Denounces colonialism and the exploitation
operations she performs are serious, forceful by Fernanda Brenner, from Pivô, and that they of indigenous peoples in Persona (1974). Made
and incisive, however they do not bring any intend to work with him, without exclusivity. social critic through the legend Coati-Purú,
trace of seriousness. On the contrary, there The universe of Glauco is populated with part of the series Visão da Terra : A Lenda de
is a lyrical sense of humor, something acidic disparate characters, coming from various Coati-Purú (Vision of the Earth: The Legend of
perhaps, going through these narratives that times, living simultaneously in the present, Coati-Purú) (1977). In his painting O Derrubador
are not uncommon in the case of his drawings past and future. All seemingly disconnected, Brasileiro - D´aprés Pedro Américo, Victor
and seams are presented in compositions of but accomplished brilliantly within a cognitive Meirelles, Almeida Junior and Pedro Moraes,
enormous delicacy and freshness. The delicacy logic with a world sometimes stupendous, he critically revisits the work of these artists.
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