Page 93 - ARTE!Brasileiros #54

“It is not people with disabilities (PwD) who In order to guarantee a better transmission Welcome to the intruder body
are not interested in art, they are artistic and of their concepts and aesthetic proposals, the With hemiparesis (partial paralysis), caused
cultural producers who are not interested in performer and video artist Estela Lapponi by a stroke at the age of 24, Estela Lapponi
producing content that is accessible”, says acted in another way. In the first opportunities questioned for a long time about the meanings
Moira Braga. For the dancer and actress, the with resources, she built them in dialogue of disability and inclusion, which made her
process is cyclical: if artistic production is not with professionals in the field and, in one of move from theater to dance, to inclusive dance,
accessible to PwDs, it becomes more difficult her last projects, the film Profanação, made and finally to performance and audiovisual. So
for them to develop interest or become artists. audio description not a tool for accessibility, she opposed the idea that she should play roles
The sculptor Rogério Ratão agrees and adds but language, a constituent part of the work. with little movement, or that there would be a
that in any case people will only like the arts However, she points out that this responsibility specific place for her according to her “ability”.
if they are stimulated. “And when we have a in some cases goes beyond producers and In her projects, she puts the intrusive body in
disability, there is a lot that people think they artists, is linked to incentive laws and notices. focus, as a narrative builder.
know what is and what is not necessary for us.” “I think that what I receive is still very little For Rogério Ratão, capacitism is clear when
However, the artistic stimulus is not only depending on the project. If I don’t increase some comments imply that he does not create
in signaling concrete aspects of a painting, the budget, it will become an event: it’s just a the sculptures alone or show the difficulty of
or in the transmission of the words of a song day of recourse, because I can’t always have it.” understanding that his sculptural creation is
through Libras (Brazilian Sign Language). not based on the visual. The artist explains that
Visually impaired, Ratão exemplifies with the Welcome to the bipedal world part of the tactile for all his artistic construction.
accessibility in plastic arts: “If you describe Van This posture, for Estela, has a structural root: “All my skin gives me some information. My body
Gogh’s starry night, you will need to explain we live in a bipedal world. The term is linked to is my template. I use my fingers and hands as a
the brushstrokes, the accumulation of paint the concept widely used by director, dancer and measurement unit and myself as an anatomical
and other aspects of the work”, because it is choreographer Edu O., which is not restricted model”, he says. And it is this importance of
through the description that he can understand only to the scientific definition of the word, but the tactile that he transmits to his students -
the painting. In his case, as a person who has to the structural idea that every body walks whether they see it or not - in the courses he
already seen, he creates the image in his head, on its own legs, sees and hears, disregarding teaches at MAM-SP.
like someone who reads a book, but shares other bodies of existence - or seeing them as João Paulo Lima also found himself facing
that people who were born blind tend to build something that needs to be repaired. the empowering belief with his colleagues in the
the work in their minds from other sensory João Paulo Lima’s experience corroborates technical course, being constantly questioned
references. The Starry Night just like a scene this view. At 26, he joined the technical course about his ability to participate in certain classes
from a night city, with starry skies, trees in for Creative Interpreters in Contemporary or perform certain movements. After starting
the foreground and houses at the bottom of Dance at Escola Porto Iracema das Artes in his authorial creations, he also starts from the

the picture, “the little house that comes to Fortaleza. Amputated from one leg since he idea of an intrusive body and the relationships
mind is the same drawing that a child could was 12 years old, the artist says: “There I had to it establishes with the world and with society,
do at school. understand what is Van Gogh’s get rid of the bipedal body. As a memory, I had whether in No’Tro Corpo - in which the artist
house, what is Cézanne’s house, what is the already got rid of it, but not socially, because I takes his prosthesis to the stage and resignifies
specificity of each artist? ”. think that even if you are born with a disability, it by fitting it in. it in unusual ways, in contrast
It is by signaling the techniques, the style and it is socially charged to be biped “. For Moira to the pressure to use it - or in Devotees - a
the characteristics of the painter that access it was also the dance that allowed her to go show in which it shows the disabled body as
to the work is actually allowed and not to any beyond the possibilities she understood for capable of being desired and desiring.
drawing. The sculptor shares that on many herself: “We start to work on the body and we Perhaps, what is being proposed in these
trips he went to museums in the company of his understand each other better, freeing ourselves different cases is no longer an inclusion,
brother, so that he could describe the paintings from our limiting beliefs”. but another starting point, not a bipedal
in more detail. In some cases, when museums It was during artistic studies that both Estela perspective. That is, the understanding
had limited time to visit in relation to certain and João started to identify themselves with that dissident identities are also builders of
works, they allowed them to take more time, so the concept of “intruder body”, a dissident narratives and knowledge. As Estela concludes:
that Ratão could actually admire them. In other body that causes strangeness when occupying “An intruder body comes to be able to modify
cases, he came across institutions that had different spaces. For them, it is because of this the system. If it does not change, it remains
tactile structures that, through reliefs, allowed invisibility of non-bipedia that they are often intruder; if it changes, it ceases to be. I want
him to feel the works, or with exhibition spaces not seen as simply artists, but as artists with the intruder body to disappear”.
that released specific hours so that blind or low disabilities, and thus “are only remembered
vision people could touch some sculptures and in art on commemorative dates related to ARtiClE | ARt And CAPitAl [PAgES 60 to 64]
thus better understand them. them. disability, such as the Virada Inclusiva, the
In his professional experience, Leonardo Day of the Deaf etc...”, Castilho points out. For CIDADE MATARAZZO,
Castilho gives us other examples of artistic Estela, this is because “inclusion is unilateral.
stimulation. Be it in the play Cidade de Deus There is no exchange relationship, as there is no CONTEMPORARY ART
- presented in sign language in Brazil and autonomy on the other side. There is no desire, AND NEOLIBERALISM
France -, in his activities as an educator at the it is an object and it is commodified. Whoever
Museum of Modern Art of São Paulo (MAM- ‘includes’ generates profit, puts himself well in Based on the luxurious real estate
SP) or in the music shows - in which he worked ribbon and this corroborates to a thought of development that is being built in São
with the interpretation in Libras -, he sought charity - which is a construction that relieves Paulo, the curator and researcher points
to go beyond simple information, allowing the State and that privileged people feel to the dangerous use of contemporary art
deaf people (like him) to have access to that themselves guaranteeing their space in the by neoliberal logic, questions the capitalist
art in form and content. As Castilho explains, kingdom of heaven “. model that says “defending diversity” and
accessibility needs to go beyond the protocol. For this reason, as a continuation of her discusses the precariousness of labor
It is not just a matter of including Libras research on the intrusive body, the artist relations
or audio description, but of transmitting creates the anti-inclusion manifesto. “When
the aesthetic experience that art proposes Boaventura de Sousa Santos brings the idea By PollyAnA QUintEllA*
- which involves a refinement of resources, that Western thought is an abyssal thought,
greater preparation over them and constant which creates distinctions, he elucidates the aCCorDing to eConomiC theory,
consultancy with PwDs. “Event organizers problem of inclusion very well; because there is neoliberalism proposes that human well-being
hardly think of broader audiences when they a line that separates the visible world - bipedia, can best be achieved by lifting restrictions
are designing the project and the budget”, he whiteness, heterocisnormativity - and the on individual entrepreneurial freedoms
explains. “This can lead to scrapping”, adds invisible”, she says. The performer believes and capacities within the framework of an
Moira, who also has a visual impairment, that the world we live in - and art is not exempt institutional structure characterized by solid
referring to funds allocated to resources, from this structure - is based on visible and private property rights, free markets and free
which are often less than necessary. “The standard logic. “Inclusion makes us want to trade. Neoliberalism privatizes public assets,
accessibility feature is a possibility that you cross that border. Only the prevailing logic is frees up natural resources, deregulates
are giving a viewer to enjoy that work, so if still the privileged one, and we will never break industry, facilitates foreign investments,
you do it anyway it means that you don’t care it if we continue to think that this is the world impacts our labor relations and our professional
about that audience”, he points out. we want to be in”, she explains. environment. But, in order to fully assert itself,
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