Page 100 - ARTE!Brasileiros #55

ENGLISH VERSION IN MOURNING I STRUGGLE

editorial [page 08]
to researching artists who document conflicts. exhibition possibilities? This was one of the
Anyway, we are here and, in our mourning,
IN MOURNING I we fight. questions that guided months of work in The
river is a serpent, third edition of Frestas - Art
STRUGGLE Triennial. Organized by Sesc São Paulo, based
Collaborators [page 06] at its Sorocaba unit, it is curated by Beatriz
By patriCia rousseaux Lemos, Diane Lima and Thiago de Paula Souza.
issue 55 june july august 2021 The invitation to the trio came before the
we mourn. In the past months, several thinkers artebrasileiros.com.br pandemic, enabling the first activities in the
of Brazilian culture died, after years of building construction of the project. On a trip across
a great work. The photographer German Lorca, Cover: Detail of the panel O mundo é nosso [The Brazil, the curators visited locations in the North
the architect and urban planner Paulo Mendes world is ours], 2018-2019, from the series Pardo and Northeast together: “The most important
da Rocha, almost centenarians, were part of é papel [Brown is paper] by Maxwell Alexandre. thing for us was that from this moving body in
the nobility of modern thought. Photo: Gabi Carrera conflict with other territories, we could create a
But, not enough, we are also crossed by the curatorial body”, explains Beatriz. It was in this
loss of friends, colleagues and family members, Daniel lima is an artist, curator, editor and movement that The river is a serpent began to
crossed by the death of close to half a million researcher. He holds a bachelor’s degree in take shape, not as a theme - which would be
Brazilian citizens. Victims of Covid-19, a fierce Fine Arts, Master in Clinical Psychology and insufficient for the current moment -, but as a
virus poorly and wrongly fought in Brazil. he is a PhD student in Audiovisual Media and cosmovision that brings together the learnings
We are traversed by the inevitable awareness Processes at the University of São Paulo. Since of its process and aims at discussing the
of the loss of values in our society, which is 2001, he has researched media, racial issues movements contemporaries, their geographies
collapsing. Divided in such a way, where violence and collective resistance. He is a director at and colonial structures.
only escalates. Invisíveis Produções. In this issue, he wrote But how does Frestas ended up happening
It is no exaggeration to say, quoting the about the Sidney Amaral show. in Sorocaba? From a sequence of listening
words of the writer Bernardo Carvalho, that meetings with local artists, producers,
we are living in a moment in which barbarism giulia garCia is a journalist graduated from managers and educators, the team sought
is insufflated. Large sectors of the population Faculdade Cásper Líbero and an actress, to understand the region’s needs and made
mobilized to deny the advance that research, with technical training from Senac-sp. She education one of the central pillars of curatorial
study and science have brought us over the last is a researcher in Art and Communication, thinking. “It has always been a great concern for
few centuries only collaborated with the advance a member of the Cnpq Communication and us not to be like a spaceship that lands in the city
of diseases. Provocations against necessary Society of Spectacle Research Group. She ‘bringing knowledge’ and then leaving”, explains
care! Explicit provocations, in favor of “individual has already worked as a reporter for Trip and Renata Sampaio, educational coordinator. If
freedom” and, preferably, armed. Tpm magazines and, since August 2020, she the general context seemed so vertical, the
Public institutions razed by professional has been a member of arte!brasileiros team. proposal here was to change this dynamic a
puppets, a gang in which everyone lies and She writes about Triennial Frestas in this issue. little. “We didn’t want to reproduce this colonial
defends each other. A country surrendered to vision of those who just want to teach and not
a perverse project, where large sectors of the marCos grinspum Ferraz is a journalist. build together”, she adds.
population still believe in a model of power, the Graduated in Social Sciences at usp, he worked With the arrival of the Covid-19 pandemic,
power of exclusion. The punishment. Religious, between 2009 and 2012 at the newspaper the entire art world saw the need to rethink
political, physical, gender. People who kill people. Folha de S.Paulo and between 2013 and 2017 their programming. With the triennial it was
Yes, with stray bullets and directed bullets... at Editora Brasileiros, always covering the no different. The exhibition was postponed
Aimed at women, at blacks, at those who resist. cultural area. He studied Visual Anthropology several times and is currently scheduled for
We are naturally fragile. But this fragility is at Universidade Nova de Lisboa, in 2017, and August 2021. For the curators, this decision
accentuated as large sectors of society are two years ago he returned to the arte!brasileiros brings a provocation about their professional
abandoned by this power project, which makes tram. In this issue, he writes about Paulo functions, remembering that “perhaps the
them increasingly dispossessed. The basics are Mendes da Rocha, the Paiz Art Biennial and curatorial practice is not limited to an exhibition
being denied: food, education, health, culture. the publication Presente. organization”, explains Thiago de Paula. With
In these, where is art left? Where is it? Since that in mind, they changed the direction of the
it didn’t die. But not because what dies over simonetta persiChetti is a journalist and project and decided to focus even more on
time are movements, styles, avant-gardes; but photography critic. Master in Communication educational practices. If “the river is a serpent
because today, here, not all of us are dead. Or and Arts (Mackenzie), PhD in Social Psychology because it hides and camouflages between
because, as the artist Jota Mombaça would say (puC-sp) and post-doctorate from eCa-usp, the unpredictable and the mystery, it creates
in one of her works, which was already on the she is a professor at Faculdade Cásper Líbero strategies for its own movement”, as the
cover of this magazine, “We agreed not to die”. and she is a member of the Editorial Board curatorial text summarizes, it is with a focus
We are in mourning, yes, but this, as in the of arte!brasileiros. She organized the Senac on the course and curves of this river - and on
history of all cultures, is a necessary process to Photography Collection, acted as curator of the dialogues that these promote - that Frestas
honor what we have lost and, despite the pain, Arte Plural Galeria and published 23 books on decides to build itself. “This image has helped
to be able to reinvest our energy and psychic Brazilian photographers. She won the Jabuti us to think about this cosmovision and has
strength to move forward. Reportage Award for the book Imagens da enabled us to find strategies and possibilities
Taking care of us and taking care of each Fotografia Brasileira. to face what it means to cure an exhibition of
other, being alive, listening and following contemporary art at this moment in which Brazil
where it is taking place, in the midst of this tiago gualberto has a master’s degree in is living”, explains Diane Lima.
debacle. It is necessary to read, write, think, visual arts and a bachelor’s degree in Textile and
paint, install. It is necessary to produce art, to Fashion from the University of São Paulo. Since the aFFluents
guarantee an instinctual body that, affected 2004, he has developed research, education and It was in this context that the idea of the Study

by its surroundings, is capable of screaming, artistic production actions with focus on social Program took shape. Fifteen artists whose
affecting the other and the social body. justice, contemporary art and citizenship, where lives and practices are directly connected to
Thus, in our pages, the way to mourn is he incorporates themes related to Afro-Brazilian colonial violence were invited to participate in
honoring the artists, researchers and editors culture, memory, history and narrative rewriting. a series of virtual meetings with the triennial’s
of Enciclopédia Negra (Cia. Das Letras), who curatorship, production and educational teams.
worked exhaustively to repair, in response to Biennials | frestas [pages 10 to 13] “We had intense meetings discussing projects,
the classic Encyclopedias of the Enlightenment poetics, practices and life”, says Thiago. In
- which for more than 200 years only they A TRIENNIAL IN this space, the artists were able to elaborate
reproduced and advocated white and European their own artistic projects, which will make up
models of domination - the absence of hundreds PROGRESS the exhibition.
of invisible black men and women. Based on the experiences and ideas of Castiel
We also deal with several exhibitions put on Based on a decolonial cosmovision, The Vitorino Brasileiro, Davi de Jesus do Nascimento,
by artists and social groups who never stopped river is a serpent, third edition of Frestas Denilson Baniwa, Denise Alves-Rodrigues,
meeting virtually. Fabio Cypriano pays tribute - Art Triennial, focuses on the dialogues Ella Vieira, Gê Viana, Iagor Peres, Jonas Van
to the centenary of Joseph Beuys, a central of its process and has a final exhibition Holanda, Juliana dos Santos, Laís Machado,
artist in the history of contemporary art, and scheduled for August 2021 Luana Vitra, Pedro Victor Brandão, Rebeca
observes how traditional exhibitions such as Carapiá, Sallisa Rosa and Ventura Profana,
Kassel’s Documenta prepare to completely By giulia garCia the meetings brought focus to several of the
change their exhibition strategies. discussions that permeated curatorial thinking.
There is also the report that is in the hands of in the miDst oF a panDemiC and political With this, not only did the artists leave video
the young journalist Miguel Groisman dedicated crisis context, what are the curatorial and calls with new provocations, but the curators
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