Page 108 - ARTE!Brasileiros #56

ENGLISH VERSION IMAGE AND POWER

eDitorial [paGE 8]
and visualities, since the year 2000 and specifically BiEnnials | sÃo paulo [paGEs 10 to 16]
IMAGE, POWER since 2010, with the appearance of communication 70 YEARS OF HITS
networks, any experience has become exacerbated.
RELATIONS For good or for evil.
With the pandemic then - it has lasted almost two AND MISSES
AND PARADIGM long years! -, the presence of the image has become
SHIFTS desperately relevant, sometimes trivialized. See, Created in 1951, the main artistic event in
the country and one of the most relevant in
see, see on screen: news, friends, the surroundings
from the windows. See fake news, real images of the world, Bienal de São Paulo completes
we are experienCing another Cultural deforestation and the killing of Indians to ensure seven decades, surpassing the times of the
Change, specifically in the field of the arts, which the occupation of mining companies, memes, dictatorship and holding remarkable events -
is compared to the changes of the late 19th century, works in exhibitions in virtual environments, some more, others less
early 20th century, with the rupture of the concept see yourself in national and international virtual
of classical aesthetics proposed by modernism and seminars. Watch movies, documentaries and series
the advent of a contemporary aesthetic, which led on digital platforms. By lEonor amarantE
the vantguards until the 90s. In this edition, several texts converge to document
Among many of the philosophers and art this moment, analyzing this phenomenon, which art maY be an inDiviDual whim, but it’s contagious
critics, the Argentine Reinaldo Laddaga stressed should impact us and impact on the production power, as Lima Barreto said, is the link between men.
in Estética da Emergência, in 2006, there was a of the coming years. Among them, the text of Despite the strangeness with which it was received in
“decisive process in recent years in the universe architect and researcher Mateus Nunes on Giselle 1951, the 1st Bienal de São Paulo prevailed and is still
of the arts, the formation of a culture different Beiguelman’s new book, Políticas da imagem- the best known Brazilian artistic expression abroad.
from modern and its postmodern derivations. A Vigilância e resistência na dadosfera, and our new When creating it, Francisco Matarazzo, known as
particularly eloquent sign of this process is the column Critical Eye, by professor, researcher and Ciccillo, bet on the most daring cultural project
proliferation of artists’ initiatives aimed at the photography critic Simonetta Persichetti, who ever carried out in the tropics. The first edition was
participation of large groups of diverse people, analyzes in this issue the effects of images of the provisionally mounted at Belvedere Trianon, where
in projects where the realization of fictions or attack on Twin Towers in the usa, in 2001. Masp (São Paulo Museum of Art) is located today.
images is associated with the occupation of local The history of art will be another after the - Every two years, the Bienal participates in a kind
spaces and the exploration of experimental forms increasingly - adhering of artists to collaborative of “Grand Slam” of the arts, alongside the Venice
of socialization. We are faced with new Cultural projects and their sensitivity to the environment, Biennale and Documenta, in Kassel.
Ecologies.” digital communication and the pandemic, One of the challenges of this effort, with a great
This “new culture” is inevitably linked to changes because this has nothing to do with computers utopian load, was to reflect on the role of national
in forms of activism and participation in the social, or technologies, this has to do with the subjects production, the relevance of its actuality and insertion
political and economic areas that have appeared they produce and the subjects who look. on the international plane. We have to admit that the
with the exhaustion of the neoliberal model. contribution of its 34 editions, these 70 years, has
These were the first findings of a process that not always been made explicitly, sometimes because
opened the debate for the reflection of the role Collaborators [paGE 06] of an unusual thought, other times because of a
of museums – such as the concept of the Living disturbing montage.
Museum, where the public in addition to watching issue 56 september october november 2021 Inspired by the Venice Biennale, held since 1895,
could participate in the projects presented, and artebrasileiros.com.br the event in São Paulo had a strong impact on Brazilian
artists engage in projects. Forerunners such as artists in its inaugural edition. The sculpture Unidade
Lygia Clark were properly remembered in these covEr imaGE: Denilson Baniwa, Caçadores de Tripartida, by Max Bill, a Swiss artist who received
pages on the occasion of their centenary. Ficções Coloniais, 2021 the highest prize at the Bienal, opened the doors to
Without going too far, arte!brasileiros geometric abstractionism and influenced Brazilian
accompanied in recent years the international award ClauDinei roberto Da silva is a visual artist, sculptors such as Franz Weissmann. Other artists
of projects such as Jamac /Shared Authorship, curator and professor of Art Education at usp. He also left their mark, such as René Magritte, Alberto
created in 2004 and headed by the Brazilian artist was the coordinator of the Education Center at Giacometti, Di Cavalcanti, Candido Portinari and
Monica Nador, who architected a whole work of the Afro Museum, co-curator of the 13th edition Lasar Segall. They signaled the art developed in
painting workshops, stencils and printing with the of the Bienal Naïfs do Brasil and curator of several those 1950s.
community of Jardim Miriam, on the outskirts of the exhibitions, including PretAtitude and Viver até o In 1954, São Paulo prepares for the celebration of its
city of São Paulo, and who participated in the show fim o que me cabe! - Sidney Amaral. fourth centenary when Ciccillo surprises everyone by
Somos Muit+s: experimentos sobre coletividade bringing Guernica and another 75 works by Picasso,
at the Pinacoteca de São Paulo, in 2019. leonor amarante is a journalist, curator and curated directly from Paris, for a second edition. The
In this edition, Giulia Garcia’s report brings the editor. She has worked at Jornal O Estado de places determined to show art, from then on, expand
pipa 2021 awards, which, starting this year, will S.Paulo, Veja, tv Cultura, Memorial da América with the mobility of life. In the second edition, the
feature virtual annual exhibitions. For Luiz Camillo Latina, collaborated with World Paper Boston and Bienal won a definitive place in the Ibirapuera Park
Osorio, curator of pipa, the choice of Castiel Rádio Rebelde de Cuba. She had an aBca Award for complex, designed by Oscar Niemeyer. In addition to
Vitorino Brasileiro, Denilson Baniwa (whose work the edition of the magazine arte!brasileiros (2012) the Picasso retrospective, it exhibited Italian Futurism,
illustrates our cover), Ilê Sartuzi, Marcela Bonfim and a Ministry of Culture of Cuba Award (2009) for Cubism, Argentinian geometrics and the rooms of
and Ventura Profana, this year, demonstrates cultural activities in that country. Mondrian, Paul Klee and Edvard Munch. A class on
the moment of great political boiling and strong the exceptionality of 20th century art.
development of experimental poetics that we luzia gomes is a poet, black feminist, museologist The creation of the Bienal was related to political-
witness in current Brasil. Each of them evidences and Ph.D. Museology at the Faculty of Visual economic changes in the city of São Paulo and the
works in process, in which the performative, the Arts of the Federal University of Pará (ufpa). She cultural strategies of the local elite to transform
new technologies, ancestry, experimentation coordinates research and extension projects it into a landing strip for international vanguards.
and gender politics are all shuffled, fruitfully dealing with the literary art by black women and The art starts to change quickly and, over time,
mixed, pointing to the unknown and with great museology. In this issue, she writes about Carolina they get bigger and gain weight. In its 4th edition,
poetic forcefulness. de Jesus. in 1957, the Bienal had to be transferred to the former
One of the five winners, Castiel confirms: “What Indústrias pavilion, also in Ibirapuera, where it still
I do are invitations and reminders that we can mateus nunes is an architect and researcher. stands today. The pleasure of being in crowds,
live another story than this racial and gender,” He is studying for a doctorate in History of Art according to Walter Benjamin, “The pleasure of
he explains in a video recorded to pipa. A visual at the University of Lisbon, with a period at usp, being in a crowd is a mysterious expression of the
artist, writer and psychologist, Castiel constructs he is an architect and urban planner graduared sensual joy in the multiplication of numbers. ... There
her productions from the dialogues between from the Federal University of Pará. In this issue is number in everything.” Newspapers reported that
knowledge of art, macumba, psychology, sorcery, he collaborates with articles on the exhibition by the event attracted hundreds of people to admire
shamanism and more “what she deems necessary photographer Luiz Braga and the new book by the transparent building with Niemeyer’s beautiful
to produce survival”. Not defining herself in a Giselle Beiguelman. architectural curves and unintelligible artwork. One of
specific artistic technique. them was a painting by Jackson Pollock that arrived at
Together with this movement, and this Laddaga simonetta persiChetti is a journalist and Bienal a year after his death. The works of Tapiès and
could not have foreseen, we experience today as photography critic. Master in Communication Josef Albers provoke a silent exchange with the works
never before the presence of virtual reality as a and Arts (Mackenzie), PhD in Social Psychology of Frans Krajcberg, Lygia Clark and Hélio Oiticica.
fundamental element to relate, to know and to get (puc-sp) and post-doctorate from Eca-usp, she The year 1961 was a milestone in the history of the
information. The power of the image gained other teaches at Faculdade Cásper Líbero and is a Bienal Foundation, which separated itself from the
dimensions, among them that of becoming another member of the Editorial Board of arte!brasileiros. Museum of Modern Art in São Paulo and became
mediator, between the work and the spectator. She has published several books and won the an autonomous institution. The works awarded at
If at the beginning of the 20th century some Jabuti Reportage Award. In this issue, she debuts the Bienal until that moment were donated to usp’s
artists traveled to France and had new theories the Critical Eye section. Museum of Contemporary Art. Also in the same year,
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