Page 112 - ARTE!Brasileiros #56

ENGLISH VERSION IMAGE AND POWER

hundreds of people participated in the successful meeting people, because that’s what moves art, exhibitions sÃo paulo [paGEs 40 to 43]
collective funding campaigns promoted in recent it needs the spectator”. With this determination,
years, also resulting in a network of support for the Marli decided to make the exhibition even if it only AFRICAN AND
museum that remains active and articulated. had three or four works and could only call one
The support network becomes even more person to see it: “That would be worth it already”. INDIGENOUS MATRICES
important, according to the directors, in a difficult When Marli told Luisa Strina that she would follow a
context for Brazilian culture. “From the donations solo project, she replied that today things are different, IN THE WORK
from companies and people came 75% of the project’s territories are not demarcated, borders are more fluid OF REGINA VATER
resources, also because other government resources and people form partnerships. Marli agreed, opened
ended up coming”, says Van de Beuque. “It’s a her gallery and continues to participate in some works A Celebration for the GOoD Time traces a
moment of lack of hope, of lack of horizon, and I with Luisa. “For example, I’m going to take care of 40-year cut in the production of the artist/
think that culture has been suffering especially, in Anna Maria Maiolino’s work and travel with Luisa activist who understands nature, man and
a constant way. So being able to open the museum to Art Basel, doing different things from those I do their ancestry as inseparable elements
in this context, with a project made possible by the in my gallery”. Still without a defined cast of artists,
mobilization of people, including collectors donating she maintains a close relationship with some artists By lEonor amarantE
works, believing in their future, is wonderful. But she has worked with for years. “For this exhibition,
public policies are really being missed”. for example, Maiolino insisted on sending me a new a celebration For the GooD time, by Regina
After years of financial and structural difficulties - work. Everything she did in the pandemic resulted Vater, in exhibition at the gallery the Jaqueline Martins
in which the institution also depended on a series of in this sculpture displayed here”. gallery until October 30, symbolizes the artist’s desire
partnerships with national and foreign institutions to Despite the crisis, some galleries are opening for both changes in the current Brazilian government
show the collection and keep its name in the spotlight branches outside Brazil and others do not hide their and political response to covid-19. The symbolic
-, the Casa do Pontal Museum seems to feel safe for sales success. I ask if there is an actual solid market relationship between the party/performance/ritual
a new lasting cycle activities and interaction with for art, one that was not hit, like other trade segments. that lends its name to the exhibition - held in 1983
the public. In October 2020, with the show Até logo, Marli answers positively. “In times of crisis, art is a in Central Park, in New York, where Regina used to
até já/See you soon, see you later, the museum said way for people to make investments, to diversify live - and the moment in which we are now becomes
goodbye to its former headquarters. In October 2021, them. Not that we turn the work into commodities, evident. “The United States used to live in a heavy
the “see you” of the title finally arrived, at a time when, but in fact you can make large investments in art political and social atmosphere under the Ronald
despite the crisis and conservatism in the country, and there are people who start their collections in Reagan administration. To make matters worse, there
popular art has gradually gained greater prominence these periods.” was the art debacle, when bad painting dominated
and respect, according to the directors themselves. Graduated in History from University of São the market. Anyone who painted badly became a
Paulo, which helped her with her knowledge on art, great artist.”
art market marli matsumoto contEmporary art Marli is interested in researching and seeks to get The New York event was organized by her in early
[paGEs 36 to 39] to know the artists with whom she works better. “I spring as a renaissance, just after a harsh winter. Time,
don’t have a project ready for the gallery, I intend to in Candomblé, is an orixá whose symbol is a white flag
A DIFFERENTIATED keep the house open to see all the possibilities, and that flutters from the top of the tree of life, and that is
how it was done in Central Park. Regina invited artist
to feel what can be done in terms of the market’s
GALLERY ARRIVES relationship with art, with the institutional part, with friends Antoni Miralda, Alison Knowles, Anne Twitty,
the international market.” She wonders: why not
Bill Lundberg (her husband), Catalina Parra, Coco
ON THE MARKET bring in outside artists? Why not use the space to Gordon, Karen Bacon and Marylin Wood, among
invite a gallery from abroad to exhibit here? These others, to perform dressed in white and contribute
With open plans and projects and seeking are some of the questions that gravitate her mind. with white art and food equally. “Some people were
to engage in new dialogues, the newest The way Marli thinks about the gallery/house invited and others spontaneously approached. It
space on the circuit occupies, with a zen is a very simple example of what she is already was a kind of general cleansing, cleaning up from
atmosphere, a modernist construction in developing. “There was a bookcase in the living a really bad time.” The video that is shown in the
Vila Madalena room, so I invited Rita Mourão to occupy that space. gallery, throughout the exhibition, transpires the
She is curating in parallel, but converging on the
joy and tenderness of the event, with a stripped and
By lEonor amarantE exhibition.” This will always happen at the gallery hopeful atmosphere.
because Marli believes that collective projects are The arch that covers this exhibition is the 40 years
a Charming moDernist-stYle house with gaining strength and relationships are getting closer of production of an artist who has lived in several
an oriental touch houses Marli Matsumoto and more and more consolidated. The house enters cities and countries performing collaborative works
Contemporary Art gallery, recently opened in the exhibition as a welcoming place. “A Poltrona contaminated by the surroundings. Works dated
Vila Madalena. Adding consistent experiences Tentáculo de Ovo, by Raphaela Melsohn, is the from 1980 to 2020 occupy three floors of the gallery
acquired in her passage through the galleries result of the pandemic, it is linked to the act of with installations, videos, photographs, drawings
Nara Roesler, Raquel Arnaud and Luisa Strina, the creating inside your home in a more cozy space”. and objects. An entire enigma zone takes over the
newest art dealer in the city closely followed several There is clearly an attempt to dissolve the freeze installation Rama Dourada, linked to one of the
renowned artists, saw the art market grow and in our relationship to the object. “The foam roller first novels of mankind, the epic of Gilgamesh, an
become professional and will now put everything attached to the chair is more than eight meters ancient epic poem. “The story tells that to enter the
into practice in this project. Bolhas Siderais is the long. They are large tentacles coming from the underworld, the goddess gives Gilgamesh a golden
playful theme of the inaugural exhibition, curated reception of a tv with music and that talks with branch as a passport. In the Aeneid the same thing
by Juliana Monachesi, that fits into the space’s the neoconcrete artists of Magdalena Jitrik.” This happens, another goddess also offers the golden
Zen atmosphere where works by 14 artists develop almost hypnotic work invites the visitor to enter it branch to Aeneas to penetrate the world of the souls
ingenious models of displacement to understand the and dialogues with the idea of Lygia Pape’s egg, and the dead, to find and get help from his father.
narrative. Marli speaks of the particular bubbles we exhibited in the same environment. The rite of the golden rame tree has to do with the
inhabit and that throw us into other cosmos, quite Installed at the entrance, the sculpture by Anna Amazon and the regenerative rhythms of nature.”
different from those we were living in a year and a half Maria Maiolino stands elegant and erect like a plant or Odorico Mendes, Regina’s great-great-
ago, with many displacements, encounters, rushed a sword, pointing to the universe as the epicenter of a grandfather, translated Virgil and Homer. In the
and continuous meetings. Part of the works seem to circularity. For Marli, the sidereal bubbles brought the 1840s, he went into exile in Paris, where his friend
respond to this critical scope. The entire exhibition idea of how this entire cosmos was bringing a different and poet Gonçalves Dias was. They decided to return

follows the minimalist principle of the house/gallery consciousness. “Each artist has something inside together to Brazil, but a fatality occurred. “My great-
linked to an aura that suggests tranquility, which is them. Adriana Aranha crochets’ require a waiting great-grandfather died of tuberculosis on a train in
evident in all spaces. time, of circular construction, weaving a tube made Marseilles and Gonçalves Dias’ ship sank off the
She understands her project as “transition from 2000 to 2010, very symbolic of that period.” A coast of Maranhão. Both were doomed to death.
dialectics”, translated as that moment when you wire runs up and down slowly in the chair where she Haroldo de Campos considered his translation the
are permeated by a slow movement, of those who did the work. The idea was to bring together younger best ever published”. With strong cultural, historical
enter into a kind of work and, almost without realizing artists, aged 30 on average, alongside others aged 50 and emotional certainties, in this installation Regina
it, enter into others, in a continuous circle of doing. and over, such as the renowned Maiolino and Jorge pays homage at once to the poetic tradition of
“We are in the middle of a great unknown, a world Macchi, expanding the limits of what is possible humanity, the romance generated by Gilgamesh
situation from which no one escapes.” A moment and confronting the timeless aesthetic legitimacy. and her great-great-grandfather.
of more questions than answers. How to behave The art system has changed a lot in recent decades The utopia contained in the artist’s works expands
in relation to the pandemic is one of the issues and new galleries are constantly appearing in the city. the limits of what is possible, as in the installation Deus
we all face on a daily basis. “Amidst everything, In the past, everything revolved around the Bienal dá nozes a quem não tem dentes, supported on a saying
we have to value the maintenance of the planet, de São Paulo, today collectors, critics and museum with popular culture timbres expressed by those who
the issues involving indigenous, Afro-descendant, directors regularly arrive in Brazil, throughout the felt rejected by luck, or had it and didn’t know how to
gender minorities, in short, with everything that year. “They first go to Inhotim, then to São Paulo enjoy it. Dozens of gold-painted walnuts, symbolizing
constitutes this moment. It’s time to revisit and and then to Rio de Janeiro, in a lively and constant wealth, installed on the gallery floor, form a carpet in
review all this, our values and the possibility of movement”, celebrates Marli. front of the phrase written on the wall, as if it were an
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