Page 113 - ARTE!Brasileiros #56

altar, an allegory present not as an organization of the the Earth), held at the Center Pompidou in 1989 by struggles to be born: now is the time of monsters.”,
totality, but as a syntax of fragments. curator Jean-Hubert Martin, considered one of the written in 1930, during the time he was imprisoned
In another piece, working on a fictional narrative first exhibitions to review the centrality of Western in Italy, between 1927 and 1937 - a period of great
structure, Regina presents Golias, an installation production in contemporary art. In fact, it was there conflicts, especially due to the rise of Fascism, a
born from a drawing made in 1985, when she and her that Cildo Meireles emerged for his international moment very similar to the current one, politically.
husband were leaving New York for Bill Lundberg to career with the installation Missão/Missões, a The posters with this phrase are available at the
take up an invitation to teach at the University of Texas provocation to the presence of the Jesuits in Brazil. Bienal de São Paulo, in the colors of the Brazilian
at Austin. “In the meantime, I made these drawings Another iconic work from 1989 at the exhibition, flag, which is far from being a coincidence. After all,
about Amazonian myths and this turtle that I ended Geografia = Guerra, by Jaar, is now seen in a new, as the artist explains, “images are not innocent”.
up materializing in an installation at the Woman in the much broader version, in the retrospective O
World gallery, in Texas, which only exposed women lamento das imagens, on display at Sesc Pompeia exhibitions sao paulo [paGEs 50 to 54]
artists.” The artist has always invested in what she until December 5. “In this work, I address the
considers important, from the material used to the unequal relationship between the developed and THE WORDS
physical displacement. Her works are enhanced by the underdeveloped world, such as what happens
discoveries and personal desires. The turtle, coming with vaccines now,” says Jaar to arte!brasileiros OF CAROLINA
from an indigenous tribe, gains ninja power, receives during the exhibition’s assembly.
the name of Golias, pulls ropes, which are ropes The Chilean artist is recognized for being one of
from a giant slingshot that crosses the gallery. On the most insightful and accurate thinkers of power
the other side of the piece, these ropes entwine a relations in the world through images. “I’m not a The exposition Carolina Maria de Jesus: um
large stone. What shifts this spirit from one place photographer, what interests me is the politics of Brasil para os brasileiros, at Instituto Moreira
in the intellectual field to another is the imagination. images”, says Jaar. Therefore, instead of making a Salles, in São Paulo, presents us with the
Above the turtle’s backdrop, the gallery’s ceiling spectacle with the photos he brought from Nigeria, possibilities of dialogues between the literary
displays an eye painted by Picasso, which is his eye. he projects them onto a hundred barrels, which art of black authorship and the exhibition
In this narrative fiction, the turtle Golias challenges simulate where the toxic waste was. It is never spaces beyond a biographical perspective
the giant Picasso that the painter became. “Like the possible, however, to entirely see the images, as
canvas Les Demoiselles d’Avignon, he only took the to indicate how those people portrayed and their
African casing, that is, the dancers, without being families had their lives mutilated. Instead, an ethical By luZia GomEs
interested in the meaning, content and symbology correspondence between what is seen and what
of the images of those women and the narratives happened is necessary. There is no indifference A tomorrow
contained in them. Picasso is the colonizer who in Jaar’s work, says Moacir dos Anjos, curator of Possible reality
appropriates a native culture. The canvas Les the show, who points out in the Chilean’s work “a An honesty
Demoiselles d’Avignon today would solve many of commitment that requires tying aesthetics and ethics Naked humanity
the debts of some African countries. Western culture cohesively, refusing any tight separation between An eviction in papers
is a very opportunistic culture, which starts with the these two guiding instances of human understanding A piece of hunger
discovery - which was not discovery, it was an invasion and action”. Invaded
and usurpation of the lands of the original people Despite having images in the center of his Resisted
to generate profit for the Europeans.” Optimism is reflection, some works in the exhibition are texts, Infiltrated
not a prominent point in the artist’s discourse on which in its sense refer to the images. This is the Eroded a system and hit them
official history. “Today they are trying to redeem case of the poster VOCÊ NÃO TIRA UMA FOTOGRAFIA. All right, Carolina!
themselves and begin a reinterpretation of various VOCÊ FAZ UMA FOTOGRAFIA, a phrase attributed to the (Larissa Luz) 1
historical episodes, but that does not mean that I American photographer Ansel Adams (1902–1984).
see any improvement in the situation of indigenous Here, Jaar’s philosophical character can be seen, i. unframing existenCes
people or Afro-descendants.” first through the reflective aspect: those who visit The life and work of the Brazilian writer Carolina Maria
The artist became interested in archaic cultures the exhibition are invited to perceive how an image de Jesus comes to us this September, through the
during childhood, when she was curious to understand is more a construction than a documental act. Then, exhibition Carolina Maria de Jesus: um Brasil para
time. “Time for you is one thing, for an astronaut it’s due to the democratic aspect, when sharing his os brasileiros at Instituto Moreira Salles (ims), in São
quite another”. With this reflection, she entered that work - since the visitor is allowed to take a copy of Paulo, curated by anthropologist Hélio Menezes
ancestry to ask them the meaning of time. “The turtle the poster home. and historian Raquel Barreto, also counting with
has everything to do with this, it is a cosmic being, it In addition to the poster, in fact, the postcard Um art historian Luciara Ribeiro as assistant curator.
is a sun that runs with the moon, it is the day that runs milhão de pontos de luz is also available to the public, Exhibitions such as this present the possibilities of
with the night. And, in Afro-Brazilian culture, there is a photo taken from the Atlantic Ocean in Luanda dialogues between the literary art of black authorship
the God of Time (which Caetano sang: ‘Tempo, tempo, (Angola), towards Brazil, from where most of the and the exhibition spaces beyond a biographical
tempo, tempo’) which is a white flag”. enslaved who were brought here came, an estimate perspective. Thinking about the work of this author
Regina can change territories, cities, continents, of 3.5 million people. The image, however, is almost makes it possible to overcome the history of her
but she always carries within her this primitive abstract, as what is seen is only the reflection of the own life, because, in the exercise of her poetics, in
accumulation, the first formation of artist/ecologist, sun on the sea, but it is distributed in luminous points the gaps, in the scraps of the papers, in the plots of
activist/anthropologist affected by a humanity in that evoke the violence that the Atlantic crossing the embroidery drawn from her letters, written in
frank decay. “Our life is a repository of experiences represents. the lines of various times, Carolina Maria de Jesus
that are later transmuted in the work we do and This is another example of Jaar’s treatment of presents us with a portrait of Brazil, framed in colonial
become an antenna for the universe. You also receive images. The photograph of the postcard is projected remnants and urban conflicts.
things, perpetuate them with your time, the so-called on a large scale in the exhibition, but those who only The exhibition Carolina Maria de Jesus: um Brasil
Zeitgeist (spirit of the time) of the Germans. I mean, look at the image do not immediately perceive its para os brasileiros is composed of approximately 15
everything is divine and mysterious.” political character, and it is necessary to read the text thematic nuclei, woven between words and images.
on the postcard to understand the forcefulness of In this expographic narrative, it is unframed the
ExHiBitions | sÃo paulo [paGEs 44 to 48] the photo. “We are visually illiterate”, says the artist. limiting framework of the aestheticization of poverty
Therefore, part of his job is to provoke a strangeness in the face of the existence of a black woman and
ABOUT THE POLITICS that takes the visitor out of the comfort zone. After prevails a Carolina Maria de Jesus who wore pearl
all, even with the production of three billion images
necklaces, wore elegant clothes, traveled by plane,
OF IMAGE a day, as Jaar says, “no one teaches how to see”. appeared on a TV show with her sons and daughter.
The exhibition at Sesc Pompeia, a location chosen
In nine art works, the exhibition at Sesc by the artist himself after visiting other places, Accessing these other images of the author moves
us to a reflection on the power of images and how
Pompeia presents a set of works by the occupies the space in an exemplary manner. “I’m they can humanize us:
Chilean artist Alfredo Jaar, his questions an architect by training, so I always respond to the
about photography and his interest in the context and everything here is on the scale of the I had forgotten the power of embedded
politics of images space”, says the artist. images and stylish language to seduce,
For the exhibition at Sesc, he also created a
reveal, control. Forgot, too, their
bY fabio CYpriano new work, again a text, the neon roteiros, roteiros, capacity to help us pursue the human
roteiros, roteiros, roteiros, roteiros, roteiros, project- which is to remain human and
When, in the late 1980s, Chilean artist Alfredo Jaar the famous excerpt from Oswald de Andrade’s to block the dehumanization of others.
knew that in the small town of Koko, Nigeria, 3,500 Manifesto Antropófago, published in the Journal of (MORRISON, 2019, p.62).
tons of industrial waste produced in Italy had been Anthropophagy, in 1928. “In the confusion in which
dumped into rusty barrels, contaminating the region we live, new ways of thinking about the world are Subversive of the white canons, Carolina’s
and its residents, he flew immediately to Africa and needed”, says Jaar. prose and poetry is an epistemic foundation for
registered the scene. This confusion is reflected in the famous quote thinking about Brazilian society and realizing
The travel costs were covered by the organization by the thinker and politician Antonio Gramsci (1891– that socioeconomic inequalities and racism, for
of the exhibition Magiciens de la Terre (Magicians of 1937): “The old world is dying, and the new world example, which the writer pointed out in the 20th
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