Page 113 - ARTE!Brasileiros #57

on the restoration of ceramic pieces”, assures possibility of working in Belo Jardim, I went to see learning and are now transformed into digital
Marianna. She also mentions that artist Jobson the place and made a proposal”, she says. Anyway, prototypes. Residents chose the three locations
Figueiredo, Brennand’s partner in the original she wanted the context to influence the work, where the instruments will be shown in contrasting
design, is developing the bronze pieces from so she readapted the work for the wild. Camila spatial situations: in the city of Belo Jardim, in the
the original molds. only stayed in Belo Jardim for two months, but Mariola factory and on the banks of a waterfall, all
For the future, the monumental pottery has an to reconfigure the project she worked for three in video showing works, spaces, people, directed
expansion led by METRO Arquitetos Associados, years. When the pandemic hit, the artist had to by Ruda Cabral. Tejo considers the final scene
with a view to making interventions that consider return to Vienna, where she lives, but she relied somewhat surreal: a single instrument appearing
the seminal and historical characteristics of the on a trusted team in loco to help her take the in a space and the recorded sound echoing
original space. While the transformations occur, project forward. “I followed everything virtually digitally. Remembering Jean-Paul Sartre, these
Devolver a terra à pedra que era: 50 anos da and had the coordination of David Biriguy, a poet musicians/ceramists knew how to give their matter
Oficina Brennand follows its course normally, and cultural producer from Belo Jardim who knows the only truly human unity: the unity of the act. This
not being, however, the only exhibition about the the local artists well and knew how to choose the is what makes a structured project different from
painter and sculptor taking place at the moment. participants. He became a co-curator”. Early on, others exposed to tourist exoticism, which attracts
In São Paulo, the exhibition Francisco Brennand: he made it clear to the participants that there foreign artists in transit. The Belojardim Residency
A primitive among the moderns can be visited would be no interference in the work and everyone may not take place next year, it all depends on
(also curated by Julieta González) can be visited agreed to join the project, which is not simple at the current government. The hope is that in 2023
until January 29, 2022, at Gomide & Co gallery all, recognizes Camila. everything returns to normal and culture finds
(which represents the Brennand estate since Each one of them was the protagonist of an its place, from which it should never have left.
the beginning of this year). instrument, which is actually a sculptural object
that could be molded as they wanted, even in the interview danilo santos dE miranda [paGEs 42 to 47]
institutions BEloJardim rEsidEncy [paGEs 38 to 41] shape of a triangle, square or hexagon, it didn’t
matter. Experimentation is one of the challenges MOVING ON WITHOUT
A DARING PROJECT of this residency that gave the participants wings RESTRICTIONS
IN THE RURAL AREAS to choose what kind of sound they wanted to
make. When asked, they chose the political sound.
OF PERNAMBUCO “People want to make the sound for society, the Despite the tragedy of the pandemic, of a
sound of the street, of anger, of anguish, of government that attacks culture, knowledge
Belojardim Residency, located in the city breathing, of fear”, argues Camila. The choice and science, and the constant threats to the
of the same name, presents Corpos de is not surprising, since Augusto Boal’s Teatro S System, Danilo Miranda says that Sesc-SP
Phonosophia, a project by Camila Sposati Legislativo (1996) is one of the conceptual pillars of remains firm in its mission to promote well-
that unites two ancestral elements, Corpos de Phonosophia. It consists of one of the being and culture (in its large sense)
clay and music Theater of the Oppressed techniques that unites
theater and politics, in a kind of active citizenship. By marcos Grinspum fErraz
By lEonor amarantE Camila met the residents at the start of the
work when she stayed in town and, as it was not even as an optimistiC person, Danilo Santos de
the Corpos De phonosophia proJeCt, by possible to return for another immersion because Miranda, 78, does not hide his great concern with
Camila Sposati, concluded the third edition of of the pandemic, David Biriguy bridged the gap the political moment Brazil is going through: “We
the Belojardim residency, in rural Pernambuco between the curatorship and the residents. are in a terrible situation, in several aspects”, says
- which after an interruption for two years, due Cristiana Tejo remembers that he was identifying the sociologist and philosopher, director general of
to Covid-19, returns in semi-digital format. people and arrived at a finely tuned team. The 14 the Sesc-SP since 1984. “This comes from before
Throughout the work, led by curators Cristiana participants were divided into three groups for the pandemic, with errors in the conduct of the
Tejo and Kiki Mazzucchelli, there was no lack health reasons. Camila invited Amália Lima, who economy, with the lack of funding for culture, with
of surprises triggered by the dialogue between is a choreographer, a native of Paraiba who has this denial of the field of knowledge and science.
music and ceramics, in addition to the bodily lived in Rio for years and is a body preparer for And things got much worse with the thousands of
movements worked on with a group of 14 residents dance and theater shows and for tv Globo. They deaths, the sacrifice, pain and mourning spread
of Belo Jardim. Local cultural references were the had digital dates twice a week. “I used to do the across the country.”
starting point to arrive at a project impregnated sound exercises and Amália the body exercises. In an interview to arte!brasileiros, Miranda takes
with memories and affective histories around Little by little, the groups joined the body, clay stock of the performance of Sesc-SP during the
clay, an original element of Brazilian culture, and sound”. Amália’s activities propose bodily pandemic, with its intense virtual activity, and talks
whose ancestry comes from indigenous and exercises that maintain desires, starting from about the return to face-to-face: “The meeting,
African matrices. The residencies emerged in the body until the elaboration of the instrument. the interaction, the face-to-face activities, this is
the context of the Conceição Moura Institute, Desire can be a sentence, a word, a note. Each essential for the our day to day.” That’s why the
from a conversation between Cristiana Tejo and instrument plays a note, a sound. Elaine Lima, institution is also planning to open a series of new
Mariana Moura. Both took the first steps to make leader of the Barro Branco quilombola community, units in the next few years, some of them already
public their desire to work with the community in the Belo Jardim region, was another important under construction - such as Franca, Limeira,
of Belo Jardim, a city contaminated by poetics person in the project that extended to that area. Marília and Parque Dom Pedro (in the capital).
from the region. Film, theater, dance and music With the work completed, one of the ways to On the constant attempts to cut resources
professionals were called in, and Tejo took on the make the exhibition possible, which takes place for the entities of the S System - such as Sesc,
curatorship of the fine arts. “I had been talking digitally, was to record the sound in a studio, Senac, Sesi and Senai -, financed by compulsory
to Kiki for some time about popular culture, Lina separate from the instruments. Due to budget fees charged on the companies’ payroll (with an
Bo Bardi, Aloísio Magalhães, and I invited her to reasons, the clay was not burned, which should annual budget that reaches almost R$ 20 billion),
share the curatorship”. These dialogues gave rise happen later, according to Tejo. “We had the urgent Miranda states that this is not exclusive to the
to the first two editions, with projects by artists need to speak from the Teatro Legislativo, by Boal, current government: “This has always worried
Marcelo Silveira, in 2017, and Carlos Mélo, in 2018, this was important in this context and it was our us and demanded from us a kind of permanent
both born in the region and who have known Belo prerogative. Each member of the team lives in a proof of our importance. As if every day we had
Jardim for several years. different place, with their training, deconstructing to show why we exist, why we should exist, what
Directing a project of this magnitude the role of the curator. Everything was thought of role we play and why society needs us to act”.
corresponds, in a realistic way, to opening up to in a network, each one with their own knowledge”, On the other hand, what is the most particular
new horizons. For this third edition, the curators comments Tejo. characteristic of the current federal administration,
extended the invitation to other places and The instruments are ready, some with a according to him, is that “the government has
invited Camila Sposati, whose project Corpos voluminous curve that multiplies in mouthpieces, no idea what culture is. These are not people
de Phonosophia unites a delicate and complex others with a curved exterior that resembles a who are dedicated or who immerse themselves
reflection on wind instruments and possible vase of flowers. They all hide their secret sound in this concept. When they put, for example,
connections with human organs, a topic she has that subtly corresponds to the different moods, culture as part of an action aimed at tourism,
been researching for some time. “Since 2015 I rhythms and goals of their authors. The objects/ they undoubtedly did not understand anything
work with instruments. I got excited about the instruments externalize the formal aspects of of what it means” - the Ministry of Culture was
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