Page 113 - ARTE!Brasileiros #57
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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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