Page 115 - ARTE!Brasileiros #57
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solely for one person, whoever, you are going   maintaining good relations with the three   raiseD to the largest sYmbol of moDernitY
            backwards, undermining all understanding of   levels of power.    in the CountrY, the Week of Modern Art – held
            the law and effectively preventing it from being                  at the Carnival of 1922 at the Teatro Municipal de
            properly applied. It is a very serious setback,   Taking advantage of what you mentioned   São Paulo – was only the noisiest side of a broad
            which concerns not only funding, but the   about cities that wish to have the presence   and discontinuous process of rupture with the
            character I would call didactic, educational,   of Sesc, could you talk about the units that   cultural models prevailing in the 19th century and
            in the sense of involving companies in a   are currently under construction?  the development of an innovative way of thinking
            commitment of a cultural, social, community   We have a whole plan for the next ten years,   about culture and art in Brazil. In order to explain
            and participatory nature.          approximately, which foresees the creation of   this comprehensive and multifaceted character
                                               several units in inland cities, in the capital and   of the development of national modern art, the
          In fact, it’s this same secretary who went   on the coast of São Paulo. We are currently   exhibition Moderno onde? Moderno quando? -
          to the Venice Biennale and said he doesn’t   building an important unit in Franca, which   on display until December 12 - brings together a
          know who Lina Bo Bardi is, the architect who   is the most advanced project, in addition to   diverse set of works produced in the first decades
          designed one of the most emblematic units   others in Limeira, Marília and Parque Dom   of the 20th century in different regions of the
          at Sesc-SP, Pompeia…                 Pedro (capital). We recently opened a unit   country.
            An architect who was being awarded at the   in Mogi das Cruzes, we will have another in   With works by more than 30 artists, produced
            event. And Sesc Pompeia is an exemplary   Osasco and soon the recovery of an area that   between 1900 and 1937 (having as its final landmark
            unit, in fact, it is an icon of culture in Brazil   was handed over to us in São Bernardo do   the beginning of the Estado Novo, a turning point
            and worldwide. It’s a pride for Sesc and I   Campo. There are also expansions in Registro   in the national political trajectory), the exhibition
            think it’s a pride for the country. Of Lina’s   and Ribeirão Preto - which is a very old unit   emphasizes some of the most striking aspects of
            works, it is, for me, the most significant and   and needs to be updated, and we also have   this modernizing impetus: the adoption of new
            important. Of course, Masp has a central role,   plans to build in Pirituba, São Miguel Paulista   themes and languages, disregarded in the past
            Solar do Unhão, Casa de Vidro, they are all   and Campo Limpo. It’s too much.  18th century. A careful look at the local scene
            very important, but the project that has the                      stands out, either through records of the rural
            greatest connection with a vast cultural and   In some way, therefore, despite all the bad   environment, or in the increasing attention to the
            educational program, with coexistence, is   situation in the country, are there always   renewal and urban expansion experienced in large
            Sesc Pompeia.                   reasons for optimism, to carry out projects   cities, as well as the increasing incorporation of
                                            and imagine transformations in society?  ways of painting, sculpting and photographing
          Migrating from the Culture Secretariat to the    I think so, I am an optimistic person. Look,   much closer to the avant-garde experiments that
          Ministry of Economy, there has been a threat   we’re in a terrible situation in the country,   have for some time shaken European art. As the
          of cuts in the Sistema S’s resources since the   in many ways. This comes from before the   curators Aracy Amaral and Regina Teixeira de
          beginning of the government. Recently this   pandemic, with errors in the conduct of the   Barros explain, it is clearly noted in the period a
          happened once again, with Paulo Guedes   economy, with the lack of funding for culture,   desire for renewal, a desire to recognize itself in
          saying he wanted to use part of the collection   with this denial of the field of knowledge and   this new production and a change in the desires
          for a stimulus program to employment. At   science. And it got much worse with the   in Brazil after the fall of the Empire. “We wanted
          what point is this imbroglio?        thousands of dead, the sacrifice, the pain   to celebrate the recent Brazil, the new Brazil,”
           Look, I’ve been at Sesc for over 50 years   and the mourning spread across the country   Aracy says.
          and since then I’ve heard, from virtually all   with the coronavirus. Now, we have to have   Despite the difficulties arising from the
          governments, about these attempts to take   a perspective of change ahead, we have to   pandemic, which made it much more difficult
          resources or even prevent the continuation of   believe in this, an optimistic view, because all   to research and obtain the loans of the works,
          the functioning of these entities in the S System   of this has to be overcome, it cannot continue.   it was possible to gather a very significant set
          - as if they had a superfluous, unnecessary,   And it depends a lot on us, on making clear   of works. Purposely, there is no clear division
          unimportant character. Well, that always worried   everything that is happening.  between the three central nuclei of the exhibition
          us and demanded from us a kind of permanent   I can say that at Sesc-SP our schedule   (premodernism, the Week and the developments
          proof of our importance. As if every day we had to   remains very positive, optimistic, with many   of the movement in subsequent years) As in a free
          show why we exist, why we should exist, what role   things ahead in all fields. In the field of visual   flow, the assembly allows the visitor to follow,
          we play and why society needs us to act. And this   arts, for example, we already have a series   without didactic rigors, some highlights of the
          has been the great element that prevents these   of important exhibitions on display - Alfredo   production of the period. Either the selected works
          ideas of courts from prospering, because when   Jaar at Sesc Pompeia, the Frestas Triennale   have a powerful and catalytic individual force or
          they go to check they know that these institutions   in Sorocaba, among others - and in 2022 we   represent, in a symptomatic way, central events
          have a fundamental character for Brazilian society,   should also work a lot with the centenary   of the period addressed, such as the disruptor
          in every sense - especially the four original ones:   of the Modern Art Week in 22, with the 200   entry of expressionism by the screens of Anita
          Sesc, Senac, Sesi and Senai. We have a huge   years of independence and with a series   Malfatti, in the pioneering exhibition of 1917; the
          amount of requests from city halls that want to   of current affairs that are fundamental.   aforementioned Week of 22; or the also famous
          have a Sesc, because they consider it essential   We will continue to play the boat without   Revolutionary Hall, held in 1931 in Rio, when the
          to have this presence in their cities. This means   restrictions.   urbanist Lucio Costa took over, even for a short
          an important value, we are desired and it is a                      time, the Escola Nacional de Belas Artes. From
          sign that there is an approval of the seriousness   exhibitions sao paulo [paGEs 48 to 53]  the regional point of view, São Paulo and Rio –
          and quality of our work. And, furthermore, our                      and, in the background, Recife – are the cities
          importance is not necessarily given by public  MAM-SP MAKES EXPLICIT   with the highest representation, but there is a
          leaders, by governments; our importance, our                        clear intention to dismantle a parochial version of
          value, is given by the thousands of people who use   THE COMPREHENSIVE   Brazilian modernity, evidencing the urban sprawl
          it, who attend our units. People across the country   AND MULTIFACETED   of modernist ideas and practices throughout the
          who benefit from the specialized professional                       national territory. The idea was to “escape a little
          training offered by Senac and Senai, or from a  CHARACTER OF NATIONAL   from this ufanism from São Paulo “, points out
          program of citizenship, social well-being and   MODERN ART          Aracy Amaral . We try to “spread a little the idea
          valuing the human being offered by Sesc, Sesi and                   of modernity and modernism throughout Brazil,
          other institutions in the S System. In other words,                 not only temporally, but in terms of territory”,
          we are permanently accountable for what we do.  Curated by Aracy Amaral and Regina   adds Regina Teixeira de Barros
                                            Teixeira de Barros, exposition “Moderno   The selection combines from iconic works
               But, finally, regarding our institutional   onde? Moderno quando?” (Modern where?   of national modernity to less known public
            relationship with the government, we also   Modern when) brings together a diverse    investigations and usually dissociated from
            have an effective dependence on public and   set of works produced in the first    this modernizing longing, such as the Baile à
            governmental actions in our programming,   decades of the 20th century in different   Fantasia canvas, painted in 1913 by Rodolpho
            in our way of acting. We have relations with   regions of the country  Chambelland, a vibrant and popularly inspired
            the government and we would like them to                          scene having costume ball as theme. “We go from
            be very healthy, we have every interest in   By maria Hirszman and patricia roussEaux  the guitar player to the carnival”, illustrates Aracy,
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