Page 116 - ARTE!Brasileiros #57

ENGLISH VERSION EVERYTHING IN CHECK

emphasizing the multiplicity of paths represented look, but focused on the present, with 51 works Towards this issue, in Brasilidade Pós-
by authors as diverse as Almeida Junior and produced from the 1960s to this day, some of Modernismo, Identity is one of the most interesting
Chambelland. The progressive urbanization, them never seen before. The period chosen nuclei of the show, reflecting precisely on the idea
which imposes an accelerated incorporation brings maturity and a historical distancing from of a national identification and at what point it
of more sophisticated models of behavior and the beginnings of Brazilian modernity, as the comes out in our private lives, or overlaps, and
configuration of cities, is also present in the work curator of the collective show, Tereza de Arruda, even what elements would be part of this so-called
Fachada do Teatro Municipal, a photopainting comments. For her, the Brazilianness mentioned unique image. For Tereza, the centenary of the
executed in 1911 by Valério Vieira that highlights in the title is diversified and mixed, regional and Week of Modern Art provides an opportune
the exuberance of the theater building and the cosmopolitan, popular and erudite, folkloric and moment for debates of this nature. “With each
intense movement of the urbanites. urban. “We have here a production of painting, season new answers to the reinvented questions.
Interestingly, the exercise of representation photography, drawing, sculpture, installation, This is an opportunity for the public to see. Notice,
of the modern city of Vieira is face to face of the new media, among others, as defenders of observe and reflect! We are noting: reviewing,
most prominent work of the exhibition, the panel national artistic diversity through the breadth restoring, renewing!”, she says, also pointing out
Eu vi o Mundo…ele começava no Reife (I saw the of means and languages.” the need for an innovative discussion that meets
World... it began in Recife), held between 1926 The research process and negotiations with the demand of our time.
and 1929, by Cicero Dias. Originally exhibited at artists began in 2018. Some works present at the The occasion to revisit Semana de 22 and
a psychiatric congress held in Rio de Janeiro and show were borrowed from private collections, critically reevaluate it should not go unnoticed. As
later in the Revolutionary Hall, the work has a huge others came directly from the creators’ studio. the researcher Christina Queiroz and the professor
historical and aesthetic dimension. The boldness “In the process of preparing the exposition, there at fflcH-usp Maria Arminda do Nascimento
of the composition, which mixes reminiscences was an intense exchange with the participating Arruda recall, the revisitations which arecritical
of his childhood in Recife with contemporary artists and, from there, many performed works to modernism gained momentum only from the
references of the Rio de Janeiro scene, was such especially for Brasilidade Pós-Modernismo, as is 1990s. Until the previous decade, especially in
that it was vandalized by conservatives and lost the case of Agarrados ao Poder, by Luiz Hermano, São Paulo’s academic scenario, the movement
three of the 15 meters he originally owned. “There Biomas series, by Armarinhos Teixeira, Índias was treated as if it were above any analysis. This
are several worlds in there, several brazils, which Ocidentais, by Luzia Simons, Terra tão só, by happened, in part, due to the involvement of figures
happen simultaneously and disorderly,” says Marlene Almeida, A visita aos ancestrais, by Jaider linked to the modernist cultural scene with the
Regina Teixeira de Barros. “There’s a multitude Esbell - who passed away recently - as well as the creation of usp( Universidade de São Paulo). Thus,
of references there. Each meter calls us to suspended installation by Francisco de Almeida”, it is necessary to emphasize the importance of
meditation,” adds Aracy. Belonging to a private says Tereza. studying modernism throughout the country and
collection, the work is rarely shown to the public. Such diverse production is spread over six not considering it solely as an impact of what
This desire of Brazil, a desire to “demarcate thematic nuclei that obey the order of the route: happened in São Paulo.
the territory that will be widely developed in the Freedom, Identity, Nature, Future, Aesthetics Another point to be revisited is the issue of
20th century”, as the curators say, is felt in the and Poetry. The organization thus seeks to invite protagonism. According to Tereza, modernist artists
work of all the artists represented, even if in the visitor to an immersion: “We thought in a tried to get closer to “the other” – the representative
time terms there are clear internal changes in certain dramaturgy, composed of elements such of Brazilian regionalism. “Today we see this posture
the personal processes of creation. This is the as specific color and light as part of the expography in parts as an appropriation of one another’s legacy.
case, for example, of Di Cavalcanti, represented to demarcate the themes addressed”, explains It took a centenary and a long process of recognition,
with works of different moments, from the still Tereza. As an example, in the nuclei dedicated awareness, assimilation and integration to reach the
scowling Amigos or the sharp series of illustrations to Freedom and Identity, the works are inserted essence of Brazilian contemporary art presented
entitled Fantoches da Meia Noite, both from in a more dark environment, for an introspective in Brasilidade Pós-Modernismo, with artists
1921, to his outstanding piece, Cinco Moças de invitation. “The light gradually increases along the representing different ethnicities, generations and
Guaratinguetá, from 1930. The artist is a clear way, and we are in the nuclei of Aesthetics and geographical origins”, she reflects.
example of this attempt to modernize language Poetry with a clear environment to enhance the
so longed for in the 1910s and 1920s and that, in vitality exposed there”, complements the curator. exhibitions rEcifE [paGEs 60 to 63]
the 1930s, it acquires a clear political dimension From the first axis, freedom comes in the name
and social engagement. of decoloniality, but also from resistance against “COMPLETELY
To complement this dive in the visual and forced modernity. In this context, there are several
cultural production of the period, a catalogue will works in the show to be cited. Tereza highlights KNOCKED DOWN”:
also be launched with text from different authors, the collage Atualizações traumáticas de Debret BREMEN AND RECIFE
such as Ana Maria Belluzzo, Felipe Chaimovich, (2019-2021), by Gê Viana, where a drone appears as
Ruy Castro and Cacá Machado, on a date yet to a target in the crosshairs of an indigenous archer; AT AN EXPERIMENTAL
be defined. These essays end up extending the Azulejão (Neoconcreto), by Adriana Varejão, which EXHIBITION
scope of the show even further, illuminating areas shows the frayed European colonial legacy, “full of
and movements that could not be contemplated craquelés to undo and demystify their aesthetic
in the exhibition selection. and socio-cultural power”; the series A geometria In a collaborative atmosphere, a group
à brasileira chega ao paraíso tropical, by Rosana of artists chose their spaces and ways
Eexhibitions modErnism [paGEs 54 to 59] Paulino, who according to the curator also warns of to exhibit their works at MAMAM, in the
the potential of characteristics of Brazilianness to capital of Pernambuco, deconstructing the
WHERE TO FIND overlap Eurocentric precepts; and finally, the works traditional concept of curatorship
BRAZILIANNESS AFTER Rolo com disco amarelo and Brasil 1500-1996, By lEonor amarantE
by Anna Bella Geiger, which allude to territorial
MODERNISM? defense and recognition – the latter, moreover,
one of the mottos of Brazilian modernism. As bY prioritiZing spontaneous Combinations
CCBB’s Itinerant exhibition, “Brasilidade art critic and historian Aracy Amaral explains, of thinking about art, the exhibition CKD -
Pós-Modernismo” wants the public to “in Brazil, internationalism and nationalism were Completely Knocked Down – Recife Bremen
notice, observe and reflect so that an simultaneously the basic characteristics of the Connection, happening until December 11 at
innovative discussion about Brazilian modernist movement that occurred in arts and the Aloísio Magalhães Museum of Modern Art
modernism comes to light, meeting letters starting from the middle of the second (mamam), discusses experimental attitudes in the
the demand of our time decade of the last century.” use of space. Curated by young Francisco Valença
According to the historian, nationalism would Vaz and Rebekka Kronsteiner, the collaborative
By miGuEl Groisman come as a result of an eagerness for affirmation event between the two port cities features five
coming from the implementation of the Republic Brazilian artists and four German artists. With the
on DisplaY at the Centro Cultural banCo (1889), which later implied the intelligentsia’s desire enigmatic title CKD, which in free translation means
Do brasil são paulo (from December 15 to to break with the 19th century and academism in “completely dismantled”, the exhibition has most
March 7, 2022) after passing through the Rio the visual arts. With this, the movement aimed to of the works executed directly inside the packaging
de Janeiro unit, the exhibition Brasilidade Pós- assume our cultural reality, until then belittled by in which they were transported, which become
Modernismo was not designed to have a historical the elite, who identified themselves with Europe. art. “One of the concepts of the exhibition”, he
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