Page 116 - ARTE!Brasileiros #57
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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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