Page 118 - ARTE!Brasileiros #57

ENGLISH VERSION EVERYTHING IN CHECK

of reading. He was a member of the French compulsion to identify authors and authors, to Something similar occurs with the exhibition
Communist Party, supported liberation struggles have their wish fulfilled. Maria Martins: imaginative desire, which can
and peace congresses. However, he lived in the There is thus an ethical relationship between be seen at the museum until January 30, 2022.
West and allowed bourgeois criticism to stylize what is exposed and the context. Flooding Among Brazilian modernists, Maria Martins
him as an apolitical genius, a “Picasso mystery”. a museum also brings a strong charge of (1894-1973) is a key figure in tropicalizing
Which works were shown under socialism and institutional criticism to an art circuit marked by surrealism and the exhibition at masp is full
which under capitalism? How was Picasso hypocrisy: collectors occupy decisive spaces in of exemplary works. However, by placing the
communicated? Did the West see art, eastern art institutions, shaping this scene and acquiring sculptures on white bases with ribbons that still
politics? What did the artist himself experience? everything that appears as a transgression, while create a distance from the works, she refers to
Picasso Divided examines the image that could their companies pursue policies anti-civilization. the society of control, without seeking creative
be made of Picasso’s images from both sides. outlets to maintain the necessary security of
One of the focuses is the Picasso collection by surreal the works. The option for the obvious is a way
Peter and Irene Ludwig, which is still one of the The history of exhibitions is full of radical gestures to reduce the potency of the works. The division
most extensive and the basis of this exhibition of this kind, such as Marcel Duchamp’s installation of rooms by curtains still looks like a copy of the
conceived for the Ludwig Museum in Cologne. in The First Papers of Surrealism (the first articles scenography by Ludwig Mies van der Rohe and
on surrealism), held in 1942 at the Whitelaw Reid Lilly Reich for the exhibition The Velvet and Silk
essaY ExHiBitions [paGEs 68 to 73] Mansion, in New York. There, in the midst of what is Café, held in Berlin no less than 94 years ago.
considered the largest exhibition of surrealist works At least on the same Avenida Paulista, Instituto
RADICALITY IN THE in the United States, Duchamp spread more than Moreira Salles pays homage to another woman,
SCENOGRAPHY OF 1,600 meters of string, creating an environment full in this case the writer Carolina Maria de Jesus
of webs, which made it difficult for visitors to walk.
(1914-1977), in a much more dignified manner.
EXHIBITIONS This surreal atmosphere had, after all, everything This is the first exhibition of the program created
to do with the theme of the exhibition. by João Fernandes, and it is noteworthy that
Exhibitions such as “Por um sopro de In the same year and city, another exhibition he transfers the exhibition to a Brazilian team
fúria e esperança”, at MuBE, point out how dedicated to surrealism, this time at Peggy composed of Hélio Menezes and Raquel Barreto,
important it is to create environments that Guggenheim’s Art of this Century gallery, also in the curatorship, and Isabel Xavier, in the
enhance works on display created an atmosphere of estrangement with exhibition project.
dramatic lighting and a deafening sound of a With many commissioned works, the exhibition
By faBio cypriano passing train, which occurred every two minutes. presents the work of Carolina de Jesus in a complex
These are two good examples of strategies way, creating many dialogues between texts and
leveraging the works on DisplaY is one of the created, even before the concept of curation, images, sometimes even making it difficult to
main tasks of the curatorship and, in this sense, to enhance the works on display, avoiding the identify its authors and authors, but in the end
radical gestures are welcome when seeking to sanitized and neutral white cube. creating an environment that enhances the work
go beyond representation, allowing for a real Such forceful stagings do not always win of the honored. It is seen, after all, from a cultural
experience. Por um sopro de fúria e esperança – a unanimity, as what happened during the Mostra perspective, which does not only use literature
climate emergency declaration is one of the best do Rediscovery, in 2000. Considered the largest and the visual arts, but also includes fashion and
recent examples of this gesture as it floods the exhibition ever held in the country, occupying three carnival, including the historic Mangueira parade
Brazilian Museum of Sculpture and Ecology (MuBE) of the four buildings designed by Oscar Niemeyer, of 2019, Histórias para ninar gente grande.
to address the climate catastrophe underway on in Ibirapuera Park, it took a tour 500 years of art At a time when prejudice and racism gain
the planet, which has among its main prosecutors history in the country, dividing 15,000 works into institutional air, the exhibition in its form and
the current federal government. 13 modules, the most controversial being the content is courageous, following what the author
The exhibition is curated by Galciane Neves one dedicated to Baroque art. Designed by Bia herself defended: “Life is not for cowards”.
and Natalie Unterstell, but the scenic installation Lessa, it was made up of immersive environments, Creating the right environment for exhibitions
Inundação is signed by Ary Perez and Flavia with thousands of paper flowers surrounding isn’t either.
Velloso. By filling the museum floor with water sculptures. The question, when it comes to radical
and allowing them to walk only on wooden gestures, is to what extent the scenography draws interview vivian ostrovsKy [paGEs 74 to 79]
structures, an experience is created that brings more attention than the works themselves, and
the public closer to a reality not far removed from in this case, that was decisively what happened. VIVIAN OSTROVSKY’S
that denounced in many of the approximately one Another embarrassing example of the
hundred works on display. exaggeration of the scenography comes from EXPERIMENTAL DIVE
It is, of course, an exhibition with a militant Bia Lessa herself when she simply laid out on
character, which took place simultaneously the floor, and horizontally, 22 canvases in the Itaú A pioneer in the distribution
with cop26, the United Nations Climate Change Contemporâneo show, 1981-2006, held at Itaú of women’s films in France and
Conference held in Glasgow, Scotland, at the Cultural in 2007, much to the surprise and anger a filmmaker for over four decades,
beginning of last November, with results below of its authors. Ostrovsky talks about her perspective
expectations, thus expanding the warnings of a on cinema, her friendship with the
difficult future for the planet. reDuCing effeCt brazilian artist Ione Saldanha and
If, on the one hand, the denial of scientific data, Thus, the scenography enhances, hides and can her recent curatorship for the
largely encouraged by large corporations and be contrary to what the work itself proposes, as Scratch Collection
agribusiness, makes many people disdain the seen in the case of horizontal paintings. Recently,
need for attention to sustainability, the exhibition two cases in this segment can be seen, both at By miGuEl Groisman
is exemplary in creating an environment, in one the São Paulo Museum of Art, masp, in exhibitions
of the most privileged and elitists of the country, by two artists: Erika Verzutti and Maria Martins. a prolifiC experimental filmmaker, Vivian
which attests that the dystopian future has already Verzutti is one of the most original artists Ostrovsky, 76, has more than 30 movies in her
arrived and not just symbolically, as is the case of her generation, with works that provoke reusmé. Born in the United States, after having
with the exhibition. estrangement, while at the same time approaching spent her childhood in Rio de Janeiro, she began
It is notable that this radical gesture - scheduled nature, whether with animals such as swans, or studies in Europe. It was there, in France, that,
for the first weeks of the exhibition, but which fruits such as jackfruit and watermelons. These together with Rosine Grange, in the 1970s,
no longer exists from December to January 30, organic elements form figures that are somewhat she founded the pioneer organization Ciné-
when it will close - made it practically impossible bizarre and difficult to classify. Because Erika Femmes Internacional, dedicated exclusively
to know whose works are in the exhibition. But Verzutti – the indiscipline of sculpture, which was to the promotion, distribution and exhibition
when it comes to climate emergencies, it seems on display until last October, presented an icy of films made by women. All this in guerrilla
coherent that individual authorships are “harmed”, and rationalistic scenography, made up of right style, traveling with the reels of film in a Renault
because that is what it is all about: the possible angles, with works arranged on white bases that 4L pickup truck around France and Europe to
end of a species. At the same time, the museum’s distance this oneiric universe from the visitors. show them off, at a time when distributors - all
website lists all the works in images and their The museum thus sanitizes the artist’s work, going men - didn’t want to touch female directors’
due credits, which allows those who have more against her poetics. films. Also in 1975, Ostrovsky was one of those
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