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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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