Page 101 - ARTE!Brasileiros #58

that the boat producer was also endowed with spiritual Germany had many other colonies before World partnership with three dance companies, Cia. Extremo, [PAGE 10]
authority and, therefore, could perform rituals accessing War I (1939-1945). La Mafia and O Passinho dos Maloka. Partnership here
supernatural powers, playing a central role in society. [5] trd. Den deutschen Familiengeist und die deutsche Art is an essential word, it points to a joint work, so much so
Currently the construction of boats is slowly taken up by zu pflegen. (Humboldt Forum, 2022, our translation). that during the presentation to the press, at the opening of
the people of the Polynesian region through the model [6] One of the biggest commodities on the secondary the Bienal, in Venice, the protagonist of the film, the trans [PAGES 11 ANd 12]
of this last boat that is in German possession. market are the works of Pablo Picasso, who was a artist Eduarda Lemos, participated in the dissemination
In another room, the Oceania Open Warehouse, with collector of African art. of the work together with Bárbara and Benjamin. There
several showcases that present the material culture remains the question of how the division of the film’s
coming from Oceania occupied by Germany. Here, too, it is artiCle EtHICS IN Art [PAGES 50 to 55] profits was treated. [PAGES 13 to 15]
a collection formed by several expeditions and in different Anyway, it is at least this type of partnership that
regions. As in African societies, sculptures here had the needs to be increasingly proposed and implemented.
power to organize society, signal gender-distinctive social IS ART WITHOUT CLASS Thus, it is no longer a question to be talked about, in
functions, and motivate through common spirituality and STRUGGLE JUST an ethnographic stance, a method now questioned by
rituals of passage and celebrations. An example are the Anthropology itself, but to be considered in the wider
sculptures used in rituals Malagan, which had different DECORATION? community.
meanings and functions, being used for spiritual purposes
such as connection with ancestors and also practical For some decades, a new ethical position DeColonial Debate
functions, such as the transmission of land rights. As has emerged in artists who work with the This debate is also part of decolonial studies, an
they are considered dangerous and powerful spirits, struggles of groups and communities that important reflection, which emerged especially in
the sculptures were used only once and destroyed after are not part of hegemonic systems universities, but which increasingly occupies the art
the ritual. The collection and exhibition of these objects world. It is about questioning the colonialist character
disregards and disrespects their conception and cultural of political-economic poles such as Europe and the
function. Spiritual images called tikki, in the Marquesas By fABIo CyPrIANo United States, in addition to questioning the patriarchal
Islands, had the characteristic of carrying a space with and heteronormative character of these cultures, as
sacred properties where only the high priest could enter. how is it possible to portray anD engage well as their forms of social exploitation. All this, in the
This space and the rituals conducted there formed the end, points to the need for new constitutions of powers,
center of spiritual life and the proximity to the tikki gifted people anD Communities in an ethical way? which also involves the power of the artist, especially
to the priest mana. This supernatural energy gave them This is a key issue for artists whose works have a social those dealing with social issues.
power that could be used for various purposes, such as content, especially in the last five years. After all, the Not by chance, recently some voices have even begun
ruining people or blessing people before a battle, which contemporary art system, working in the symbolic field, to question the images of the Yanomami people, made
made them high-ranking leaders. Through the imposition must point to strategies that differ from segments such by Claudia Andujar, since, being of European and white
of Christianity, today a religion that represents 90% of the as advertising or journalism, which often address social origin, she would be speaking on behalf of the indigenous
inhabitants of Papua New Guinea, several parts of the issues without any kind of commitment to them. people, in a position superior to them. Notice that in
local tradition died. As in the former African colonies, the Sebastião Salgado is an example of transition in this the Amazon show, Sebastião Salgado gives voice to
pattern of domination through the separation between case. A photojournalist who navigates the art world with indigenous leaders in videos as a way to escape this issue.
a people and their objects of culture and worship was ease, his show Amazon, on display at Sesc Pompeia, This is where the debate needs to avoid hasty
also present. portrays endangered indigenous peoples, including the cancellations. Claudia has a life dedicated to the
Yanomami. Contrary to the custom in photojournalism, Yanomami, having worked with them since the 1970s,
Colonial times which is not to pay to take images, Salgado contributed without even producing for the art circuit. Images of
This would be the ideal moment for countries that hold financially to Hutukara, which is the association of the her were taken as records for complaints in Brazil and
material cultural objects from other peoples and regions, Yanomami Indigenous Land, chaired by Davi Kopenawa. abroad, both about the invasions and about the need for
such as Germany, to initiate a true ethical reparation Financial consideration is not always one of the the demarcation of Yanomami land, happening in 1990
from the cultural point of view in relation to countries strategies when talking about contemporary art. In in which she was deeply engaged.
that suffered the imposition of notably unilateral and Cartazes para o Museu do Homem do Nordeste, a Claudia, by the way, used the museum as a space
extractive colonial relations. The current function could be work that is on display in the long-term exhibition at the for denunciation, long before these institutions started
classified as unethical, as Germany continues to benefit Pinacoteca do Estado, Jonathas de Andrade delivered their own processes of decolonialism. Genocide of
from these goods without really offering anything of photographs to the men portrayed in the work. He picked the Yanomami: Death in Brazil , for example, was an
equivalent value to the other countries of origin, whose his models off the street and, in exchange for participating installation she presented together with the CCPy
absence of these objects has completely changed the in the project, gave them an accomplished portrait. The (Commission for Yanomami Creation), at the São Paulo
self-perception of different cultures. It is an institution Museu do Homem do Nordeste behaves as a parallel Museum of Art, in 1989, when miners invaded their lands,
that minimizes the value of the objects it intends to and homonymous collection to the anthropological as they still do today.
safeguard, reducing their importance to the aesthetic museum created in 1979 by Gilberto Freyre, which still It was only at the beginning of the 21st century, in fact,
value, and denies, in the macro-political scope, that these exists in the city of Recife. that Claudia’s work ended up being incorporated into
objects also bring other dimensions of power, requiring The question that this strategy brings is: to what the contemporary art circuit, and she established a very
the return of these assets. The native peoples’ lack of extent these people portrayed by Jonathas are not being particular principle: she shares the result of sales equally
access to these objects not only contributes to a deficient exploited as much as any worker who adds value to an with the gallery that represents her and the Yanomami,
sense of identity, but also allows the former occupier to object, but does not actually participate in its profit, in through Hutukara, each one keeping a third of the value.
control the history of formerly occupied countries. The addition to not having control of their own image. It is For all these reasons, a lot of attention is needed not to
Humboldt Forum is to Germany’s former colonies what important to emphasize that the work is almost 10 years remain on the surface of the debate. The indigenous issue,
the Russian Hermitage museum is to Ukraine – objects old, so it was not inserted in the current context of debates. by the way, has another notable example of inclusion,
were taken from the country by Nazi fighters and then which is the work developed by anthropologist Vincent
returned to the Soviet Union after the end of World War ethnographiC artists Carelli with Vídeo nas Aldeias (vNA), founded in 1986,
II. By removing cultural symbols with different functions In an already classic text from 1995, The Artist as an which since then has provided equipment and training
from their place of production, it seeks to keep other Ethnographer , Hall Foster observed in artistic practices in workshops to indigenous peoples so that they create
cultures subjugated through divisions in the social fabric, the emergence of a strategy of association with a new their representations without the cultural mediation of
a colonial tactic that has as a final product the gain of subject: “The cultural and/or ethnic other, in whose name other people.
time so that the ghost of fascism - which many countries the engaged artist fights”. As a result, the vNA has already trained dozens of
have in its political dynamics and in the case of Germany At the end of the 20th century, Foster had not yet audiovisual specialists, which made it possible to create
it is active, even if it is a minority – take advantage if your realized that fighting on behalf of someone represented an important collection of images about indigenous
project comes to fruition.ww a position on a paternalistic side, since it is as if the artist peoples in Brazil, with a collection of more than 70 films,
could put himself in the place of the cause he defends, and, most of them awarded nationally and internationally
[1] Other institutions with the same type of collection, on the other hand, opportunistic. , after all, he legitimized - transforming if in a reference in this area. Having
such as the Grassi Museum (Leipzig, Germany) have himself with a left-wing discourse, even if in the end his participated in the Bienal de São Paulo “Incerteza Viva
taken a critical position regarding the “ethnographic” works ended up yielding only to him in fact. ”, in 2016, this is one of the great examples of encouraging
classification, since this name produces comparisons This type of strategy has already been criticized by marginalized peoples to be authors of the images of
between material cultural productions from different artists such as the Argentine León Ferrari (1920-2013). their struggles.
contexts. When approaching the “engaged” artist, he stated that Finally, it is important to remember yet another
[2] The Berlin conference divided Africa among the “the triumph of his works meant the failure of his intentions”, example of radical positioning made by the artist Mônica
countries of Western Europe, generating its current in the text The art of meanings Of 1968. Nador, in 2004, when she established the Jamac (Jardim
territorial division, which disregards the different Something similar defended critic Hrarg Vartanian Miriam Arte Clube), an association on the outskirts of
African peoples and cultures. recently on his Instagram account: “An art world the southern part of the city, and has lived there since. It
[3] trd. “Die Auswahl der Exponate erhebt nicht den that benefits from economic inequalities is not an is practically a cultural center, where debates, meetings,
Anspruch, Kulturen zu definieren, zu homoizieren, art world worth fighting for. Chico Mendes said that film cycles about art and citizenship take place, but the
oder voneinander abzugrenzen. Sie bietet keinen ‘environmentalism without class struggle is just gardening’. way Mônica shares her knowledge with the community:
Kulturgeschichten Überblick, aber sie spiegelt Maybe art without class struggle is just decoration.” how to use painting as a form of social activation. In the
europäische und deutsche Interessen, ästhetische In this sense, a significant change in attitude can be beginning, she taught the residents of the region to use
Neigungen und wissenschaftliche Ausrichtungen in the artist’s positioning: instead of fighting “in the name techniques such as the stencil – paper masks that allow
der Vergangenheit und Gegenwart wieder”. (Humboldt of someone”, let him fight “with someone”, as Bárbara serial painting –, with simple themes as motifs, from
Forum, 2022, our translation). Wagner and Benjamin de Burca did in the Brazilian pavilion kitchen objects to animals or plants. Today, several
[4] The exhibition focuses on the relationship with the of the Venice Biennale, in 2019, with the movie swing war. people in the community use these techniques, not only
following countries: Cameroon, Namibia, Papua New Based on a peripheral cultural phenomenon, the on walls, but also on fabrics.
Guinea, German-Samoa and Tanzania. However, swinggueira from Pernambuco, the work involved a With this, Nador combines the tradition of painting
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