Page 101 - ARTE!Brasileiros #59

positions in him? Most public institutions are looking for sponsorships, etc., the same person To reverse the situation, Masp agreed on the [page 10]
being managed by executives linked to the who is involved in the purchase and sale of following: the exhibition will once again include
market or the financial market, not only in Brazil, works, since they are systematically benefiting the presence of all the photographers who had
and they are usually collectors, or professionals from third-party information for this? previously been banned from the exhibition, and
directly linked to galleries. These institutions, In Brazil, we are moving towards the whose works portray the Sem Terra Movement (there [pages 11 aND 12]
which handle a few million, are making aesthetic professionalization of museums. In my view, were six Mst photographs by André Vilaron, Edgar
and ethical decisions. Does this not represent the directors should be museum employees. Kanaykõ Xakriabá and João Zinclar). These records,
a conflict of interest within what would be an In the councils, yes, there is room for the previously vetoed, will now have enlargements [pages 13 to 15]
ideal in the art world? Doesn’t this have to have maintainers, but there should also be room distributed to the entire public (in poster format),
limits? Are there codes of ethics? for the other agents of the art. I prefer the style and the exhibition will extend free access to the
In Brazil, everyone is public and private, because of governance of the Pinacoteca do Estado de museum and its activities also on Wednesdays
it depends on the Rouanet Law. If you took São Paulo. The Pinacoteca model is closer to (traditionally, free admission is only on Tuesdays).
public money, you have to have respect for the the foreign models in which the directors are ). The institution also recognizes the intellectual
society to which it belongs. employees of the institution. property of the curators’ work and will give the
I know, for example, that there is a code at curatorial argument the character of Copyleft .
the Reina Sofía museum in Spain for collectors A very important part of your collection are Masp also agreed to hold an online seminar
who participate in acquisition committees. archives. How are you organizing them, how dealing with the exhibition’s production process,
Almost two years ago, two collectors living in does your team work? with commissioned guests, with the aim of debating
Paris, one Italian and one Greek, invited me Cataloging and preservation are already very the challenges and developments of the curatorial
into a group and we had extensive discussions important technical issues, and we take care proposal, in addition to producing (through the
to create a code of conduct. First with artists, of that. But here we created a scheme with the publisher Expressão Popular, of the Mst) a magazine
then with gallery owners, museums, collectors, objective of transforming the file into something that deals with the processes of social struggles.
independent institutions, public and private alive, more dynamic. So we decided to invest At the opening of the exhibition, on August 26,
collections, and so on. Obviously, this will in artists, curators, researchers, who work the Landless Movement (Mst) and the social and
always be reworked. The first version is live part-time for six months , receive a scholarship, indigenous movements will convene a cultural act
on ethicsofcollecting.org. study and research topics of interest to them that will be hosted by the exhibition, and the museum
Made in English, but translated into Spanish, at the intersection of our archive. is also committed to holding new editions of the
Chinese and French, and soon we will have This route aims to deliver a result, in the resumptions nucleus in schools and spaces of
the Portuguese version. We proposed several public domain, which can be a video, an formation of the movement of struggle for the land.
extremely discussed and negotiated things, artist book to download from the internet, The museum will also promote the readmission of
aiming at a collective proposal. We get diverse an exhibition, a text. The editors are us. The anthropologist Sandra Benites as assistant curator,
endorsements, who see the code as something researcher has a special interest in an area, this once again having in its body of curators the first
with a common goal, where everyone benefits. is the trigger. That’s what will drive your work. indigenous woman to integrate the Masp office .
For example, one thing we advocate as a Sandra and Clarissa released an open paper as a way
collector: never ask a gallery owner for more It’s like a research residency… of reacting to a nod of reconsideration from Masp,
than 20% off, but the gallery owner also has to From time to time there are six to seven people made in an official note a week earlier. On May 20, the
help, not letting himself be influenced by the here, who help each other too. Everything here institution publicly manifested itself announcing “a
pressure he suffers. If I kill the gallery owner, is in the public domain. One of the fellows, the new position” on the issue, claiming that it sought to
I kill a piece of the circuit. artist Pontogor, began researching the work of learn from the episode. There were painful edges to
There are collectors who come and ask for Dutch video artist Manon de Boer, who works be ironed out – the museum blamed the cancellation
40% to 50% off. I ask: what is the interest? Smother in conceptual art and whose collection includes on the negligence of the two professionals, and
the gallery owner, kill the artist? You see, this is six works. The result was a video essay that they found it outrageous.
not a flea market where the number one rule is relates works by Manon de Boer, Antonio Dias, “The institution publicly regrets the cancellation
bargaining. When I don’t agree on a price, I just Guy Debord, Roberto Bolaño and others. of the nucleus, so important for the exhibition, and
walk away, goodbye. Prices adjust over time. At the exhibition Horror Vacui , which the departure of the project’s curators,” the note
we opened on May 7 this year, organized by read. “Intending to move forward so that similar
And in museums… Pontogor, the video Como Ver um Fantasma? is episodes do not happen again in the future, we are
It is the CIMAM [international committee for presented, in which he investigates the different open to listening to Benites and Diniz, in order to
museums] that will guide you, because it is a manifestations of emptiness in art. learn from this experience and improve processes
public code that is widely discussed. Here we Cris Ambrósio and Deyson Gilbert and work models”.
have a habit of throwing it under the rug, we presented the exhibition State of Possession
need to discuss these things on a daily basis, - Notes for an Aesthetics of Torture - which real involveMent
implement and improve CIMAM’s conduct. remained open to the public from November Sandra and Clarissa were willing to dialogue,
2021 to February 2022. but established six main conditions for them
But this topic needs to be widely discussed to return to the project. These conditions, now
because art also has commercial and financial article DeMocracy at MuseuMs [pages 66 to 70] partially accepted by Masp, seek to illustrate the
value, and collectors benefit from exhibitions, possibility of creating a new level of relationship
whether individual or group shows. THE PAINFUL LEARNING between museum institutions and society. Instead
The museum donation process has to be of affirmative and social movements lending
deeply discussed. When people vote for or OF MUSEUMS themselves to shine on the prestige of museums
against the acquisition of a work, there may By reversing its censorship of MST works, (which need this resonance), a relationship of real
be some kind of conflict, and this should be Masp recognizes the crossroads of reality involvement in the diagnoses and movements that
discussed with the institution and documented. art promotes in its exhibitions is now proposed. The
In the case of video art and photography, due por Jotabê MeDeiros museum that temporarily housed becomes also the
to the fact that they are often edits, obviously museum that participates, that activates, that gets
the conflict appears more frequently. the Museu de arte de são paulo (Masp) involved, that goes beyond representations and
Another point to be raised is the number finally reached a satisfactory agreement with the assumes commitments. Something that shakes
of works of art shown in exhibitions, in public curators of the resumptions nucleus , Sandra the desirability of the old neutralities.
or private institutions, in which the curators Benites and Clarissa Diniz (who were putting Officially, after these concessions from both
maintain close relationships with the collectors together an exhibition for the institution that would sides, Masp then confirmed in a note that the
from which these works to be exhibited come form part of the collective exhibition Brazilian resumptions nucleus will once again be part of
from. Unfortunately, this is not just a problem stories , which opened on July 1) . In May, Sandra the exhibition and that the show is confirmed for
for the Brazilian art circuit, it is a global problem. and Clarissa were surprised by Masp’s unusual the period from August 26 to October 30. Masp’s
willingness to eliminate a clipping from their artistic dialectical experience, although imposed against
But in this sense, we should not be more radical selection , refused to continue without the material the will of the museum, is a challenge that opens
and say that the director of the museum cannot because they thought they were being censored up to all museology in the new international order.
be, in short, the person who is in the museum and resigned on May 17. resumptions is part of the Stories series , which
101

18/07/2022 12:41
Encarte_INGLES_59.indd 101
Encarte_INGLES_59.indd 101 18/07/2022 12:41