Page 97 - ARTE!Brasileiros #59

song, Que Tal Um Samba? – is that there is a struggle exercise? Wouldn’t art be a form of connection with Heads – she remembers being petrified in her first [page 10]
at stake between conflicting forces, between those much deeper instances (mystical or unconscious), encounter with her work and Pedro Moraleida makes
who intend to illuminate and learn from the past which go far beyond a self-referential circuit? this connection explicit in his work, by inserting a
and those who continue to want to leave it under portrait of him in one of his works and writing in
this cloak of erasure, precarious Materials another: “Bispo é meu pai”. [pages 11 aND 12]
strengthening old vices and refusing to learn The presence among his constructions of lists,
from their own history, confirming, in practice, what collections and catalogs of similar objects, such as institutions iNHotiM [pages 50 to 52]
historian Emília Viotti Costa used to say: “A people sandals, women’s names or maps, is remarkable. [pages 13 to 15]
without history is doomed to commit, in the present But in addition to the recurring stylistic traits, INHOTIM STRENGTHENS
and in the future, the same mistakes of the past” . everyday elements of the life of this poor black man,
incarcerated throughout practically his entire adult ITS PUBLIC CHARACTER
life, pulsate in these objects. The precariousness of After going through difficulties, new
EXHIBITION SÃO PAULO [pages 44 to 48] the materials – which refer to the poor, somewhat reformulations establish the institute as one
rough character of the dry and wet markets or street of the most important contemporary art
BISPO’S WORK vendors – speaks about the difficult conditions faced complexes in Brazil.
in asylum institutions. It is profoundly significant that
AND HIS LINEAGES many of the elements he embodies were obtained NeWsrooM
Exhibition on display at Itaú Cultural, by him in a permanent process of accumulation
in São Paulo, brings a broad cut of the and bestowal. in June, instituto inhotiM inaugurated
work of Arthur Bispo do Rosário and The thread itself, already worn out, that he uses a new moment in its history. The entrepreneur,
illuminates his connections with to embroider – with a skill that probably comes collector, patron and founder of Inhotim, Bernardo
contemporary Brazilian art from the embroidery tradition in Japaratuba, his Paz, definitively transferred to the institution a
hometown, in Sergipe, or from the development priceless collection composed of approximately
by Maria HirszMaN of the technique in the times when he served in 330 works from his national and international
the Navy – is obtained from old bluish uniforms contemporary art collection, including all 23
the fascination provoked by arthur and bedding, which frays non-stop. Such fragility galleries and permanent works of the museum.
bispo do rosário’s exhibition has multiple becomes one more difficulty in the preservation of The pandemic and the economic difficulties that
origins: the poetic and plastic density of what he this work, whose survival during his life and shortly required the reduction of work teams did not manage
produced; the intensity of his creative drive and after death is due to the intervention of a group of to dull the brightness of the gardens that house more
the re-creation of the world – tirelessly seeking to people sensitive to the force of this production. than 4,300 species from different continents and
repertoire, organize and re-elaborate everything After all, his work was not yet inscribed in the art that form part of the Institute’s Botanical Garden.
around him; but also the driving force of his circuit. In recent years, its collection has undergone Bernardo Paz´s donation heads the project O
experience, which at times seems to synthesize a series of conservation, cleaning and cataloging Inhotim de Todos e Para Todos, which aims to
and dialogue with some of the main veins of modern procedures, but it is inevitable to notice the effects strengthen the institution´s public vocation,
and contemporary Brazilian art, as is evident in of time on the pieces, especially in the dullness of its character as a living museum and its active
the dialogues proposed by the show between the color, sensitive in some iconic pieces such as the collecting.
works created by Bispo and a selection of around Manto da Presentation and big sailboat , which had The movement also includes the constitution of
200 works by 50 guest artists, which illuminate in a prominent participations in exhibitions such as the a new governance, with representation from civil
broad context an enormous field of possibilities for São Paulo (2000 and 2012) and Veneza (1995 and society, led by a new board formed by Lucas Pessôa,
establishing relationships, convergence, harmony 2013) biennials. as president director, Paula Azevedo, vice president
or influence. This ephemeral character of his production, a director, and Julieta González, artistic director.
Without having a didactic or chronological museological challenge that makes exhibitions like The collection has exponents of the national and
character, the exhibition endlessly refers to the tragic this even more unmissable, is one of the many keys international scene, such as Anri Sala, Arthur Jafa,
and profound experience of the Author, locked up for to the relationship between his work and the broad Babette Mangolte, Chris Burden, Dan Graham,
decades in asylums and emphasizes the unique and scope of contemporary production represented in David Lamelas, Do Ho Suh, Ernesto Neto, Matthew
cohesive aspect of his works. No wonder Ricardo the show. A type of work in formal or poetic harmony Barney, Nelson Leirner, Rosana Paulino, Olafur
Resende, director of the Bispo do Rosário Museum with the one developed by him seems to predominate Eliasson and Yayoi Kusama .
(mBRAC) and curator of the show together with in the selection, an artistic production that often The donation, of a definitive and irrevocable
Diana Kolker, emphasizes that it is a work of a single leaves aside the notions of perennial work in search nature, also includes the emblematic galleries of
work, even if it is composed of a thousand pieces of a greater interaction between art and life, which artists such as Adriana Varejão, Carlos Garaicoa,
(of which approximately 400 were brought to Sao values a practical and practical action. poetry in the Cildo Meireles, Doug Aitken, Lygia Pape, Matthew

Paulo). They are panels, embroidery, clothes, objects, world, without worrying about the fragility, purity Barney, Miguel Rio Branco, Valeska Soares, Rivane
assemblages that he methodically and compulsively or nobility of the materials used, as for example Neuenschwander and Tunga, among others.
built throughout his life. Evidently, each piece or in the scrap cars by Arlindo Oliveira, from Atelier “Inhotim was born from a life project and has been
set has its particular characteristics, it makes use Gaia, a collective art therapy project maintained by expanding over the years. Donation is a natural
of specific materials and procedures, but they mBRAC and created in 1992 frequented by artists process along this path. Inhotim is not mine, it
reverberate with each other with an intensity that using the mental health services. belongs to everyone”, says Bernardo Paz, founder
the expography only seeks to accentuate, bringing In addition to these historical or formal references, of the Institute.
to the Itaú Cultural space elements that refer to the a kind of conceptual, affective harmony echoes With the arrival of the new board in January
architecture of Colônia Juliano Moreira, institution throughout the exhibition, which unites Bispo’s 2022, Inhotim began a process of expanding the
where he lived as an intern. gestures with the production of artists from different participation of civil society. For this, one of the
Interned for the first time in 1938, when he generations, authors who reappropriate or simply first measures was the constitution of a new and
claimed to have received the revelation that he reverberate in different ways their powerful way modern governance, through the formation of a
would be the son of God and the divine mission of acting. in the world. Both the works and the new Deliberative Council.
to recreate all objects present in the world, Bispo testimonies collected by the curators give clear The new Council will have Bernardo Paz as
built a true cosmogony. “Everything he organizes indications of this impact. Rosana Palazyan – president and the Minas Gerais businessman
and makes is the representation of the object, present with delicate embroidery, using strands Eugênio Mattar as vice-president. They will be joined
they are representational systems of the world”, of hair or pages from a lined notebook – says she by 18 people, including executives from different
explains Diana. As the curator-pedagogue of mBRAC felt authorized to exhibit sewing and embroidery sectors and cultural agents such as Jandaraci Araújo,
summarizes, the narrative he constructs is not when she had her first contact with her work, in co-founder of Conselheiras 101 – a program aimed
rational, modern. He establishes links, suggests the exhibition held in 1989, at the Escola de at including black women on boards of directors
connections that are often unlikely between things Artes Visuais from Parque Lage, shortly after his – and cFo of 99jobs; Susana Steinbruch, collector
like religiosity, unconscious drive and artistic death. Jaime Lauriano, author of one of the few and founding advisor of the Fundación Museo Reina
creation. More than presenting answers, the commissioned works in the exhibition, talks about Sofia; and Guilherme Teixeira, director of Barbosa
exhibition returns to the viewer a series of essential Bispo inhabiting his own body, of an encounter Mello Construtora.
questions: How to define what art is? Is not manual in a transhistorical dimension. Carmela Gross – The Council becomes the highest instance of the
work and the effort of organization after all a healing presents with two powerful works,the black and institution, with alternate and established mandates,
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