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exploding at us from all sides.” She wonders throughout the building. The forecast is that long-term exhibitions, articulated in two
how we can live in the face of this sensation in the coming months others will be added, very didactic axes, entitled To Understand
of vertigo, since we have lost our capacity for totaling 70 digital pieces, dialoguing with the Museum and To Understand Society,
contemplation, which is almost synonymous the stable structure and thus questioning which will be on display for a period of
with calm, a sensation that seems impossible the official discourse that permeates the five years. In addition, the opening of
if we live in contemporary times: “ In the ideological project of the museum. a temporary exhibition is planned for
midst of such and neurotic visual pollution, The curatorial design also heavily applied November. Memories of Independence will
it is essential to find the focus, the basis tactile resources, allowing the visitor – bring together an expressive set of elements
of stability, identity, direction of life”, says and not just the one who has some visual about the various liberation movements,
Camille, in another excerpt. limitation – to touch the various works and expanding the issue beyond São Paulo and
Faced with this spectacularization objects that make up the various exhibitions, the myth of Ipiranga.
of contemporary images, we need to thus reducing the distance between their It is an intense immersion in an extremely
understand the role of art or, as Camille real and symbolic existence. There are wide and diverse set that corresponds to
Paglia herself says, “we need to relearn more than three hundred resources of the just a small part of this great museological
how to see”. genre, which the public has been timidly universe, since only 3,800 of the more than
discovering, ranging from a taxidermized 450,000 items preserved by the museum
memorY mUSEU do iPirAnGA [PAGES 38 To 42] alligator (representing the period in which are part of the exhibition.
In the whole set, there is a clear attempt to
HISTORY LAB the museum also housed archeology and find in the ordinary, in everyday life, the links
ethnology collections, transferred to other
In contrast to archaic visions of our Universidade de São Paulo (USP) institutions that allow us to better understand different
past, the new Ipiranga Museum in the 80s) to replicas in relief of pieces from aspects of our culture, rescued through
celebrates material culture, with the collection, such as the portrait of Maria captivating objects and stories, such as the
a project that includes tactile resources
and massive use of audiovisual Quitéria or a rest room in which it is possible collection of toys of different ages, materials
to concretely experience the various ways and forms – used in the nucleus dedicated
Por mAriA HirSzmAn of sitting in the history of Brazilian furniture. to talking about the conservation work
The physical renovation, which has carried out by the museum (alongside other
the newest museum in the CitY of são been attracting the interest of a public primordial functions such as communication,
paulo in an instigating way condenses past eager for novelties, more than doubled cataloging and collection) –, a magnificent
and present. Installed in an eclectic building, the space dedicated to exhibitions and set of hoes used by Japanese immigration
which began to be built in the 19th century the circulation of visitors to the updated or even the touching showcase entitled
and which was entirely restored based on and recontextualized space, making this “my father’s things”. There are gathered
a very current concept of museology and expansion possible and the inclusion of the belongings, memories and affections
inclusion, the Ipiranga Museum has two new perspectives and interpretations on the carefully guarded by Enedino Vieira Telles,
structuring pillars – the stimulus to research collection, the building’s architecture and until his death, at the age of 88, forming a
and the formation of a public broad – and a the surroundings, observed now from the small affective museum, activated to testify
central object: material culture. It presents mezzanine installed at the top of the building. about the relationship between men and
itself as a “laboratory of history”, in direct Excesses came out, such as the gilding the objects of their daily lives.
opposition to an archaic and fetishized view on the columns and volutes, the color was
of history, in which the formalin-swollen harmonized and standardized in a soft tone
hearts of former monarchs and national of original yellow (the walls of the building EXHIBITION SÃO PAULO [PAGES 44 To 48]
symbols and dates are hijacked with the aim were subjected to a true archaeological
of perpetuating the symbols and structures research in order to find the tone of origin). AN EXTENSIVE AND
of power built up by past generations. The rooms were integrated, the upper floors CRITICAL SHOW
To transform the place erected to be a were incorporated into the museum and the In Brazilian Stories, eight sections take
memorial of support for the protagonism of activities (such as collection, restoration, the visitor behind the scenes of art and
São Paulo in the construction of the nation research, etc.) carried out there were the decolonization movement, which is
increasingly structured
and the heroic figure of the bandeirante, in transferred to other rented houses in the
a space of investigation in which objects, vicinity of the Ipiranga neighborhood. By lEonor AmArAnTE
documents and other material vestiges Fundamental works of the collection, such
become protagonists, it’s not an easy as the famous painting Independence or faCeD with the soCio-politiCal Chaos of
task. Especially if we take into account Death, by Pedro Américo, which recreated the moment, man still counts on memory
the existence of a series of restrictions and mythologized the staging of the Ipiranga as a refuge to rebuild the space of utopia,
resulting from the listing of the building cry many decades after the symbolic gesture dream and resistance. The collective
as architectural and intangible heritage by of Independence (the canvas is from 1888), Histórias Brasileiras, which occupies the
the three instances of preservation. or the painting Partida das Monções, de 1st floor and second basement of the Museu
One of the solutions found was the Almeida Júnior, were restored and gained de Arte de São Paulo (Masp), provokes
massive use of audiovisual resources in new vitality and new meaning. connections between contemporary man
the new museological project. Right at the Reaffirming its role as a university and his ancestry, mixing science, popular
opening, made official on September 6th in museum, in which research is of fundamental knowledge, reflection on native and
the wake of the Bicentennial celebrations, importance, the institution’s curatorial team Afro peoples, recalls social and political
frustrated by the political use of the date, 56 relied on this renewal process to bring some struggles faced by Brazilians over time.
audiovisual productions complemented the of its lines of investigation to the public, Following the impulses between tradition
windows, showcases and works of art spread organizing the visit experience in 11 different and novelty, Adriano Pedrosa, artistic
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