Page 84 - ARTE!Brasileiros #60

ENGLISH VERSION FOR FREEDOM

director of the museum, and Lilia Moritz mined by the curators Fernando Oliva, simultaneous extermination of both the
Schwarcz, guest anthropologist, along Glaucea Britto and Tomás Toledo. “Much forest and traditional peoples.
with nine other curators, orchestrate the more than religions, this nucleus deals With André Mesquita, Lilia relives
exhibition with almost 400 works signed with myths, religiosity, questioning the Rebellions and Revolts. “Brazil has always
by 250 artists. The conceptual trigger of colonizing project,” comments Oliva. The kept the mythological image of a peaceful,
the show is to escape the official history, to intersections that move the two groups harmonious country, yet it was the last to
imagine thematic frameworks that provoke of inflection with religions of African and abolish slavery.” Today the revolts are born
renewed reflections on our colonization. indigenous origins reverberate in the history against the past, like the protagonism of false
Pedrosa and his team have held exhibitions of Brazilian art, although, according to Oliva, heroes like the Bandeirantes. The curator
strung around different narratives that it is difficult to detect this in Brazil, in the highlights the presence of the work Confronto
started with Childhood Stories (2016), field of visuality. com as Tropas by Arthur Oscar, by Descartes
Sexuality Stories (2017) Afro-Atlantic A canonical genre within the history Gadelha, from Ceará, in addition to the
Stories (2018), Women’s Stories, Feminist of painting, the portrait gains a large collective Linha do Horizonte, which speaks
Stories (2019) and Dance Stories (2020), “aisle” in the exhibition, with dozens of of censorship with flags of the mothers of
which took place online because of the works. According to Pedrosa, Masp has a May. André Mesquita comments on points
pandemic. tradition of full-length, full-scale portraits in the show, such as the anarchists’ strike
“Now with the Bicentennial of Independence like those of Velázquez, Rubens, Ticiano, on the streets of São Paulo in 1920. These
we are making Brazilian Stories. Masp is one Victor Meirelles. “I wanted to commission, struggles are made using pamphlets, from
of the only major Brazilian museums that did juxtapose and contrast them with the work an ephemeral production that is transformed
not create anything around the 1922 Modern of contemporary artists.” In this context, into art. In the middle of the room, Rubens
Art Week,” says Pedrosa. According to him, the curator asks Panmela Castro, for the Gerchman’s gigantic sculpture from 1968,
the institution is more focused on social group dedicated to the genre, for a portrait synthetically created with the letters lUTE,
history and the field of culture. “This press of Maria Auxiliadora da Silva; in the same was part of the artist’s activism against the
conference makes more sense to us.” segment, the painter No Martins shows a military dictatorship in the 1960s.
The eight sections that guide the great work based on a photograph, the only one We moved on to the resumptions section,
exhibition are not a guide, they all have that is not a self-portrait. curated by Clarissa Diniz and Sandra
their own lives and they are: Flags and The history of Brazil is strained from any Benites, who decided to cancel it in protest
Maps, Landscapes and Tropics, Land and angle one tries to understand it. Terra e against the non-inclusion of photos of the
Territory, Resumptions, Portraits, Rebellions Território leaves latent the struggles for Landless Rural Workers Movement (mST)
and Revolts, Myths and Rites, Party. The territorial spaces since the 16th century. and the indigenous struggle, taken by João
exhibition starts showing what it came for. Pedrosa curates this segment with Isabella Zinclar, André Vilaron and Edgar Kanayko
In Flags and Maps, Bruno Battistelli shows Rjeille and comments that the theme Xakriabá. After negotiations with the artistic
his work Afro-Brazilian Flag (2022), which is involves national and foreign artists. The director of Masp, the photos came back, and
not only an indicator of the author’s taste, African-American painter Hank Willis they agreed to retake the nucleus.
but proof of resistance and militancy. The Thomas created one of the most synthetic Clarissa points out several occupation
artist changes the colors of the national works of the genre, the map of North works with different forms of struggle
flag and transforms it into an Afro-Brazilian America linked to that of Africa, in a clear present in this segment. The curator fights
flag. Lilia, who shares the curatorship of this allusion to the route of slave ships. The on the border between resistance and
segment with Tomás Toledo, sees this work poet Langston Hughes, black, communist, discovery. Among the findings of Brazilian
as payback. “Here we have the kidnapping linked to the beatniks and activists in the Stories, the “resurrection” of the Puri people
back, not only for black activism, but also 50’s, had already talked about this cursed stands out, through culture, language, and,
for lGBTQ+ activism and the resumption of bridge between these two continents. above all, through the work of organization
maps. Every map is imaginary and a 16th Brazil, with its kilometers of coastline and and the publication of a dictionary whose
century map is no less imaginary than Jaime dense forests, is a multiplier of landscapes. vocabulary was recovered from travelers
Lauriano’s map, which demystifies racial With Guilherme Giufrida, Lilia works on the or Puri Jesuits. “With that, a group of
democracy.” theme Landscape and Tropics and recalls descendants, who knew nothing about this
In fact, artists are occupying national that Brazil has always been represented ethnic group, began to study Puri and also
symbols, as Lilia observes. Everything is by fallen humanity, which are theories of to compose, make poetry and communicate
made with media from various sources – miscegenation and, on the other hand, by in that language”, explains Clarissa.
canvas, garbage bags, discarded objects – the eternalization of the landscape in the Multiple counter-hegemonic narratives
in short, a mixture of what is more temporary great tropics, like Eden on earth. Here the are in all nuclei. The decolonization
with what is more permanent. In the face of issue of horizontality is at stake, a topic movement began around 2010 and is now
an armed and violent society, the presence debated among the curators, so it is not gaining strength and space. Attention
of 5664 Women (2014), work by Beth Moysés, surprising that Histórias Brasileiras has this is drawn to Monumento à Voz de
is aggregating. The revolver bullet casings language that revolves around a continuous, Anastácia (2019), a work by Yhuri Cruz, a
are supported by tulle with pearls and endemic horizon, as Lília explains. Among representation of the tortured slave who
represent the 5664 women murdered by the works mined, the paintings Landscape was forced to wear a shackle and a tin mask
their partners in Brazil in 2013. with Jiboia (1660), by Frans Post, which until her death.
In Mitos e Ritos, there is a questioning represents the Brazilian landscape, and Of Guarani descent, Sandra Benites
of the Portuguese colonial occupation, the photograph Natureza Morta 1 (2016), says that the struggle of indigenous
which until today seems to be kept in public by Denilson Baniwa, which features the peoples in Brazil is broad and violent. “The
secrecy. Most of the artists in this segment silhouette of an indigenous person killed diversification is great, there are indigenous
are of African origin and their works were in the Amazon rainforest, an analogy to the people living in demarcated areas, in the city,
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