Page 87 - ARTE!Brasileiros #60

work, there was also a relationship between her career and is one of the guests at the no individuality. It’s cruel and absurd. It
59th Venice Biennale.
black and luminous spots that, in a game seems that we do not even have the right
of attraction, increased the expansion of By EdUArdo SimõES to subjectivity.”
the black areas. Her creations presented in Venice try
The world that emerged in these drawings Carnival has been in rosana paulino’s to refound or even suggest new myths,
had a somewhat violent and traumatic imagination, 55, since her childhood. based on new archetypes. The Senhora das
constitution. And from the 2000s onwards, Behind her grandmother’s house, in São Plantas series , she says, refers to women
as happens in life, the joy of areas and Paulo, there was a prop factory and, as in the 30-50 age group, while the Jatobás
reliefs of luminous colors was introduced. a teenager, she attended samba schools are the big trees, women in their maturity.
To show itself with force, the world needed in the company of an aunt and her sisters. “They refer to the great mothers of saints,
to become immeasurable. The intensity In the 1980s, one of these performances who managed to keep the black community
of black surfaces came from the ability to marked the future artist quite a bit: the last together throughout history, they are the
go beyond their limits, rather than from parade of a Mocidade Alegre triad, on Afro holders and maintainers of knowledge, they
saturation or extreme concentration. The culture, was dedicated to black artists and are our grandmothers, in fact”, she says.
traumatic nature of the works resulted from revered names such as Heitor dos Prazeres. Ancestry, as can be seen, is intrinsically
this: to assert themselves, the black regions “For the first time I saw the figure of linked to Rosana Paulino’s production. Born
had to incessantly move beyond themselves the black person portrayed in a dignified in São Paulo, she was raised in Freguesia
and collide between the colored regions, way within History. And I realized that do Ó, where she moved ten years ago to
putting on the horizon an identity that could black art existed because, until then, in Pirituba, a close neighborhood. It was at her
never be achieved. I think this is also the my childhood universe, there was only family home, in Freguesia, that she learned
reason for a kind of painful sensuality that what came from Europe, or someone like to sew from her mother, a skill she took to
permeates all of Germana Monte-Mór’s Portinari, in Brazil. In general, I only knew the her craft, something seen in her emblematic
drawings. The movement towards what is so-called geniuses of painting”, she recalls. works, such as Memory Wall (1994), which
beyond us — the search for continuity with “So, it was a very important aesthetic and she considers the inaugural work of her
the other implied in eroticism — reveals political experience, for the construction career. There, photographs of the artist’s
itself as a condemnation to exile, as unrest of my identity.” family members appear, printed in patuás,
and pain. Without ever losing your serenity. In April of this year, Rosana returned to amulets of African-based religions.
Precisely because it is beyond us, the carnival universe, this time as one of the In 1997, sewing returned in Stretched
because there the will does not reign, even 30 black personalities honored by Beija-Flor. (1997), in which she portrayed women
if we promise each time not to knock on At the Rio Sambadrome, she represented on fabrics, stretched over the wooden
that door again. And now she comes here the visual arts, under the theme Empretecer structure that gives the series its name
again. She kept her base experience and left o Pensamento é Ouvir a Voz da Beija-Flor and is used to weave embroidery. In these
enriched. Joy is also the proof of nines. As , in a tribute that also included Conceição works, the female figures appeared with
the Levantine poet said, roughly translated Evaristo and Abdias do Nascimento, among risks, scribbles, sutures that represent their
by me: “It is not the water that passes / that others. Her works were part of the costumes silencing in society.
quenches thirst / it is the one that is drunk / it of Ala das Baianas, which, according to her, Still in the family environment, Rosana
is necessary to ascend to heaven / descend are “the soul of a school, its foundation”. and her sisters were also encouraged by
to hell / to know a few”. “When I saw the sketch of the fantasy, I cried, their mother to create their own toys with
I have the impression that Germana’s I got emotional, I lost my speech”, she says. clay, to design characters, resources that
re-encounter with the work of Hans Arp The show was one of the defining also remained in the performance as an
brought with it the criticism of her modern moments of her career in 2022, a particularly artist that the future had in store for her.
contemporaries with their Dadaist bias, busy year from a professional point of view. “From a very early age, this thing of
which mocked the marked form that comes On the verge of completing 30 years of craftsmanship, and even the aesthetic
from Cézanne. I think that the skepticism artistic career, Rosana was also invited sense, were being developed on a daily
of Germana’s works with asphalt – very to participate in the 59th Venice Biennale, basis. However, I have always had a
good by the way – when crossing with Arp, where until November she exhibits 25 works, fascination with biology, especially for
produces an unlikely tangency with our from three series: Jatobás , Senhora das living in a house on the outskirts, with a
tradition, with Amílcar de Castro, above all. Plantas and Weavers . The works are based large front yard and another large yard at
Furthermore, the vitalist, organic on an investigation by the artist, an attentive the back. There were wild animals, toads,
dimension of Germana renewed the reader of the works of Swiss psychoanalyst frogs, bees, etc.”, she recalls.
sculpture of Maria Martins or Lygia Clark. and psychiatrist Carl Jung, about female At first, however, Rosana felt, she points
Without the postmodernist mania of citing archetypes. out, torn between biology and the visual
important moments in the history of art, “Within traditional psychology, there’s a arts. Already at university, she did not think
the artist maintains a good-humored flood of Heras, Venus, Athena, etc., who about being an artist. “I joined because I
conversation with the modern tradition. don’t talk to black women here. When I really like museums and research. I had
look at my profile, for example, within this a scientific inclination”, says Rosana,
artist roSAnA PAUlino [PAGES 60 To 65] psychology based on European mythology, who was a restoration and conservation
ANCESTRY, TERRITORY I don’t fit in at all. I am the daughter of Ogun assistant at mAC USP in the early 1990s.
and Iansã”, she says. “The construction of “This inclination continues to this day, so
AND SCIENCE the female psyche does not contemplate much so that I consider myself a very
These are some of the elements that black women, like me. Not even a black, technical artist, who researches areas
permeate the works of Rosana Paulino, an African goddess appears. It is as if the that were not present in the construction
artist who is about to celebrate 30 years of woman of African origin had no psyche, of visuality, black representation and

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