Page 82 - ARTE!Brasileiros #61

ENGLISH VERSION FERTILITY AND KINDNESS

Fontenele, current director of Pinacoteca that has been accumulated over decades and that even a notebook can be seen as a studio, to the conceptual approach to the word worn like gloves, supposedly individual, occurred on these iconic dates, but rather to
do Estado. This group ended up forming that was scattered in offices and spaces that but the idea here is that the Pinacoteca and the body in the visual arts, due to but which, by socializing performatively, think about contemporary production based
a kind of council for the implementation were not very suitable, still being catalogued. is a space for experimentation, reflection, the symbolic importance of the chosen gains a liberating seal. With this work Lenora on central issues that emerged throughout
of new projects, so much so that some of Recently, through the Aldir Blanc law, R$ 2 reference and memory”, he says. elements, transforms some of his works reaffirms the maxim that any object can this modernization process, illuminating
them now assume managerial roles in their million was spent on expanding the collection, The set of three inaugural exhibitions into imagetic counterwriting. speak a secret language. contradictions and seeking to identify zones
implementation. taking into account the representation of is called Bonito para chover, a Ceará The abdomen also maintains sensuality The concept that makes up Lenora’s of thematic and poetic condensation. If a
This complex consists of the Estação gender and race. expression that is said when the sky is in the video performance and is part of inventory, now real and now imaginary, dominant narrative still persists, marked

das Artes, the former Ceará railway station, It is possible to get an idea of the scope of cloudy, and water comes around. It is a title a definition by the concretist poet Décio brings a repertoire of questions that by a series of mottos and myths that until
where the Pinacoteca do Estado, the new this collection taking into account only one quite appropriate to the result of what the Pignatari. “The woman has the watch of permeate from one work to another and today remain as a basis for articulating the
headquarters of the Secretariat of Culture, of the inaugural exhibitions, Love is learned “environment of resistance” is creating in history in her navel”. Lenora comments on places a watchful eye on other cognitive construction of culture in the country, its
Iphan, the Railway Museum and the Design by loving , dedicated to the artist from Ceará, Ceará: a radical transformation in its cultural the similarity of the concept to the work Por registers. The artist changes the perception increasingly frayed plot reveals an intense
Center are located, plus the expansion of Antonio Bandeira (1922-1967), which has panorama. Si, in which a ping-pong ball slides in the of art with questions that are communicated presence of ignored or suffocated elements,
the Museum of Image and Sound, and the 645 works on display and, of this total, only same area of the abdomen. The astonished through the centralization of the body and by this hegemonic myth of progress.

Centro Cultural Cariri, in the interior of the one is borrowed, all the others are from the ExHiBition são paulo [paGEs 40 to 43] face, one of the guiding threads of Lenora’s the self. The series looking for me (2003) Instead of adopting a linear and
state, where a religious seminary operated Pinacoteca itself. “Most of the works here work, appears discreetly in the video came about naturally when she passed by evolutionary vision of artistic creation,
before and later a hospital. In addition to have never been exhibited and it is a cut that SYNTHESIS OF performance. a kiosk installed in front of a hairdresser, the show is organized by the articulation
exhibition spaces, it will feature a theater goes far beyond the whitewashed view that A PLURAL PRODUCTION The works gravitate around the central at Shopping Iguatemi, where people could of complementary nuclei, which present
and planetarium. the market created about Bandeira”, reveals At Pinacoteca, four decades of unique work and maintain conceptual connections be photographed with long hair. “I found overlaps and connections that are not
The administration of these facilities is the curator of the exhibition, Bitu Cassundé, work that encompasses poetry, such as the series Não Quero Nem Ver that situation unusual, funny, curious and always evident, bringing together a
done by an OS (social organization), the who has Chico Porto as assistant. photography, performance and video, (2005), made up of four videos projected decided to do it”. The photoperformance wide range of actors and organizations.
Instituto Mirante de Arte e Cultura, created He had to fight to get some iconic works in dialogue with the body on small monitors: Tato do Olho , Ela não was published in the cultural supplement Five spaces, with different profiles and
for this function. It is important to remember by Bandeira out of government offices, but By lEonor amarantE quer ver, I’ve seen everything , There are Mais!, from Folha de S.Paulo, and evolved geographical roots, which interact directly
that the first OS dedicated to culture in the the result is very impressive. Bitu presents women . In I’ve seen everything, Lenora is into other developments. with the surrounding communities, were
country was created in Fortaleza to take an artist far beyond the abstract, as he is boDy anD experimentalism are existential filmed hooded in knitted mesh, closed over When the attack on the Twin Towers takes invited to participate in the project, with
care of the Centro Dragão do Mar de Arte better known, and his various relationships, milestones in the production of performing her head. In this work, she chose to use place, she watches desperate people on highly personalized exhibition centers, but
e Cultura, inaugurated in 1999, a complex in Brazil and abroad, with the arts circuit, artists. The 40 works that make up the knitting, “a stigmatized activity, because TV looking for each other. With that, she deeply integrated into the set. They are
that houses, among others, the Museum including his proximity to the architect Lina exhibition My Tongue: Lenora de Barros, I am a female, I have already knitted”. invents different self-portraits that resemble Acervo da Laje (Salvador), Aldeia Kalipety
of Contemporary Art and the Museum of Bo Bardi, who inaugurated the Museum at Pinacoteca do Estado, emphasize the Even hidden under a hood, she acts in an posters of missing persons, pasted in public and Casa do Povo (São Paulo), Quilombo

Culture Ceará. of Modern Art of Bahia, at Teatro Castro multiple combination of languages activated experience that moves in a double essence: places. The photos are different from each Santa Rosa dos Pretos (Itapecuru Mirim,
Alves, in 1960, with an exhibition dedicated by the artist over four decades. In a spiral, visual and verbal. The same fingers, ring other and do not reveal the real Lenora. Maranhão) and Savvy Contemporary – the
pinaCoteCa to him. Bandeira, who lived in Paris in his cognitive way, the set reveals the affinities and index, that pierce the clay in the video These images are annoying. In 2002, some Laboratory of Form-Ideas (Berlin) . A sixth
Opened on December 3, the Pinacoteca has final years, is still little celebrated for his of the artist’s production from the 1970s performance, in Já vi tudo try to create a posters of Looking for me, placed on the radiating pole is Sesc Pompéia itself, which
a total area of 9,200 square meters, with an self-portraits, two of which are on show, to the video performance The Face. The hole in the knitted wool. The sound system façade of the Centro Universitário Maria is now celebrating its 40th anniversary. Both

exhibition area of 3,000 square meters and which empowered him as a homosexual tongue. The Womb. (2022), born during the echoes the whispered poetic language that Antônia, were vandalized by the Art-Attack the space – a symbol of transformation and

a technical reserve of 869 square meters, an and black artist, a rare feat in the middle exhibition process, curated by Pollyanna reaches murmurs. In the video There are group, which confessed to the damage. generation of culture since the 1980s –, and
area larger than the exhibition space of the of the last century. Quintella and commissioned by Pinacoteca. women, born from a text published from Now, this work assumes a positive role in its author, Lina Bo Bardi, play a fundamental
Museum of Modern Art of São Paulo, with Bandeira was also a friend of another Like rare artists, Lenora removes clay from 1993 to 1996, in the Umas column, signed the implementation process of the new role in the exhibition.
furniture specially designed for it, which artist from Ceará who was born in the same its utilitarian and decorative purpose and by Lenora on Jornal da Tarde, the affiliation assembly of the Pinacoteca collection. The architect is one of the strengths of
reinforces the seriousness of the entire year as him, Aldemir Martins (1922-2006), places it at the center of an experimental, with videoperformance is more due to the Looking for me, among other works, is the show, which combines in the same
project. Coincidentally, the coordinator of the subject of another of the inaugural conceptual discourse, making a reading of aesthetic experience. The poem There are permanently on display in some places in space more than 600 items, produced
the new technical reserve is Cláudia Falcon, Pinacoteca exhibitions, No pencil in life the matter where she anchors the images. women is recited in a low voice, in the same the museum. by a hundred artists, and arranged in a
who previously held this position at MAM has no rubber, by curator Rosely Nakagawa, The face. The tongue. The Womb. decant cadenced rhythm as the other works in this In addition to expressiveness and the very fluid way, thanks to the expographic
São Paulo. who has as deputy Waléria Américo. With and deviate sensuality in several directions. series, in which its language games are challenge of interpreting the work of Lenora project conceived by Tiago Guimarães.
For the Secretary of Culture, Fabiano that, the Pinacoteca is inaugurated on The three parts that make up the work are always present. de Barros, which in each show provokes new It is represented in the first place by the
Piúba, the creation of the Pinacoteca is part the centenary of two local artists, with strategies for her to experience the sensual Awareness of the body as a poetic interpretations according to the temporal space that houses the exhibition and which
of a policy of institutional strengthening, exhibitions that expand the repertoire on movements of the clay on her body. perception becomes stronger for Lenora situation, the exhibition opens up to updated is now 40 years old (forming, along with
which dates back to the late 1980s with each of them. In the case of Aldemir, his work Installed in the center of a large room, when she participates in the Radical women reflections on a new beginning. independence and modernist week, the
Violeta Arraes (1926-2008) as Secretary of goes beyond the known cats and roosters, the work instigates and involves the exhibition (2016), at the Pinacoteca, curated trio of ephemeris that sustains the event).
Culture in the Tasso Jereissati government presenting a master artist of the line and spectator, but allows him to make his by Andrea Giunta and Cecilia Fajardo-Hill. ExHiBition são paulo [paGEs 44 to 49] But Lina is also present through a series of
, when Theatro José de Alencar was very attentive to the local culture. own “journey”. The slow movement of the The collective brought together around 100 projects, works, drawings and reflections
recovered, and later with Paulo Linhares, Finally, the series of exhibitions that hands kneading the clay, in an attempt to artists with works produced between 1975 QUESTIONING that help shed light on multiple issues,
Ciro Gomes government secretary, in the opens the Pinacoteca is a broad survey “sculpt” a huge tongue, is sensual. The and 1985. “All manifested themselves from MODERNITY such as the connection between Africa and
late 1990s, who created the Dragão do Mar. of contemporary art from Ceará, entitled idea is that the spectator achieves another the body, the body that supports expression, The exhibition The Parable of Progress Brazil, with her Houses of Culture projects
“I often say that there is no specific policy Se Arar, by Cecília Bedê, Herbert Rolim, visibility, privileging phenomena invisible the ideal body from the body”, as defined by reviews the myths and legacy of the in Benin and Bahia; the pioneering rescue
for a library, a Pinacoteca or a museum. Lucas Dilacerda, Maria Macedo and Adriana to the eyes and “seeing” the object coming the artist, who strongly identified with them. Independence of Brazil and Modernism, of artisanal and cultural traditions in the
What exists are policies to promote the Botelho. Featuring 169 artists from different out of his mouth. To achieve illusionism, Playfulness involves the series A Máscara based on contemporary artistic production anthological exhibition The hand of the
arts, cultural heritage and memory, artistic generations, from José Leonilson (1957- Lenora relies on the looks of partners who de Mão (2017), made up of objects born By maria Hirszman Brazilian people(resignified through the
and cultural training, citizenship and 1993) to Clébson Francisco (1994), the accompany the filming. As she comments, when she happens to visit a studio in the work of artists such as Mestre Dicinho);
diversity and how these cultural facilities exhibition provides a striking overview of “performing this is quite different than doing United States. “I didn’t have the slightest The pArAble of progress, an exhibition on the fight against a retrograde and elitist
become a proper environment for thinking, the local scene, marked by wide diversity. a live performance”. For some time now, intention of working with clay, because until display at Sesc Pompeia, closes on a high view of art or the significant presence of
formulating and executing these cultural Of the total exhibited, 91 works are from the the artist has investigated the relationship that moment I thought, I have nothing to do note the cycle of events held throughout the the theme of immigration in the exhibition.
policies”, explains Fabiano. Pinacoteca collection. with language and the word language, at with it”. However, one day, when picking up year in Brazil around the 200th anniversary Curator Lisette Lagnado, responsible
In addition to the collection and the same time the idea of idiom, organ and a block of clay, she was working inside out, of independence (1822) and the centenary of for the project for the 27th Bienal under

banDeira anD alDemir, 100 exhibitions, the Pinacoteca is seen, language. This definition was reiterated by from behind. She arrives at the movements the Week of Modern Art (1922). Reversing the the theme How to live together, takes up
In the case of Pinacoteca, a central part of its according to its director Rian Fontenele, her at Flip this year, at the panel O Corpo of creating orifices that were repeated historical emphasis, the exhibition does not this dialogic structure to try collectively to
mission is to receive an important collection as a “studio museum”. “As an artist, I know da Imagem. The pioneering approach and gave rise to A Máscara de Mão, to be intend to review or reinterpret the facts that respond to the challenge of “recovering
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