Page 84 - ARTE!Brasileiros #61

ENGLISH VERSION FERTILITY AND KINDNESS

notions of public space, destroyed in the commissioned especially for the event, as be seen in the exhibition Xingu: Contacts, at order not to “burn out” in the circuit. After all, redundancies that transform each of
name of modernity”. Despite pointing out if the present questioned the past in terms ims Paulista. Focused on the Xingu territory, rEviEW Brazilian HistoriEs [paGEs 56 to 59] institutions such as Masp and the Bienal are in these sessions into repetitions under the
that “this is not about looking for alternative of of current issues. “We seek to respond in Mato Grosso, where 6 indigenous people charge, powerful collectors who can actually same theme. For example, the Flags and
modernities, or subaltern ones, or from to modernism in a broader way”. of 16 ethnic groups currently live, the show “BRAZILIAN HISTORIES” harm careers if they so choose. Maps module, organized by Lilia Moritz
peripheral regions”, Lisette reiterates that In times of threat to the precarious exposes gaps and violence in historical REVEALS ‘COLONIAL This “colonial system” is reflected in shows Schwarcz and Tomás Toledo, talks about
we live in moments of questioning widely Brazilian democracy and evident political representations. Created in 1961, it is the SYSTEM’ IN THE like Brazilian Histories in a way that is even representations of power, but there are so
disseminated notions such as that of the setbacks, the works that touch more first demarcation of indigenous land in Brazil subtle, but which also deserves reflection. many flags and maps that the excess ends up
Brazilian “cordial man”. “Brazil’s post- surgically on the wound of authoritarianism and, as Ailton Krenak states in the exhibition, ARTS CIRCUIT Operation A3-1, by Rosângela Rennó, who reducing all content to a common minimum,
colonial trajectory shows the permanence stand out throughout the exhibition, such “it became a symbol of indigenous struggle Masp presents an exhibition that criticizes participates in the Rebellions and Revolts the national symbol, which remains difficult
of oligarchic structures on a multiethnic as the core of correspondence by Ariel in the region”. For the curator of the show, the lack of representation in the history of module, curated by André Mesquita and Lilia to pay attention to the particulars.
fabric disguised as ‘racial democracy’”, she Ferrari, son of León Ferrari, on the eve of his filmmaker Takumã Kuikuro, “the exhibition art, but its own centers of power are white Moritz Schwarcz, belongs to the president of An example is Okê Oxóssi, by Abdias do
emphasizes. murder by Argentine repression. But silent aims to highlight this activism and also to and patriarchal; institution still exhibits Masp, Heitor Martins, and his wife, Fernanda Nascimento. In this 1970 painting, the artist
works by its president, ignoring
There is, in the wide range of works, a violence, linked to unavoidable themes such highlight the importance of audiovisual in the existence of a conflict of interest Feitosa, as is explained in the caption of the recreates the national symbol from the bow
series of works of great power and intense as colonization and diaspora, is practically the territory”. work. It is a work from the Operação Aranhas/ and arrow, emblems of Oxóssi, orixá hunter.
harmony with the central issues identified omnipresent. They manifest themselves An imagetic dialogue in which By faBio cypriano Arapongas/Arapucas series, comprising There is such an intense cataloging fury in
by the curatorship, in its various instances in striking canvasses, such as Invasão historical documentaries are countered more than a dozen works, in the hands of this module, which also exists in the others,
of action, as fundamental contemporary do Alemão, by Márcia Falcão, in the curly by contemporary images made by the brAziliAn hisTories, an exhibition that was several other collectors. that various types of flags are presented
issues, such as colonialism, racism, nature, gesture and powerful figuration of Elson indigenous people themselves, who realize on display at the São Paulo Museum of Art, What leads the curators to choose as an almost mathematical formula for the
immigration and resistance. One of the Junior, or in works of a more allegorical the importance of recording their culture so Masp, between last August and October, precisely the work that belongs to the inclusion of politically correct themes: there is
first works in the exhibition, a photograph nature, such as Odoya, by Ani Ganzala, that it becomes memory and avoids future portrayed a dilemma of art institutions in president of the museum? This is a clear an lGBtQia+ flag, an indigenous flag, a feminist
from the series Sobre a Terra, by Daniele featuring Iemanjá and her devotees. The erasures. With a documentary aesthetic, a very explicit way: while exhibitions seek example of a conflict of interests, after all, flag, a flag of struggle, of mourning, etc.
Rodrigues, seems to synthesize the strength orixá swims in the middle of a beautiful sea the videos made by the indigenous people to create inclusive narratives and review of exhibiting a work means adding value to it, And each of the modules follows this
of the popular uprising, with a hand that full of fish, which fall out of her hair, on a talk about the importance of preserving the history itself of art, these themes turn out and a public museum such as Masp could somewhat cold tone of redundancy, without
rises from the ground carrying a sword- bottom of the sea full of skulls and which memory of their cultures, their traditions. to be somewhat incongruous, since the never exhibit works by people linked to it, as creating narratives beyond what the name
of-São-Jorge (or sword-of-Ogun), with seems not only to show that we are not They tell of their amazement at the very decision-making centers of the museum the institution is simply valuing the collection of each of them indicates. Portraits, for
a white landscape in the background in the country of the future, as the modernist demarcation of the territory. They revive old are patriarchal, white and elitist of your president. A historian of the stature example, is another session marked by
which you can only foresee a little church. mystique promised, as we still have many films to present to new generations how their What is the use of denouncing in the of Schwarcz knows that she should avoid repetition, in addition to using a typical
The sword, in this case, is the plant, which reckonings with the past to do. story was narrated, weaving their stories catalog that “the discipline of art history (...) this kind of patrimonialist practice, but that category of the so-called fine arts, from
has a series of symbolic connotations for that went from orality to image. is the most powerful and lasting apparatus this is not an isolated case in the museum’s the 19th century.
religions of African origin. This image, which tribute Image dominance goes back to the of imperialism and colonization”, if the masp recent exhibitions. Another work exhibited at Now, if Masp intends on a decolonial
belongs to the powerful selection of works In addition to the exhibition, which will be original peoples: “Today we are protagonists power centers continue with an immense the exhibition that belongs to the president practice, would it not be more appropriate
sent by the Laje collection, echoes with the on display until April 2023, the Parábola of our history. Before, we did not know the majority that does not include “the so-called of Masp is the painting “The conversation to think of new categories, less formal and
nucleus of Maranhão, located at the other do Progresso project will also feature the audiovisual. Now we know. We own our peoples”? native, indigenous, inferior, of the intergalactic entities to decide the more daring. It is here that the lack of ability
end of the living space. Through the lens publication of a book with essays written image and we take the struggles of the subordinated, subaltern and non-white”, to universal future of humanity”, by Jaider Esbell of this management to think outside the
of Márcio Vasconcelos, we see a set of five by the curator and a guest list. The edition peoples of the Xingu to museums, festivals, use terms used in the exhibition catalog itself. (1979 – 2021), which is part of the Myths and frame is perceived. Everything at Masp
portraits of strong women, whose drama provided for the publication of a series of cinemas, social networks, exhibitions”, In a way, this tension between inclusion Rites module, curated by Fernando Oliva, always ends up being very conventional,
only becomes evident when reading the photographic records of the exhibition, taken reports Takumã Kuikuro. and privilege was quite explicit by curators Glaucea Helena de Britto and Tomás Toledo. similar even to an art fair, even when one
caption of the image, which brings their by Rochelle Costi, who died prematurely, The exhibition is also a recovery of “the Clarissa Diniz and Sandra Benites, last May, Unfortunately, however, this is not just intends to review the canon.
names (Dona Bia, Rosa, Dijé, Glorinha and victim of a car accident, being run over at gaps existing in museums themselves, when they abandoned the resumptions a practice at Masp. In a way, the presence It is in this sense that inclusion, and it
Antonia) and the information that they are the end of November, which must be kept where often the identification of images module, Brazilian Histories, accusing the of these collectors in key positions in the cannot be denied that there are many artists
part of a tragic group, “the death sworn”. and turned into a tribute to the artist. was not always done properly” explains the museum of censoring selected images contemporary art system is something in the show who deserve greater visibility
These encounters, which permeate almost co-curator, journalist, Guilherme Freitas. from the Landless Movement, the mst. relatively new, but it is still a reflection of and presence, ends up being protocol. And
the entire exhibition, acquire an even more ExHiBition são paulo [paGEs 50 to 55] Part of the Xingu’s history is recorded in The controversy unfolded in several layers, the colonial system of these institutions. it is then that it is explained that, in the end,
radiant power in the core that functions as photographs under the custody of the leading Benites, months earlier celebrated Outside Brazil, artists like Nan Goldin have “the colonial system” remains the same,
a backbone of the entire scheme, a kind IMAGE DIALOGUE Instituto Moreira Salles. The exhibition is the as the first indigenous curator of a Brazilian led the criticism of museums that are used only trying to achieve a pacification that
of “translation of the concept into physical On display at IMS Paulista, “Xingu: Contacts” starting point of a process of requalification museum, to point out that her appointment by billionaire families to clear their names, we already know is impossible between
space”, as Lisette explains. It is a web of contrasts historical documentaries and of this set of images, with the collaboration did not reflect inclusion, and that Masp as is the case of the Sackler family, a the master’s house and the slave quarters.
works from historical times, installed on contemporary records made by the of researchers and indigenous leaders, reproduced a “colonial system”, as she manufacturer of highly addictive drugs that
the long wall at the back of the exhibition indigenous people themselves through the identification of people, places stated to Brasil de Fato magazine. have already caused thousands of deaths. rEport younG artists [paGEs 60 to 65]
space. This intersection of themes and Hélio campos mEllo and situations portrayed”. After several negotiations, Diniz These are true Brazilian histories,
periods was named Parable, in reference and simonEtta pErsicHEtti And it is in this interweaving of pers- and Benites returned to the exhibition unnoticed by visitors who do not know NEW TALENTS,
to the general title and which refers both to pectives that the show – with 200 items, conquering more than the exhibition of the the context of the circuit, but which also NEW IDEAS
the geometric representation of the curve sinCe the enD of the 19th Century, the researched over two years by curators mst’s own photos, until then prohibited. need to be told so as not to remain in the The production of four artists lives a special
and to the symbolic force of the narrative original peoples had their image “stolen” Kuikuro and Freitas, with assistant Marina First, they ensured the free distribution superficiality of the exhibition. moment in the search for space to show
and the imagery symbol. There, a wide and disseminated by non-indigenous people Frúgoli, in various collections in the country of posters of those images, such as the Observing this background, what remains their works
selection interacts with ten iconic works who created an exotic and stereotyped vision – opens a dialogue and reflection on the National March for Agrarian Reform, by João of Brazilian Histories? Held on two symbolic By lEonor amarantE
of modernism, by idols such as Tarsila do presented to Brazil and the world through importance of indigenous peoples in the Zinclar, when the museum’s first suggestion dates, the centenary of the Modern Art
Amaral and Lasar Segall. These works documentaries, photographs and reports. country. Brazil: “We want to tell our story so was to acquire the images for its collection. Week of 1922 and the bicentennial of the a new generation emerges in the
considered fundamental to the history of A story created and that was never their that non-indigenous people can recognize With this, the curatorship reversed the Independence of Brazil, the exhibition, with braZilian visual arts scene with a lively
Brazilian art are shown virtually, through story. In the 20th century, magazines such and teach their children the protagonism marketing logic of ownership and ensured around 400 works and nine curators, follows dialogue, understanding life and each work
reproductions in light boxes, underlining their as The Cruise and Headline also reinforced of the indigenous peoples of the Xingu and that the works multiplied outside Masp. the same line as the other exhibitions in the as an inaugural act. Four young artists, from
spectral character. As André Pitol, assistant this idea. They really began to represent throughout Brazil”, says Kiukuro. The second achievement was the expansion “histories” series of the Masp, under the different regions, seem to breathe and
curator of the exhibition, together with Yudi themselves at the end of the 20th century. As the French philosopher Georges Didi- of the museum’s free days. This victory is artistic direction of Adriano Pedrosa: a lot interpret the same restlessness of this moment
Rafael, tells us, the process of choosing these They appropriated the tools for building Huberman writes in his book When images due to a rare attitude in the arts system: of illustration and little daring. of sociopolitical and cultural changes.
iconic works was based on the selection of images of their peoples, their cultures. take positions: “To know, you have to take denouncing abuses of power in institutions, There is a lot of illustration, as each of Sheets, in striped, checkered tricoline
the most contemporary works, some of them The confrontation of these narratives can a stand. Not a simple gesture”. which many artists and curators do not do in the show’s eight modules is filled with and in so many colors, seem to float on the
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