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and with several internal subdivisions. directors, such as Ivo Mesquita and the brazilian northeast was a
With an area of one thousand square Tadeu Chiarelli, until it became viable major supplier of labor for economic
meters, this large gallery allowed the with the deactivation and transfer of adventures in Northern Brazil: among
simultaneous exhibition of an important the school to the museum. thousands of northeasterners fleeing
set of works that entered the collection In addition to the large and versatile the drought towards the Amazonian
in recent decades and that – due to their underground room, which af er Chão Eden, Minervina Félis de Lima from
size or complexity – ended up being little da Praça will receive a show by the Ceará migrated to Acre around 1919
shown. As a great meeting, it merges into Chinese multimedia artist Cao Fei, a to work in the extraction of rubber.
the inaugural exhibition, entitled Chão second exhibition space was installed Minervina married a Peruvian native
da Praça, a very diverse set of poetics, in the former rooms of the Prudente and had Francisco Domingos da Silva,
techniques and experiments, reaffirming de Morais School. Smaller, more born between 1922 and 1923.
the disparate and experimental character intimate environment, and maintaining There, through the religious missions
of contemporary production. references to the architecture of the that welcomed the migratory flows, the
For example, the installation Ttéia , past (with the preservation of delicate “white civilization” exercised its violence
a major work by Lygia Pape, is being wrought iron partitions, which date from in a colonial model of catechization,
exhibited for the first time. The version the time of the first project, conceived in exploitation and manipulation of the
that the Pinacoteca has is different the 19th century by Ramos de Azevedo), faith. In the first ten years of his life,
from the better known one, on display it now houses a series of works by South the boy Chico da Silva lived between
in Inhotim, and was added to the Korean Haegue Yang. The artist, who this oppressive context and the forest,
collection along with the lending of has already been to the 27th Bienal de with its legends and freedom.
the Roger Wright Collection. Another São Paulo, presents work that, in the With little prospect of survival,
important work in the collection, which opinion of Pinacoteca director Jochen Minervina returned to her hometown,
already has around 11,000 historical and Volz, also echoes in national production, Quixadá, in the hinterland of Ceará. In
contemporary works, is Memory Wall, by such as the use of industrially produced this arid landscape, where livelihoods
Rosana Paulino, a work composed of 1500 materials or the displacement of are plagued by drought, Chico’s
patuás, made one by one by the artist, meanings. “It’s important to change father was bitten by a rattlesnake,
and which make up a powerful panel our references a little”, he says. whose venom is deadly. Af er the
on the strength, tradition and poetry of The inauguration of the new building loss, mother and son settled, around
blackness in the country. Signaling the will allow, in addition to giving greater 1940, in Pirambu, on the outskirts of
interest in promoting an ever-increasing emphasis to public demonstrations Fortaleza.
seam between exterior and interior, the and highlighting the museum’s own It is on the walls of Praia Formosa, in
show also brought into the museum collection, to reaffirm one of the focuses Fortaleza, that Chico da Silva composes
space one of the sculptures that the of attention of Volz’s management: images of impossible beings and
Pinacoteca keeps in Parque da Luz, the the need to carefully rethink its Amazonian oral narratives. He is then
large necklace of gigantic ceramic beads, programming. “We have to think about captured again by the colonizing project
made especially by Lygia Reinach for this which art story we want to tell and which when Jean Pierre Chabloz, enchanted by
outdoor sculpture project. one we haven’t told recently”, he explains, the poetics of the local artist, introduces
Among the many layers worked on by remembering that until ten years ago him to gouache paint and paper, making
the show, curated by Ana Maria Maia and the exhibitions that reached us were, him abandon the wall support.
Yuri Quevedo, the dimension of affection almost exclusively, by white European Between 1930 and 1940, the Swiss
and relationships between artists and the men. Thinking about international art promoted Chico’s presence in national
museum stands out. More explicitly, we and national production in harmony salons, such as the Askanasi Gallery, in
have the neighborhood of the institution and making room for poetics that still Rio de Janeiro. In the 1960s, Chabloz
serving as a theme for works represented do not find an equal space in museums articulated, in the newly opened
there, as in the photographic series by is among the guidelines that will guide mauc/ufc (Art Museum of the Federal
Cristiano Mascaro, in the watercolor the actions of the institution, which University of Ceará), a place where the
by Djanira made in Parque da Luz, or is already preparing an intense and artist would create a studio, receive
even in the images that Hudinilson diverse agenda for its three spaces, a salary and stay for three years. The
made of his own body when he was a with names ranging from Chico da Silva, mystique built by Chabloz around this
laboratory technician and operator from Denilson Baniwa (on display at Pina indigenous character reached its peak
the institution’s xerox machine. But there Luz) Sônia Gomes and Marta Minujin, in 1966, when Chico participated in the
are also more intangible neighborhoods scheduled for 2024. Venice Biennale.
and affections, with touches of memory A constant element in Chico da Silva’s
and connections from the affective field, exhibitions são paulo [pages 38 to 43] work is the mouth. The mouth open for
such as the majestic panel by Emanoel the boat, the mouth open for food, the
Araújo, who died last year, who was CHICO DA SILVA mouth that welcomes and shelters, the
responsible for the modernization and AND THE ROUTES mouth that eats and transforms, the
renovation of the institution in the 1990s, OF RESTLESSNESS mouth that devours, the mouth of the
and the first to dream of its expansion Show at Pina Contemporânea houses night, the mouth of the stomach. In the
beyond the limits of its headquarters, the images of impossible beings and paintings, there are countless clashes,
incorporating other spaces in the Amazonian oral narratives created as well as the animalities that use the
by the artist from Acre
surroundings. An ambition that followed mouth as a weapon, as a defense, as
along with several of the subsequent bitu cassundé a prelude to danger.
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