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ENGLISH VERSION RE-NATION

In 2010, a friend invited her to “Emerson was one of the richest the so-called Barreiras Formation,
live in São Paulo. She was opening boys I ever met. I remember that he the most important sedimentary
a handicraft shop and an atelier, told about an employee with whom he deposit in her research. “As time
where Lia would teach. At the time, had his sexual initiation. And he always went by, her work expanded to the
the artist was already using canvas spoke of it as if it were a lamp, that it was interior and then to other Brazilian
and oil paint. She has always drawn there, to be turned on or off. I agreed states”. Many areas were visited with
and painted, inspired by her parents’ with him that, to go back to my house, it her team, composed of José Rufino,
own handicraf activities. Stimulated wasn’t enough to say it was cool. I had geologist and visual artist (Marlene’s
to continue her studies, this time in to bring me, at the very least, a payslip son) and José Augusto de Almeida,
higher education, Lia took a visual before and af er our conversation. With engineer, former professor of geology
arts course at the Centro Universitário an increase, a sign of historical financial (her husband). With this group in tune,
Ítalo Brasileiro, where she claims to reparation, at least”, she concludes. she has been researching dozens of
have realized how a college promotes locations, guided by the polychrome
“intellectual whitening”. artist marlene costa de almeida [pages 56 to 63] richness of colored cliffs that form the
Lia complains that professors geological unit that extends from the
predominantly cited European artists A TELLURIC SHOW state of Pará to Rio de Janeiro.
and that, when they mentioned Unimaginable colors emerge on the living Like a travel diary, Marlene, aged 80,
Brazilians, they were restricted to the cliffs of eastern Paraíba, where Marlene continues in the field, studying more
Week of 22. She graduated at almost Costa de Almeida has been walking and and more and very calmly. She seems
researching for over 50 years
35, in 2016. She did internships in the to follow the Situationist International,
educational area of Sesc and at the 30th by leonor amarante a lef -wing movement of social, cultural
Bienal de São Paulo, curated by Luis and political criticism, active in the
Pérez Oramas. There, she reflected in paraíba, a geological spectacle 1960s, which advises its followers to
on how it would be possible to leave proves to be fascinating with the produce things that give them pleasure
a place, with 4,000 works, the least colored clays that emerge on the coast. and not those that can enslave them. Her
oppressive possible for the public, inside Born with special textures and tonal vacations and those of José Rufino were
a construction, in turn, monumental. games, the colors range from intense of en spent on expeditions that resulted
Af er graduating, she continued in red, passing through yellows, blues, in works that problematize the nature
the educational field, this time at Sesc pinks. They seduce. The Brazilian cliffs and physical condition of the materials
Pompeia. It was from there that she leave foreigners ecstatic, because in found. “My work involves geology,
began her research with young people. some countries, like England, they are chemistry, cartography because, to
In 2019, before the pandemic, she had completely gray, due to the presence reach a positive result, it is necessary
her first solo show with the series Axs of lead. Definitely, Brazil is colorful not only to know the materials in depth,
our filhxs , at Instituto Çarê, in São Paulo. from its entrails. but also to know how they should be
The pandemic came and, she says, she The Brazilian territory has a large manipulated, af er all, each one has its
made “a lot of money” by opening her reserve of utopias, and the Paraíba specificities”. Every element collected is
home to prostitution. She was also territory encompasses heterogeneous sorted, manipulated and stored in small
invited to do online advisory services, views of geological, artistic and jars in her studio in João Pessoa, which
amid health restrictions. institutional knowledge. Marlene will soon form part of the Terra Brasileira
Lia ends her stay at Galeria Jaqueline Costa de Almeida, plastic artist and museum, which is being idealized. This
Martins with an invitation to participate researcher, lived with this landscape long research has the support of the
in a collective of 200 black artists, at since she was a child and never tired of Federal University of Paraíba and the
Sesc Belenzinho, in the middle of the admiring it. On the contrary, when she National Council for Scientific and
year. But her project – or process – did had already graduated in philosophy, Technological Development (cnpq), and,
not end with the exhibition finalized in she decided to dedicate herself to this year, it will be turned into a book.
March. Lia says that she has more than the study and research of the clays In her studio, Marlene makes a
300 photos, which she can transpose that emerge on the living cliffs in the series of paintings, some of which
into painting, or even texts, which can east of the state, and which the sea show eroded land and local vegetation,
also be worked on artistically. What has is slowly dredging up. Cabo Branco, which are transformed into light but
already been seen, she says, “is the tip the northernmost point of Brazil, has critical landscapes. Such records are
of the iceberg of what I am creating already lost 20 to 30 kilometers of these born from a flow of images that change
for the world”. walls over millions of years. With winds, from others, even from branches and
Of the young people whom she scorching sun, excessive heat and even foliage present in the studio. Her
worked with and is working on her drizzle, Marlene has walked through work is diversified in sculptures, and
project, she says she does not charge valleys, plains, hills and even along it is worth mentioning the installation
anything a posteriori. “My job, as a roadsides, always in search of a new Varas de triste , made up of tubes of
researcher of this anthropology of hate, color, the impossible tone, a new study raw cotton fabric, sewn and filled with
is to provide information. What they of the chosen territory. . clay. As Marlene herself defines it, “this
will do with it later, I will no longer be Her work can be understood as pro- installation refers to the primitive way of
responsible. But I do a test with some”, visional systems that are transformed measuring time, with shadows, before
she says. She gives the example of with each field expedition. The plastic the clepsydras ( water clock, one of the
young Emerson, whom she met when artist/researcher started working first systems created to measure time)
he was 23 years old. directly on the coast of Paraíba, in and hourglasses “.The sand placed
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