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ENGLISH VERSION ON THE PROWL

questions the tenuous limits between amplified through mirrors, openings. The Laura Anderson Barbata, techniques for
plane and volume, between the architectural references incorporated in producing paper with vegetable fibers –
real and the represented. She uses the images are few, but very concrete, to from sugar cane, banana, corn, mulberry,
photography not for its technical the point that the curator suggests that, etc. – which he began to use as a support
excellence or mimetic accuracy. It is for her, “the baseboard is the meeting for his drawings. In them, he sought to
no coincidence that her husband, the point between painting, architecture and translate, through minimal and repeated
architect Artur Rosa, is responsible for photography”. In the aforementioned elements, not only the landscape, but
most of these records. “I want a crude, interview, Helena hints at this confluence also the imagination of his community.
expressive photograph, as a record of an of elements, which allows the passage About 30 years later, Masp presents
experience, of an action”, she explained from individual experience to the the exhibition Sheroanawe Hakihiiwe: all
in an interview given to the curator and universal character that every powerful of this is us, an individual exhibition that
recalled in the exhibition catalogue. work seems to pursue: “What interests brings together more than a hundred
Pink canvas to wear, a work from 1969, me is always the same: the space, the drawings, monotypes and paintings
which serves as the opening chapter of house, the ceiling, the corner, the floor; by the artist, who started to sign with
the ims exhibition, is a kind of synthesis then, the physical space of the screen, the name derived from Sheroana, the
of the work that will be developed in the but what I want is to deal with emotions’’. community where he was born in the
following decades. By literally dressing a This relationship between conceptual, municipality of Alto Orinoco. The set –
painting, Helena approaches what other poetic and experiential experimentation coming from his gallery, ABRA, in Caracas,
artists interested in erasing the distance guarantees Helena Almeida’s work a and from Brazilian collectors – covers
between body and work have been doing. touching familiarity with other artists nearly two decades of his production –
In addition, she plays with this idea of who trod the same field in the same from 2015 to 2022 – and allows the public
the superiority of painting and focuses period. There are many echoes between to observe, among other aspects, the
on the gesture of painting and one of her production and a series of Brazilian recent expansion of the range of colors
its main attributes, color, provocatively and Latin American artists who, like her, which Sheroanawe makes use of.
present only in the title, since the image dedicated themselves to investigating “Much of Sheroanawe’s initial
is in black and white. In Helena’s hands, the relationship between image and production had, I won’t say a color limit,
color takes on a curious and fundamental body, photography and identity. We but always the reference to black and
aspect, as it magnetically punctuates her can mention, for example, Lygia Pape, red. Which is precisely a connection
visual constructions. It appears intensely, Lenora de Barros, Liliana Potter and even that the artist makes with the body
interacting with the artist, whether in the Iole de Freitas, who have a cut of their and face paintings of his community
blue stain that is devoured, exhaled or work from the 1970s – more cutting and and surroundings. We always find, for
kept in the pocket, in the red stain that experimental – currently being exhibited example, black, red and white referring
stains her foot making the surrounding at the same ims. to the coral snake”, says André Mesquita,
gray scale vibrate, Outer Black. Were it not European, it would be curator of the exhibition.
Drawing, the other constitutive perfectly integrated into proposals for “But Sheroanawe has expanded his
element of pictorial construction, is also reviewing Latin American feminist art, palette for about three years now. He
masterfully explored by Helena, who such as the radical research women, has used blue and yellow, for example, in
presents us with a series of investigations shown in 2018 at the Pinacoteca do addition to having also painted on fabric.
in which the line becomes a real, physical Estado. This harmony makes it even While these procedures have somewhat
nexus. Be it in the form of a nuisance, more surprising the fact that it took changed over time, of course the themes
as in Sente-me, or an element that one so long to wait (her only prominent he has dealt with remain. It’s almost like
wants to get rid of, as in Saída negra, participation in an exhibition in the creating a catalog or even an archive. A
a blank book from which the words, country was at the 28th Bienal de São memory of what he finds in the ritualistic
remade in the form of a line, seem to Paulo) for a Portuguese artist renowned aspects of his community, in everyday
escape. Once again, there is a repeated in her country, with a vast production activities, in utensils, as well as a record
desire to seek autonomy: from risk, from and an intense affinity with a type of art of the fauna and flora that surround life
gesture, from the body. of en developed in Brazil, had his first in the forest”.
Another aspect echoes with intensity solo exhibition in the country. David Ribeiro, curatorial assistant at the
in the work of the Portuguese artist: her exhibition, points out that Sheroanawe’s
starting point, as a woman working in exhibition são paulo [pages 46 to 51] production is very much “related to the
a country subjected for decades to the periods in which he spends time in the
Salazarist dictatorship and separated COSMOLOGICAL forest, with his people”. Moments in
from the center of contemporary SYNTHESIS which he collects diverse references of
production – which she intensely Through the repetition of elements he the “cosmo-ecology” of his community,
experienced during a long stay in Paris observes in the forest, the Yanomami artist “a deeper and more complex relationship
in the early 1970s. The verb to inhabit Sheroanawe Hakihiiwe creates a delicate with the environment, with the cosmos”.
visual compendium of the daily life and
is recurrent throughout her trajectory, imagery of his people According to Ribeiro, Sheroanawe
is present in the titles of her works observes the patterns that are used in
and is reiterated in the name chosen by eduardo simões face painting, body painting or in the
for the exhibition by Isabel Carlos. The production of basketry, details of animals,
house / studio is the space where her in the 1990s, Juan Bosco Hakihiiwe, a plants, stones.
art develops, always. Protected space, Yanomami from the Venezuelan Amazon, “And it’s a very meticulous look that he
sometimes claustrophobic, sometimes developed, together with Mexican artist casts on the surroundings, on the people,
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