Page 93 - artebrasileiros-63

on the environment where he lives, and exhibition article [pages 52 to 57] as an economic subject of the work. I
from which he extracts syntheses”, he EPIC ART IN THE SECRET think that what I saw in Igatu and in the
says. “In a forest, in this confusion of HEART OF BRAZIL gallery at Vinícola uvva is a gem that has
elements, Sheroanawe looks for the not yet been brought to light, in terms
minimum units of this grandiosity, by paulo herkenhoff of the Brazilian gaze.
small symbols, which he transposes to This is a first question. The other
paper, which are representations of this i discovered the work of marcos issue was finding in that vastness
complexity. As Laura Barbata states, his zacariades, in 2019, at Art Rio and I the experience of uvva and Fazenda
work is more than simple abstraction was very impressed. But at the time I Progresso. The work of the Borré Family
or minimalism, it is a very complex had no idea what else there was to his is unique, exemplary, a paradigm. In
map of an infinity of meanings that he thinking and today I see that it was just addition to agribusiness and wine
apprehends from his observation”. the tip of the iceberg. Even in the midst culture, there is art there. The winery
Mesquita comments that, initially, when of the hustle and bustle of the fair, I boasts spectacular architecture, with
observing Sheroanawe’s production, a immediately thought that work would do furniture by Brazilian designers such as
relationship with minimalism came to a lot of good for the mar (Museum of Art Sergio Rodrigues. There is a process
his mind, partly because of his training in Rio) collection, and Marcos generously of valuing Brazilian culture. And, when
“as a researcher, very interested, for agreed to donate it, but did not deliver it comes to an art gallery that mixes
many years now, in the practices of the piece. I was afraid, af er all, a piece with the barrels, which shows the soil of
conceptual art”. At some point, says the donated and not collected could turn Chapada Diamantina with its layers, we
curator, “processes such as serialization out to be a piece not received. But later I are talking about a totality of perception
and repetition” appear in Sheroanawe’s understood that it was an excess of rigor, of the world, human geography, cultural
practice, which we have already seen so I already had a complete notion that geography and this correlation between
in several works by North American, he was a rigorous artist in terms of form. cultures.
European or Brazilian artists. Then we had another meeting in Rio, When I see this revelation, what I can
“But we don’t do this reading of and I had access to more images, before say is that Fabiano Borré is a modern
Sheroanawe’s work and we don’t even try finally visiting the exhibition O tempo businessman who understands that
to canonize him, in the sense of bringing mirrorado, on display in the underground financial capital must also be converted
his production to a western reading”, basement of Vinícola uvva, in the Bahian into symbolic capital. I say this because
ponders the curator. “What I of en find is city of Mucugê, in the heart of Chapada I think he is on the side of great modern
that his work meets all those works that Diamantina. It was a great revelation for businessmen, like Ivoncy Ioschpe, like
are considered conceptual, minimalist, me to find that exhibition, in that place, the Setúbal family with Itaú Cultural, like
but it has a different nature. In a way, his with that strength. I’ve been saying that, Julio Landmann in running the Bienal
presence slightly subverts this canon, although I haven’t seen everything that de São Paulo, and others who make
what we are so used to. His work brings was exhibited this year in Brazil, I’ve this conversion of financial capital into
these frictions, these tensions”. seen a lot, and I think it’s hard to have symbolic capital, as a way of giving back
For Mesquita, Sheroanawe’s choice of an exhibition that surpasses it in formal to society part of what it earns through
repetition, serialization or minimalism is rigor, in political and intellectual vigour. collective work.
given “in reference to the community’s The amazement started right on the Igatu is a place for modern women. I
body paintings, in an attempt to fill all first day and followed later, with a visit say modern in the sense of a woman who
possible spaces, on a sheet of paper, to Igatu, a small village a few kilometers is not afraid to work to survive. There I
with the same symbol, which is a bit of from Mucugê, where Marcos Zacariades met inspiring figures like Nívia, director
this practice that the community uses lives and, since 2002, maintains the Arte of a school and also a great pastry chef,
body painting to fill the entire body with & Memória Gallery. Igatu is a city of and Dona Zelita, almost 90 years old
the same design”, he concludes. stones, and each stone has an unfolding and still taking care of the house, her
Finally, Ribeiro also points out how story. These stones are life markers. I araçá tree. She is the woman who best
Sheroanawe has a very sensitive look remembered Drummond’s poem all the knows how to sand a basin in Igatu and
at the forest and attributes grandeur to time – “in the middle of the road there has the maxim that “what you need, you
things that we barely give importance was a stone” –, which could be a stone preserve”, which gives name to one of
to, like a drop of dew on a spider’s web that demanded sweat, that caused pain, Zacariades’ works. Everything is very
in the morning. He also points out that losses, but it could also be that stone intertwined, Igatu’s tradition is also
the artist puts everything on the same that would be valuable and that its sale its modernity. Through Marcos, Igatu
footing, be it facial paint, an animal’s paw, would guarantee the curd on the table. thinks of a modernity that is rooted in
a leaf, trying to tell us that all of this is I’m not saying it was an adventure, the tradition of diamonds, of gravel by
the same thing. it was a discovery that maybe each Herberto Sales, in the innovation of Kátia,
“And it’s not by chance that was the title of us Brazilians belong to that story. of Pipoca Moderna, an adapted popcorn
he suggested for the exhibition, all that is That story unfolds within each of us cart that is in the square and in the school
us. All of that constitutes the Yanomami Brazilians because there, within that with books available to children.
people. There is no difference between thought plant, dramas emerge, poetry So, what remains for me is that
what is human, what is animal, what is emerges, the issue of work arises. It’s Marcos Zacariades produces something
vegetable and what is mineral. All this what I call a diagram of otherness, of absolutely unexpected. An exhibition that
needs to be conserved together, taken sociability, an art that thinks about giving is a great argument in favor of renewing
care of together. It is a very sophisticated back to society, thinks about the other, Brazilian civilization, which is capable
environmental concept”. incorporates the other into the work and of launching a cry against all types of
93