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1988, the year of the Constituent Assembly, in Shorty Jangala Robertson who works on a With the very original title Na Trama da
the Chamber of Deputies in Brasília, with a short dotted painting highlighting the canvas Ngapa Mulher Aranha , curator Isabella Rjeille’s essay
and powerful text, in which he defends the rights Jukurrpa – Water Dreaming (2005), inspired by touches on the Diné/Navarrese worldview, in
of the original peoples of Brazil. In this sense, the the lack of this fundamental element for life. which the loom is the representation of the
exhibition features other activists, some of them Peru’s ancestry is one of the most revered universe. “The upper bar represents the sky
visual artists such as Kenhiporã, also known as in the world, Machu Pichu annually attracts and the lower bar represents the earth. The
Feliciano Lana, who develops a painting with millions of visitors from all over the planet. In tension that sustains the wires is symbolized
paper and gouache, in which he materializes contrast to this ethnic richness, contemporary by thunder, which establishes a connection
transcendental visions that problematize the Peruvian communities suffer from structural between the celestial and terrestrial worlds.”
concept of identity. The resulting production racism. We witness a social violence that curator She points out that, through her use of vibrant
from the ethnic groups of the seven countries Sandra Gamarra comments on in her curatorial patterns and colors, Melissa’s works are
attests that everyone managed to save their text. “The place that the system reserves for associated with the Germantown Revival
cultures, as evidenced by the texts by the invited the Peruvian Indian in society is a place of stylistic movement, which was born af er
curators. The Brazilian segment was carried subalternity, savagery and unconsciousness the Diné people were expelled from their
out by Edson Kayapó, Kássia Borges Karajá of their own underdevelopment. This is the place ancestral lands. In her text, she also says that
and Renata Tupinambá. occupied by the so-called ‘Indian’, ironically and this migration process became known as the
As happens with many people, before humorously.” Among the works she chose, it is Long Walk or Hwéedi (1863-1866). There were
visiting the exhibition I knew nothing about the worth highlighting the work of Carlos Dominguez arson, looting and destruction of livestock led
Sápmi territory, in northern Europe, where the Hernández, which portrays a family with photos by Major General James H. Carleton (1814-
Sami people live, in large territories of Norway, of the missing father and son. The struggle of 1873), who sought to make the traditional ways
Sweden, Finland and the Kola Peninsula, in the original Peruvian peoples, as well as that of life of the people of that region unviable.
northwestern Russia. For centuries, the sun of others on the planet, continues to this day. Melissa grew up in the 1980s between Arizona
has been worshiped among these people as New Zealand, a country that was renamed and Southern California, and some works
the strongest of nature’s powers, as curator by parliamentarians as Aotearoa New Zealand, bear the mark of this territorialization. Navajo
Irene Snarby Sápmi explains in the exhibition chose as curator the critic Nigel Borell who Transcendent weaving draws attention , with
catalogue. One of the chosen artists, Alf Salo describes how Maori art has a powerful the “study” of different three-dimensionalities.
(1959-2013) is a renowned painter with works legacy as a visual language. “It is a system Isabella highlights that “weaving is also a
in the collection of the Musus Riddo Duotta of knowledge, a way of remembering and form of reconnection and return to ancestral
Museat, in Norway. His paintings are sensorial recording events and understandings about territory based on memory”. The idea of
and experimental, one of them records the the world around us.” The artists represented territory is strongly present in the work Cliff
peak moment of the human eye’s ability to are connected by Maori-whakapapa art that Dweller - Habitante do Penhasco , in which
remain looking directly at the sun. The result managed to survive atrocities despite the the artist works with gradations of browns and
brings some traces of psychedelism. disruption caused by colonialist rule. Using reds that refer to the rocky part of the region’s
With strong political influence and active a technique reminiscent of graffiti, Jessica canyons. Completing the solo exhibition, a
participation, the indigenous people of Hinerangi shows the painting Confront the catalogue, specially edited for this exhibition,
Mexico are curated by Abraham Cruzvillegas, colonisers from the Tino Rangatiratanga features a collection of works by Melissa Cody
who proposes specific works from various series (2022). From the activism segment, and a representative set of critical texts and
moments in that country’s struggle. The which portrays the ongoing struggle in all essays by various authors.
scholar highlights identity as an unstable and countries, I highlight the iconic image of a Currently, the Navajo artist works with
contradictory plural concept of “I”, because, as young indigenous woman with her fist raised painters Jaune Quick-to-See Smith, from
Mixe linguist Yásnaya Aguiar Gil explains, the in a rural area. This is the work Máxima Acuña the Salisch people of Montana, and Emmi
word “I” does not exist in any native language. en Brigadeiro - Tragadero Grande enfront a Whitehorse, from the Diné people. Her
Throughout the exhibition you will discover la Lagoa (2012). collectors include museums and international
insertions of unique techniques, such as With individual protagonism, the United foundations.
silkscreen printing made with chocolate States appears with a single artist, Navajo
by Minerva Cuevas, a kind of poster with a Melissa Cody, who presents an exhibition exhibition arab emirates [pages 80 to 85]
provocative text “Canibal is the Indian, the within the exhibition. With the title Heavens
slave, the proletarian, the revolutionary”. weaved , Melissa holds an exhibition in a LIGHT IS RAW MATERIAL
A new order spreads across the world and different space, all pink, in which she displays FOR SUPERLATIVE
tries to minimize the disciplinary regime that tapestries worked with colorful geometric EXHIBITION IN ABU DHABI
erases the individual. Australia, which has led subjects, and which is curated by Isabella
activist movements in defense of aborigines, Rjeille and Ruba Katrik. One of the texts in Exhibition with 22 artists and collectives
invited curator Bruce Johnson-Mlean to give the catalog is by Connie Butler, director of occupies public spaces in the city, capital of
character to the ensemble. He discusses the Moma-ps1, who takes us to the exceptional the United Arab Emirates, curated by Reem
Western Desert region, the last of colonial story of this artist who develops her work on Fada and Alia Zaal Lootah
Australia’s frontiers. In some territories in this an original loom from the Navajo people. Butler by fabio cypriano
region, because the ancestral lands are located explains that “the tapestries are produced
in the most remote and inhospitable areas, using Germantown weaving techniques, using Superlative is a condition that seems to be
European colonization did not reach there, sophisticated geometric overlays.” Melissa routine in the United Arab Emirates, but the
providing a traditional style of life until 1984, is a fourth-generation Navajo, and according Manar Abu Dhabi light art exhibition , opened
as Johnson-Mlean comments. The demands to Butler, she guides us into the future by at the end of last November, reached a level that
involving the water problem in this desert highlighting enduring techniques, emphasizing is truly beyond exaggeration.
territory are decades old, and have already the formidable contributions of indigenous Composed of around 20 artists, one of its
generated violence culminating in the Coniston artists who continue to advance meaningful most impactful initiatives is the use of a small,
Massacre (1928), when dozens of indigenous conversations about creating space and identity previously uninhabited island, Lulu Island. It
people died. The Australian artist chosen is through ingenuity. and resilience. was occupied by the Mexican-Canadian artist

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