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According to Paulo Miyada, who is xnumxth century onwards, such as Emilio that, during her xnumx years of study at the
responsible for the curation together with Goeldi, Mário de Andrade, Darcy Ribeiro and Federal University of Rio de Janeiro, she
Izabela Pucu, the exhibition was above all Lina Bo Bardi. In addition to these best-known was never asked to read a text she wrote.
a work of listening, creating a network and names, other scholars, thinkers and activists In addition, an extensive catalog with a
strengthening places, contexts and people. were also remembered, such as Guilherme record of the processes, documents and
Repertory, as we saw in initiatives such as Tiburtius, who did silent and precious work works present in Essay should be released
the various Stories, told by Masp curators, studying, preserving and cataloging middens. in December.
is important, but not enough. It is the The volume of texts, documents, letters,
relationship between different perspectives photographs and iconographic material is amazon biennial [pages 18 to 31]
and actions, combining creative, experimental impressive and sometimes predominates in
and research practices (as Pedrosa wrote in relation to the expressive, poetic core present FEMALE CRY
the diagram he sketched for the Museu das in each of the segments. First Amazon Biennial, in Belém de Pará,
Origens) and the exchange of experiences Documentary primacy is, however, enchanted with its courage and autonomy
and dialogue between them that can counterbalanced, firstly, by the presence
have this broader effect of contamination, of important sets of collections, such by patricia rousseaux
spreading and transformation, encouraging as those brought by the centers Mining
the perception of processes of erasure and Museums, Laje Collection e Indian Museum. conceived by lívia condurú, in
domination, which are not restricted only to According to Sofia Fan, “the curators were partnership with the curators Sandra Benites,
an ethnicity, a gender or any other criterion very happy to bring not that predictable Keyna Eleison and Vânia Leal – and with
but to a class logic. Izabela Pucu, who also content, to look at museologies”, in a type the curatorial assistance of the “multiples
coordinates the Mario Pedrosa Platform, of rescue that can inspire new projects. The of thoughts”, by Ana Clara Simões Lopes
summarizes: “By placing, side by side, the presence of reference works (by authors and Débora Oliveira – the first Bienal das
cultural manifestations of the consecrated such as tgo, Antonio Manuel, Mira Schendel Amazônias took place between the months
and the excluded, the popular and the or Ubirajara Ferreira Braga) or commissioned of August and November 2023, in the city of
erudite, without hierarchies, preserving their works is also essential, together with a Belém, Pará, on the banks of the Guamá River.
differences and conflicts in coexistence, the majority of female artists around places A true meeting of strong women, with
proposal exposed the complexity of our origin, and issues fundamental to the research. different identities and knowledge, gave birth
marked by the colonization processes of the Highlights, for example, are the research to a project that took its name from the Tupi
past and today.” and re-elaborations that Andreia Hygino and language, Sapukai, which in Portuguese we
Thus, Pedrosa’s proposals continue Josi developed based on their experience in can translate as cry, shout, work by addition
to reverberate and, despite not having two places of great symbolic strength: the and not by extraction, expansion and embrace .
been adopted in practice, they can still be Valongo pier, the largest disembarkation A dialogue between the management,
considered a lighthouse, capable of guiding port for slaves in the world, and Serra da curators, artists and producers, operated
a movement to rescue and fight for cultural Capivara, where are the oldest records of a collective force and created associations
and political transformation – two inseparable rock art in the Americas and the largest site of respecting the voice of a huge number of
elements in his thought and his action – but its kind in the world. The small ceramic piece peculiar gestures coming from various
also a powerful critical instrument in relation created by Josi based on the observation of places, sometimes never revealed from Brazil.
to the current status quo of the art system, ancestral paintings, seems to embody the Basically, the exhibition awakens the desire
increasingly exclusionary and subject to the idea of “origins”, in the plural, by configuring to dive into this world, populated by ancient
weight of institutions and the market. an anthropomorphic figure that refers (in ancestors and trees. Belém is bathed by rivers,
The interaction between agents is also material, form and gesture) to the oldest and the permanent wind alleviates the heat
fundamental in the attempt to institute a ones shaped in the territory today occupied in the region.
process of reconfiguration and spread of new by Brazil and which has a single head but One of the concepts that supported the
ways of working with collections, memory countless feet. Biennale is the fact that the Amazon is known
and a broader, more inclusive and generous A congregation of forces similar to that for its large forest areas and its diverse fauna
conception of art. The number of participants which animates Pedrosa’s visionary project and flora, but it is the presence of water –
was also determined by the objective and which is present in several projects coming from the rains and its extensive river
conditions. Af er all, as Miyada reminds us, developed by the critic, such as his exhibition network – that outlines the imagination of
if there were more time or more space, the project Art, Joy of Living, at an advanced the region. Hence the title of the first edition,
exhibition settings would be completely stage of organization when mam caught fire. Bubuia: waters as a source of imaginations
different. Or, as Sofia Fan, manager of the A congregation in which some of the central and desires, which celebrates the ethical and
Visual Arts and Collections Center at Itaú elements of his thought echo: the articulation cultural relationship between waters and the
Cultural, says, “we know that we have only between art and politics, the idea of creation bodies in them move.
touched the tip of the iceberg”. as an emancipatory exercise, the view that Bubuia is directly inspired by dibubuísmo
Essay Its fundamental principle is the work art is not a fraternity only for specialists or created and defended by philosopher and
carried out by many hands. Together with even combats the notion of art as a mere professor João de Jesus Paes Loureiro,
the general curatorial team, the structure commodity. By a happy coincidence, it is born in Abaetetuba, a city in Pará [Read, in
of each of these organizations was called possible to learn a little more about critical this edition, the full exclusive interview with
upon to establish a way of telling their radicality in the exhibition Ocupação Mario Paes Loureiro]. Floating on the water, says
stories, invariably marked by challenges and Pedrosa, an exhibition that covers the critic’s the exhibition›s curatorial text, symbolizes
overcoming obstacles. The whole appears, trajectory and was organized in parallel to “a combination of movement and inertia in
therefore, to unfold into smaller autonomous Essay by Itaú Cultural. A fundamental rescue favor of pleasure, reflection and integration
and at the same time connected nuclei. They if we take into account that, despite being with the environment, and says a lot about the
rescue, here and there, the importance of other one of the main critics active in the country perseverance and resistance of those who
figures and other interlocutors fundamental throughout the 12th century, he is little read. inhabit the region. It is a certain calculated
to the thought of Brazilian culture from the Izabela Pucu remembers with amazement predisposition towards becoming and letting

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