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ENGLISH VERSION ORIGINS

“Banco do Nordeste Cultural has been mainly the black body, since 2016. It was exactly Central to his thinking, and accurate in his
playing an important role in the process of the year that I assumed that my work, as a analysis, is all the alienation and submission
visualizing the artistic production of agents in visual artist, would fundamentally talk about to fear, which is what living in the metropolises
the Bank’s area of activity, through programs the black body.” has become, as well as the centrality of the
such as Galerias Urbanas, Ecossistema The exhibition Nordeste Expandido: mercantilist system in all areas. “The adults in
Musical and Ecossistema das Artes Visuais. strategies of (re)existing will be open to the the city played games and other adults paid to
These are actions, in addition to the supply public until January 5, 2024, during which time watch them: that was what they called theater.
of credit, that strengthen the institution’s it can be visited from Wednesday to Friday, When art becomes a commodity, it becomes
brand and fulfill the role of promoting agent from 10am to 5pm, and on Saturdays and a game of doing nothing,” he wrote. And the
for the arts production chains”, stated Murilo Sundays, from 10am to 4pm . Access is free. conclusion is very similar to everything that has
Albuquerque, Culture Management Manager been defended in art since the 1960s, that is,
at bnb. BOOK QUILOMBOLA NÊGO BISPO [pages 66 and 67] that art is life, therefore there is no reason for
“Spreading the artistic wealth we produce representation, it simply needs to be: “Theatre,
strengthens productive agents who need QUILOMBOLA NÊGO like any other type of art that it is commodified,
space and structured policies to continue BISPO QUESTIONED it blocks the conversation of souls, because
their craf .” CANONS OF MODERNITY art is the conversation of souls, art feeds life,
Some speakers brought cultural experiences it cannot be a commodity.”
from their home state, as in the case of Author born in Piauí joined Ailton Krenak Nêgo Bispo deconstructs several
Samantha Moreira, founder of chão, in São and Davi Kopenawa to discuss worldviews certainties throughout the book based on
Luís (ma). “Meetings like this confirm our and polytheisms of autochthonous and innovative concepts such as “Afroconfluents”,
intention to make things happen, to create a Afro-confluent peoples “confluences” and “countercolonialism”,
space of affection. chão is not a project that fabio cypriano rethinking even social projects with
starts just with me, it starts with a group of repercussions such as Minha Casa, minha
artists, educators, managers, with the desire “humanism is a companion word to the vida”, which, in his view, , ignores local
to think about processes from Maranhão. It word development, whose idea is to treat knowledge and practices to standardize a
has great partners and previously had Tiago human beings as beings who want to be “colonizing” type of housing.
Martins de Melo, Márcia Araújo and Nova creators, and not creatures of nature, who It is not only in the book that Nêgo Bispo
Frente. Today it is me, Dinho, Camila Grimaldi want to overcome nature”. With a phrase as raised his alarms against the decadence of
and Tadeu Macedo who, in short, manage the simple as it was blunt, Antônio Bispo dos Western monotheistic civilization. In episode
space, always bringing new partnerships for Santos dismantled one of the concepts of 81 of Confluences – the ocareté podcast, he
the programming to happen, to be a space modernity, humanism, almost unanimously pointed out how even public education is
open to receiving articulations, thoughts and in the progressive field. problematic: “Public education is colonialism,
traditions from Maranhão.” Sometimes it is necessary for a voice public schools do not teach what is needed
chão today is a warehouse located in the quite outside the system, as is the case of to live in the Caatinga, in the Amazon. Public
Historic Center of São Luís, where the old quilombola Nêgo Bispo, as he used to be called, schools only teach how to live in big cities, in
Saber warehouses in Praia Grande were so that some hitherto consolidated certainties industrial, marketing, synthetic logic,” he says.
located, listed at the end of the 18th century. undergo a necessary review. At a time when democracy is returning
“It’s open, it’s on a street in Passa Carro. This is Names like the indigenous people Ailton to normal in the country, voices like Nêgo
wonderful, because we have an expansion of a Krenak and Davi Kopenawa have been pointing Bispo’s are essential to advance an agenda
square, which allows performances to be held out for decades that respect and coexistence that rethinks concepts and thoughts that
for the public. It is a space for experimentation with nature are conditions for postponing the neither universities nor political parties are
that lives from our way of being, from the desire end of the world and avoiding the fall of the able to cover.
to make things happen with the artists who are sky, but they were joined by this quilombola,
there, with our other partnerships. In chão’s with one of these books basic principles that interview célia tupinambá [pages 68 to 71]
programming we receive many residency propose to rethink the condition of the planet
projects to host. There are partner institutions itself: The earth gives, the earth wants, now CÉLIA TUPINAMBÁ
that enable other projects to take place, such published in 2023 by Ubu publishers together RECONNECTS A
as the Verbo Festival of performances, next to with Piseagrama, and illustrations by Santídio 400-YEAR-OLD THREAD
Galeria Vermelho in São Paulo. This year, we Pereira.
expanded to Fortaleza, and performed at the In the 109-page publication, far from Selected to represent the country at
new Pinacoteca. In Rio, for example, chão has a treatise, Nêgo Bispo, who was born in the 60th Venice Biennale, in 2024, an
been a partner residence of the ArtRio fair for 1959, brings a series of concepts from his indigenous artist from Bahia intensifies the
five years now. We welcome the award-winning experience in the Saco Curtume quilombo, in recovery of the symbolism of the ritualistic
cloak of his people, which will be returned
artists, as well as other residency projects the municipality of São João do Piauí, being to Brazil by Denmark af er four centuries
with other selected artists, in a public call the first in his family to be literate. Playing
that we made nationally and with artists also a leadership role, he worked in the State by jotabê medeiros
from Maranhão.” Coordination of Quilombola Communities of
The artist Luciano Feijão, graduated in Piauí, having lived for some time in urban areas. at the 60th venice biennale, in Italy,
Fine Arts and master in Art from the Federal “I stayed in the big city for about five years, starting April 24th next year, Brazil will
University of Espírito Santo, was a professor until the moment came when I understood be represented by a work by visual artist,
in the Department of Visual Arts at ufes. that I didn’t belong there. (…) The city is filmmaker, writer, anthropologist and
He worked with illustration and engraving not my place. While society is made up of researcher from Bahia Glicéria Tupinambá,
in Vitória, São Paulo, Mexico and Slovakia, squatters, our communities are made up of known as Célia Tupinambá. Célia will take the
with emphasis on the actions of the Museu people. In the city, people were afraid of us. exhibition Ka’a Pûera: we are birds that walk
Capixaba do Negro. Feijão also explained his In the communities (…) we lived peacefully”, , by Glicéria Tupinambá and guests, curated
journey: “I have been working on the body, he writes, in his direct language. by Arissana Pataxó, Denilson Baniwa and

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