Page 110 - artebrasileiros-66

ENGLISH VERSION CULTURE WAR

the early years of the 1960s, until it was sought greater regional integration by literature at the Federal University of
closed by the coup. There will be more imposing a development model at any Rio de Janeiro, João Cezar de Castro
than 60 photographs and more than 100 cost and intensifying inequalities. The Rocha, dedicated himself to examining
documents, posters, folders, works of art, exhibition has four core themes: the the discourse of the extreme right in
period publications, etc. reunited for the transformation in cities and ways of living, an attempt to understand the reasons
first time. Opened in April, the exhibition with the emergence of suburbs and the for the movement, its strategies and
will remain on view for six months. widespread presence of slums throughout the paths that led to radicalization,
The connection between memory and the country; the relationship between around the world and particularly in
erasure, construction and deconstruction industrialization and mining; projects for Brazil. A country that, according to him,
of ideological discourses that permeate the regional integration and expansion, which would be “a global laboratory for the
most different dimensions of society is not ultimately led to the material prosperity methodical creation of parallel reality”.
only a fertile field of work for researchers, of the Midwest and the Amazon and Synthesized in books such as Guerra
but also for artists. In October last year, entrenched in the Northeast an agricultural Cultural e Retórica do Odio , by 2021,
Rivane Neuenschwander exhibited in São model supported by old oligarchies; and and Bolsonarismo: da Guerra Cultural
Paulo a set of works in which she revisits the development of highways, roads, as a ao Terrorismo Méstico , from 2023, his
memories and traumas connected to the means of promoting national integration analysis treats radicalized discourse as a
political use of fear, continuing research and resource exploitation. narrative process and suggests ways of
she began in 2014 into childhood memories The exhibition brings together visual interpretation and confrontation through
and fears. Part of this research will also production by filmmaker Jorge Bodanzky dialogue and affection. In an interview
be shown in the large exhibition that the (photos and films) throughout the period with artE!Brasileiros , he talks about
artist is due to hold in October, in Inhotim. of the dictatorship. In it, Bodanzky the origins and consequences of the use
For a long time, Rivane collected deconstructs the idea of progress of hate rhetoric, which combines absolute
testimonies of memories about the propagated by the military governments denial of diversity, cognitive chaos and
period of the dictatorship and some of and exposes fundamental issues such as the creation of a perverse mediasphere,
these stories were given new meaning repression, violence, and environmental strengthening an authoritarian and
in the form of works. “It works like a ball destruction. In addition to the exhibition, theocratic discourse of power.
of yarn that you unwind,” says the artist. there is also a retrospective of the author’s
There are impressive stories, such as the films, including titles such as Iracema, uma – The Cultural War is one of the
reference to the arrest and torture of nine Transa Amazônica. hallmarks of our recent history. How
Chinese shortly before the coup, accused do you define the phenomenon?
of subversion and trying to “assassinate” rESiStanCES, at PuC-SP João Cezar de Castro Rocha – Let’s
the then governor of Guanabara, Carlos An exhibition at the Memorial da think together. The cultural war is a
Lacerda, with acupuncture needles. It Resistência, in Largo General Osório, brings spearhead of the transnational far
would be laughable if it weren’t dramatic, together images of the invasion that took right and is a very well articulated
generating an interesting metaphor about place in September 1977 at pUC São Paulo. movement. The central idea is that,
the “tension points” of the Brazilian social Soldiers of the dictatorship commanded by to truly come to power, you have to
organism. Alternative press, business Colonel Erasmo Dias invaded the university. do so by winning hearts and minds. In
complicity with the coup, persecution of About a thousand students were arrested, other words, through culture. Hence
African-based religions are among the some were injured. In the photos by Helio the extreme right around the world has
threads that the artist follows, symbolically Campos Mello above, students and police as its preferred targets the free press,
recreating what she calls a “subjective confront each other, and inside the vandalized art and universities: critical instances
portrait of Brazil at that time”, recalling a Student Union, a soldier rummages through of reflection on reality. It is a kind of
violence that still reverberates. And not and examines documents. skewed, perverse reading of Antonio
just in the symbolic field. Gramsci’s concept of hegemony. In
Sometimes the help of chance also BlaZing Sun: arChiVES oF liFE and 1992, Pat Buchanan (who ran in the
contributes to the encounter between rESiStanCE/EStação PinaCotECa Republican Party’s presidential
memory indices becoming a poetic reflection The exhibition is based on the Alípio Freire primaries) surprised the world when
on social traumas. This is the case, for Collection, donated to the Memorial da he said in his speech that this was
example, of Juliana Kase. Through a friend, Resistência in 2023, in dialogue with not an election like the others: “We
a large set of propaganda clichés from the contemporary works created by people are fighting for the soul of America”,
military regime came into his hands, which in carceral situations, as well as works he literally says. The comparison here
were distributed throughout the country to belonging to the collection of the Pinacoteca would be with Michelle Bolsonaro’s
broadcast propaganda about the regime’s de São Paulo and the collectives Mulheres speech at the demonstration on
“deeds”. She reprinted all this material and Possíveis and Bajubá. February 25th, in Paulista.
developed extensive research, exhibited a
few years ago at Paço das Artes. “Aesthetics CULTURaL WaR/ pOLITICaL [pageS 42 TO 49] – They repeat this all the time,
become ethics”, summarized the artist, trying to feed this feeling of newness,
emphasizing: “because even those who CIVILIZATION IN DISPUTE pressure and war, so that they don’t
have not been victims of torture or violence Professor and literary critic João Cezar let their guard down.
practiced by the State are also victims of de Castro Rocha talks about the various All the time. It’s a war for culture. And
ideological conditioning and a brutalization aspects of the far-right discourse: this has tremendous consequences.
of human relationships without realizing it.” authoritarianism, cultural warfare, Because, if it is a war, we are not dealing
and cognitive chaos
MariAntonia Institute / Landscape and with the other, the different, the diverse.
Power Exhibition bY MaRIa HIRzMaN We are dealing with the enemy. In a war,
The exhibition showcases the marks of there is only one way to deal with the
military intervention in the country, which thE hiStorian and professor of comparative enemy. Delete it.

10