At the  Moreira Salles Institute (IMS) in São Paulo, two exhibitions dedicated to important foreign photographers: the Italian Letizia Battaglia (1935) and the Chilean Sergio Larrain (1931-2012).

Letizia Battaglia: Palermo show brings together about 90 images, publications and films, with a special focus on the photographer’s performance in the L’Ora newspaper. She began her work as a photographer in 1971 in Milan, while writing as a freelancer for various publications, such as Le Ore, a tabloid newspaper and ABC, an intellectual publication. She was invited by L’Ora to return to Palermo, where she had been born, and it was during four decades that she documented the mafia war, especially in the 1970s and 1980s. This all without ignoring the daily life of the city and its inhabitants.

In the words of the photographer, “with the camera in tow, I became a witness of all the evil that was taking place. They were years of civil war: Sicilians against Sicilians. The best judges, the most courageous journalists, the politicians averse to corruption were murdered”. With curatorship by Paolo Falcone, the exhibition has already gone through Palermo, Rome and the IMS in Rio before arriving in São Paulo.

The exhibition Sergio Larrain: um retângulo na mão, traces a panorama of the work by the Chilean, who acted as correspondent of the Magnum agency during the 1960s. The exhibition presents more than 140 photographs, a video and publications, contemplating the periods of production of Larrain in Santiago, work as correspondent in Europe and South America and his return to the native land. Under the auspices of Agnès Sire, the exhibition has already passed through Arles, France, in several Chilean cities, Buenos Aires and IMS in Rio.

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Fotos: Sergio Larrain/Magnum Photo

In this version that is at the IMS, was added the work that Larrain did in the second half of the 1950s for the Brazilian magazine Cruzeiro Internacional, ran by Assis Chateaubriand. Owner of the magazine Cruzeiro – successful publication and responsible for the implantation of the photojournalism here with photographers like Jose Medeiros, Pierre Verger, Luiz Carlos Barreto, Marcel Gautherot -, Chateaubriand when launching its international version wanted to compete with American magazine Life and with the French magazine Paris Match.

The magazine was launched in 1957, Larrain produced for her little more than a dozen reports between 1957 and 1959. He was then invited by Cartier-Bresson to work at Magnum in Paris. The Cruzeiro Internacional ended in 1965 due to lack of advertisers.

In France, Sergio Larrain, who was a friend of Julio Cortázar, one day revealing the films he had made through the streets of Paris saw, in the background in a photo, a couple. He widened the negative and saw that the couple made love, leaning against a wall. He met later with the Argentine writer and showed him the magnification. The photo served as inspiration for the tale Las babas del diablo, one of five published in 1959 in the book Las armas secretas. The tale, in turn, inspired the Italian director Michelangelo Antonioni who made the now classic and inspiring Blow-Up.

In Sire’s words, the curator of the show, who has worked at Magnum since 1982 and is director and founder of the Cartier-Bresson Foundation, “for Larrain photography was poetry, it was by no means a documentary issue”.

In a letter he wrote to a nephew in 1982, Sergio Larrain said: “Follow your taste and nothing else, believe only in your taste… When you have some really good pictures, enlarge and make a small exhibition – or a little book. Have it bound. And with that, set your foot on a floor. By showing them, you realize what they are by seeing them in front of others – that is where you feel them. To make an exhibition is to give something, it is like giving food, it is good for others to show them something done with work and taste. It is not showing off, doing well done is healthy for everyone”.

A striking feature of David Magila’s work, simultaneity seems to have an effect on his calendar as well. With three exhibitions inaugurating one after the other in the month of May 2019, the artist makes a striking entrance into São Paulo’s scene. They are three different spaces and with different vocations, in which it exposes a wide range of works, almost all of them unpublished, which together make up a very comprehensive panorama of the main issues that motivate it.

“It was a result of chance”, he explains, emphasizing that each of these shows has its own history, but without denying the existence of important links between the different expository hubs. The first of these projects happened in the garden of the mansion occupied by the Ema Klabin Foundation. It was conceived in the context of the Festival Labas, an initiative of the Lithuanian community in São Paulo, and led the artist to immerse himself in the history of his family, in the affective and symbolic memory linked to the locksmith’s place ran by his grandfather, who took refuge in Brazil in the 1930s, and where he learned the craft by welding bins.

The second show, which opened at the British Cultural Center, was marked by a dialogue with the British artist Hurvin Anderson. It encompasses not only paintings – language that the artist has been exploring more hard in recent times – but also sculptures, drawings and videos. Recent works of his own have also been exhibited in individual exhibitions at Galeria Janaina Torres. These last two hubs of works reveal, by means of a subtle yet intense dialogue, the at once fluid and coherent character of his poetics.

In Magila’s works there always seems to be a farther, more remote, starting point than the first appearances indicate. His painting, despite the ethereal character, is not an invented construction. The inanimate objects and scenes that emanate these constructions always derive from scenes of reality, which the artist collects as an explorer, usually in decadent and abandoned places, and recorded by photographs or drawings of observation.

This careful record of landscapes and details is part of your process. Graduated in arts by Unesp in the early 2000s and often as one of the highlights of the young Brazilian painting, Magila has a very diversified trajectory, marked by moments of exclusive dedication to graphic design and the search for an association between different forms of expression artistic

Empty chairs, debris from bars, umbrellas not only populate his screens creating a somewhat nostalgic scene, but also serve as a structure for the entire composition. “I do not paint the object, I paint around it”, he explains. The empty architecture, the deserted environments are their theme. They never see human traces in them, but we know they’ve been there. Magila confesses interest for places that have the mark of a certain experience, places that feed a series of works. This is the case, for example, of a beach in Iguape, which is being eaten by the sea and which is the source of several of the works shown in the British Center. In several visits to the site he collected not only scenes, but objects engulfed by the sea (any relation to an impulse of ecological denunciation would not be mere coincidence), later transforming these spoils into a large facility.

Despite the chromatic power of the screens, it is always from the drawing that the image is structured, in a series of re-readings to the final form. The mixture of techniques, the influence of his formations in technical drawing (by the Lyceum of Arts and Crafts) and the experience as graphic artist – area in which he worked for a long time – leave their marks in the work. And they contribute to create this feeling of a composition that does not necessarily seek a definitive harmony, but rather to promote the coexistence, somewhat ambiguous, of elements only seemingly disparate. His paintings seduce and defy the senses at the same time.

What can art? Hudinilson Junior always did what he wanted and the answer to this irreverence was to become a point outside the curve within the universe of Brazilian art. His trajectory is marked by the collapse of the subject, explosion of the relation with the object and radicalization of performances. With sophisticated poetic vigor, coupled with bodily and relational experiences, Hudinilson left a production closely linked to São Paulo, whether in performances, graffiti or art in xerox.

Many of his works emerge in search of the simultaneity between thought and visuality, as in the day when he surprised the city with the image of his penis xeroxed in a huge billboard, near the Ibirapuera Park. The reactions provoked by the boldness pointed to the dismantling of the hierarchies of the exhibition space, destruction of the power of location of the work and at the same time revealed the irreverence of the subject.

Every movement to trigger disruption runs through the works that now take the 600 square meters of the gallery Jaqueline Martins, whose owner is also the curator of the show. The novelties are the paintings on canvas, made when the artist was still an art student in the 1970s. A curious tension permeates the plurality of the work by Hudinilson, one of the pioneers of the xerox art movement in Brazil. Best character in his own work, in creating Exercício de me ver (1981), he disorganized critical thinking by simulating the sexual act with a xerox machine. It is intriguing to follow it in this experimentation by producing other meanings for man and machine. How not to remember Hélio Oiticica when he sentenced: “to try the experimental”? Hudinilson expresses himself, without shame, by means of several languages which, in some circumstances, becomes an instrument of speculation. For the critic Jean-Claude Bernardet, “the fragmentation of the body by the xerox, converts it into abstract landscapes, in which the fragments fade away”. In his performance with the copying machine, he uses his body as a matrix for the reproduction and investigation of visual possibilities.

In 1979, Hudinilson created the group 3Nós3, with the artists Rafael França and Mário Ramiro. The union by elective affinities was of friends who agreed art and form of making art. Until 1982 they intervened in several points of São Paulo, practicing the recreational and critical reappropriation of the city. The repertoire of actions ranges from the bagging of public monuments to intervention in the breathing hole of a tunnel, to the sealing of art gallery doors. All understood as a revolutionary mark against the rationalist and controlling determinations of the metropolis. Even acting with the group, he never gives up his individual production that lasts more than three decades.

From the beginning, Hudinilson maintains a strong relationship with collage, starting point for a commentator phase. To this are added experiments in the woodcut, support by which most of the Brazilian artists experienced, using decals of photographic images. Hudinilson spent long hours picking nude body photos taken from American magazines. In 1984, he abandoned these models and focused all his attention around himself when he dedicated himself to Narciso/Estudo para Autorretrato (1984). In this “essay” he dialogues with the myth of Narcissus and creates his own visual identity. The project involves a series of works, like a sort of “opera”. Narcissus becomes an obsession for him who, in the last notebooks of collages, reveals his interest in the study of the male nude.

In the 1980s, Hudinilson’s place for art is the street, where he invents graffiti with drawings embedded in writing, claiming a space for total freedom. His mentor and accomplice, Alex Vallauri (1949-1987), was the first Brazilian artist to adhere to graphite. Like him, Hudinilson works with masks or stencils in the search for a new formal space to create, a resistance in vain, as if some naturalness in art were possible.

In life Hudinilson saved himself from experiencing the illusory vertigo of belonging to the art market and participating in internationalization through repetitive marathons of fairs and biennials. It was only after his death that his work reached the exterior and he landed in June at Art Basel, Switzerland, the oldest and most revered art fair in the world.

F THE MEETING BETWEEN THE RESEARCHERS OF THE CURRICULATORS Bitu Cassundé, Clarissa Diniz and Marcelo Campos was born a great desire to carry out a project for an exhibition that would bring together works representing the northeastern Brazil not in its caricature form, but in its totality, entering the imaginaries in  around him.  The project for this was already about ten years old when, almost two years ago, it was approved by Sesc to be held in the unit 24 de Maio.  Thus, the three curators began to travel through all the states that compose the northeast region to update these researches.  The result can now be seen in the exhibition Northeast, until August 25.

The trips for updating began in the second half of 2018, said Marcelo and Clarissa.  Some of them were made in trio, others in pairs and others only one of them can carry out.  “The project is the vitality of the region, which showed us other things, not just what we already knew”, says Campos.  He says that the trips coincided with a very pulsating moment of the Northeast, due to the political scenario of the last presidential elections.  This has made the energy of contem- porary new artists stand out in some way.  The moment was also very important for them to observe a series of transformations that had taken place in the region during the last years.  The curators were careful not to fall into a trap that is too easy to slip when it comes to the region: the folklore: “We said that it was not our intention to make a picture of the region, nor a panorama.  At no point did we do, for example, a statistic”, commented Marcelo.  In this way, the curators were allowed to cross for subjects that were triggered, in the end, in nuclei of the exhibition.  They are: Future, Insurgency,  (non) Coloniality, Work, Nature, City, Desire and Language.

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At the same time, the exhibition was not conceived in a way that escaped the prejudices that are directed to the region and showing them is also a way of not normalizing them: “These prejudices are part of a northeastern experience”, Clarissa points out, explaining that the encounter is provocative and stirs up a series of concepts and prejudices.  In the Nordeste region, there are 275 works by 160 artists, among them, such as Retirantes, by Cândido Portinari, who is part of the MASP collection, and the Manto de Apresentaçào, by Arthur Bispo do Rosário.  More contemporary artists with heavy works, such as Juliana Notari, who presents the video Mimoso in the Desire sector, are also very present in the web constructed by the curators.  One of the highlights is Memelito’s work, from the collective Saquinho de Lixo, which appeared as a memes page in social networks.  The video brings a series of images known on the internet.  Also very contemporary, Gabriel Mascaro’s work is not about shoes, reflects on the issues surrounding the demonstrations that have taken place in the country in recent years, taking as a point of discussion the manifestations of 2013, which began a more latent process of participation  – tion of the population in the direction of the country.  For the exhibition, were commissioned 12 unpublished works, such as  A gente combinamos de não morrer, 2019, by Jota Mombasa (cover of this issue).  The commissioning was, according to Marcelo, a way of breaking the vericalization of art.  In addition to Mombaça, artists such as Daniel Santiago (PE), Gê Vianna and Márcia Ribeiro (MA), Ton Bezerra (MA), Isabela Stampanoni (PE), Pêdra Costa (RN), Marie Carangi  Alves (PE) also carried out new work.

SESC MAY DE MAIO

Located in a very central region of the city of São Paulo, where thousands of migrants and immigrants pass by, SESC 24 de Maio has a very strong geopolitical character in its roots.  The unit was inaugurated in 2017 and has hosted major exhibitions celebrating what comes from outside of Sao Paulo, such as Jamaica Jamaica, which focuses on Jamaican culture and politics, and Lasar Segall: essay on color, which presented a great  collected from works by the Lithuanian artist living in Brazil.

Watch the video on À Nordeste exposure:

What would be a “sertão art”? In the perspective proposed by the curator Júlia Rebouças for the 36th Panorama of Brazilian Art, the concept refers more to a way of thinking and acting than to the geographic and cultural place that we usually associate with the word “sertão”. The public who visit the Museum of Modern Art of São Paulo between August 17 and November 15, therefore, will not find a show about the Brazilian semi-arid or with artists born in it, but rather an exhibition that has “experimentation and resistance” as some of its pillars.

It is, according to Rebouças, “a way of thinking that understands a context and tries to relate to it; which creates solutions from what is available; which does not yield, for example, to the pressures of a hegemonic system, but which will try to find fissures in the classical flows of power”. The curator also refers to an artistic production that “has speculated not only on alternative circuits, but also on other materialities, other authorship relations and collaborations with different disciplines and fields of knowledge”.

It was from this idea of “sertão art” that Rebouças selected the 29 participants from the different regions of the country, most of them born between the 1980s and 1990s. “A generation that has not yet had a great institutional show to their work or have had little room to make their  debate happens”, she says, raising current issues about, for example, structural racism and police violence, use of public space, indigenous and environmental causes, gender issues, and the existence of other possible spiritualities.

With a majority of commissioned works, the exhibition brings together works by Ana Lira, Ana Pi, Ana Vaz, Antonio Obá, Fulni-ô Cinema Collective, Cristiano Lenhardt, Dalton Paula, Daniel Albuquerque, Desali, Gabi Bresola & Mariana Berta, Gê Viana , Gervane de Paula, Lise Lobato, Luciana Magno, Mabe Bethônico, Mariana de Matos, Maxim Malhado, Maxwell Alexandre, Michel Zózimo, Paul Setúbal, Yandê Radio, Randolpho Lamonier, Raphael Escobar, Raquel Versieux, Regina Parra, Rosa Luz, Santídio Pereira, Vânia Medeiros and PokaRopa Vulcanica. Read below the full interview with curator Júlia Rebouças.

ARTE!Brasileiros – On the subject of this Panorama, you have already pointed out that with “backwood” it does not necessarily intend to deal with the caatinga, the semi-arid or the states that make up the Northeast, but rather a “sertão art”. What is this “sertão art”?

Júlia Rebouças – The first place is to think of the sertão not as a theme, but as a concept. Because a theme you illustrate, you react to it, and that’s what I’m trying to escape. I think it important to think sertão not only as a cultural place or matrix, but as a way of thinking. And it is in this sense that I speak in a “sertão art”, which I think is a way of thinking that engenders experimentation and resistance; who understands a context and tries to relate to it; which creates solutions from what is available; which does not yield, for example, to the pressures of a hegemonic system, but which will try to find fissures in the classical flows of power. So to speak of an art that has sertão as epistemology is also to ask what practices we are talking about. So I’m here speculating about what those ways of thinking and acting would be, but I’m also trying to find in artists’ practice the places they point to.

And what answers have you found?

It has an aspect that appears in several works in the Panorama that has to do with thinking of art as a mechanism of healing, returning to some issues and wounds that have remained in history, in relationships. They are artists who propose, through their works, either a repair or a process of re-elaboration of historical questions. For example, Dalton Paula, Antonio Obá and Ana Pi. There is another aspect of this sertão epistemology that has appeared that has to do with a certain reverence to the mystery. An understanding that not everything is explained by language, that science does not account for everything, that reason does not reach all things and that there is a set of knowledge, practices and sociabilities that work from what we do not know and does not explain. This manifests itself in spirituality, but simply in that tacit knowledge of knowing that there are things that we exchange and that will never be worked out are in the subtle field.

And when I speak of a “sertão art”, I am also thinking of this half-indomitable feature of the sertão, which is a characteristic I also see in art. However much we try to classify, surround, dominate, control or structure in front of the sertão, this is always a failed task, because the sertão always escapes, it is always something different. It is only to think of all the attempts of the Brazilian culture itself to define what was sertão, from the novel of 1930 to the new cinema. And the sertão can not be defined. There is always a trace of stereotype, or a specific cut, or a look from the outside. And that I think is a feature of art as well. You can conceptualize, delimit, institutionalize and commodify art, but something always escapes. When you realize, the art is beyond. And all the time we are having to update and rework what is art, what are artistic practices, how art deals with power, with politics, with the system. So I think that art has this sertão quality, to be somehow uncolonizable. Although it can be colonized, it has some force of it that does not allow itself to be apprehended.

Does this have to do with their interest in contemplating a production that also exists outside established institutional and marketing circuits?

I think artists have speculated not only on alternative circuits, but also on other materialities, other authorship relations, collaborations with different disciplines and fields of knowledge. And I think that’s by concept what I mean by “sertão art”. Of course they have artists who work in the galleries, with more classical supports, but I do not think that simply by being in the gallery they can not be questioning and seeking other ways of existing and acting. Maxwell Alexandre, for example, is an artist who engages in galleries, exhibits in museums and institutions, but at the same time is always straining, seeking other ways to exist outside of these media – in the community where he lives, for example.

And there are artists who are in university, others who sometimes do not even recognize their practice as artistic practice. So I find this a very interesting place to observe, very pulsating of what we are calling a production of experimentation and resistance. That is not necessarily an opposition to the system and to the market, because I find it interesting to get things done all the time. And it is part of this practice to seek other forms of existence that are not submitted. This is what I think that matters, you are not subject to the dictates of the market, the institutions or the wishes of the healers.

Professor Durval Muniz says that the sertão is a multiple experience, although it tends to be narrated from certain clichés. Does your proposal have considers fighting cliches and stereotypes around the idea of the sertão?

Yes, because it is not “over” the sertão. When we talk about the sertão as a theme, it has this place of reiteration of an image and an identity that are part of a political project, done largely for the submission of the sertão itself or the Northeast itself – since the sertão and the Northeast are often treated almost synonymous. So it is crucial to escape from this, not to reiterate these clichés. To some extent I think it would be important to talk about some fundamentals of a Northeastern production or very important artists that are in the semi-arid, but I resisted it. Because I thought that would be the easiest way, to try to pass on this direct production, this direct image. And when we look, for example, we have the exposure to the Northeast, which I even joked about as if it were the theoretical foundation of Panorama. We have the book by Durval, the play A Invenção do Nordeste, which won the Shell Award, the book À Cidade by Mailson Furtado, we have Flip also talking about this theme. So I think these clichés and the need to deconstruct them, this is put, is in the debate. And I wanted with Panorama to take a step in another direction, to think of the sertão not as this set of images and affections, but as this way of thinking and existing.

Mariana de Matos, Vão, 2017

And speaking more directly of the artists, how was the choice of these 29 names?

I tried to identify artists who already had a “sertão practice”, rather than picking people up and making them react to a featured theme. Of course, every selection is partial, limited. There are a number of other artists I could be working with. But, anyway, I wanted to have some regional diversity because I find it important to do the exercise of looking at less obvious places, and there was an exercise to try to break this structure a bit in which the exposures are mostly made by white men. Then there are more non-whites than whites and more women than men. This was not exactly a goal, but I think everyone who works today has to worry about another type of representation. And I think that in those places, which are less visible or less represented, is where normally, by nature, there is more experimentation and resistance. More of this “sertão art”.

When you speak of resistance, it is impossible not to think about the political context we are living in, with a conservative government and very forceful speeches against art and culture. Is Panorama’s curatorial line also a kind of response to this?

I think Brazil is in a very critical moment in terms of politics, in its social relations, in the way of building its places of affection and the possibilities of meeting. Not to mention the more structural issues with regard to culture. But I do not think Panorama is an answer, because it’s all very old and at the same time very new. Especially during the election period, it was very clear that it is necessary to reorganize, that any strategy of opposition to this government needs to be reworked, because many tactics and practices have been overcome, overcome. And I think this is about art as well, to think how art will react. I think any immediate reaction will be superficial and superficial. What is sometimes necessary in the heat of the moment, but I think perhaps this Panorama will try to discuss more what would be a tactical thought or strategies of reorganization of that resistance than to bring answers or offer a frontal and direct confrontation. Many artists are making a diagnosis of what is happening in the present, but many are speculating on ways to exist. They are talking about how dissident bodies will be able to exist from now on, how they have existed up to that moment, how to make a historical reparation, how to degrade practices of violence and oppression. I think that, in this sense, it is also a desire that it be a propositional exposition, not with solutions or answers, but with notes, trying to organize a little these affections of a rally and the need to exist before the dismantling.

Do you fear any kind of negative or violent reaction, considering what we have seen happen in Brazil in recent years?

We do not work in fear or with any kind of restriction. Of course, any reactionary structure is afraid of art. They are the ones who are afraid of creation, of imagination, of critical thinking. This becomes very clear when the focus of attack is not only art, but education, science, universities. Only an extremely reactionary project needs so strongly to disqualify and dismantle the possibilities of creation. In fact, it is very logical that this government is afraid of everything that generates the new, that sets us in motion. And we already understand that in front of factoids and lies there are terrible lynchings. So I am dealing with very powerful content, very rich, but I do not think they are more dangerous to be attacked, more likely to be censored, because anything is liable to be attacked and censored, especially the lies created. Many of these issues created around art are false issues, they are invented polemics. So we can not work thinking about it, we have to work thinking about what needs to be done.

By Aracy Amaral

A CURATORSHIP  IS NOT AN EASY TASK TO BE CONCEIVED. Especially if the number of participants is extensive, the space difficult, and great reluctance to leave aside all that could be selected.  Especially when focusing on an exhibition such as À Nordeste, currently at SESC 24 de Maio.  Region vast in creativity, the yearning, one realizes, was to include everything!  Even if with difficulty of apprehension by the visitors of what is exposed.  The idea is that nothing should escape from the curators, even if it is not digestible by the visitor, that feels wrapped in a whirlwind that pushes the eyes and ears down all the expressions of Northeastern creators not distinguishing none in particular.  Thus, popular expressions, string, figurative painting, concrete painting, conceptual art, video, at all levels

and dimensions involve the visitor violently.  Which feels physically and visually engulfed by the difficulty of the space cluttered in trying – in vain – to privilege one or another creator with a look that is lost by the labyrinthine assembly that is proposed to us.

The cumulative display system is preferred by some healers – but not all.  And we have doubts about the correctness of this point of view.  The good visibility of an included work should be a concern.  Thus, suddenly discovering, in the midst of an exhibition like this one of Sesc 24 de Maio, the Retirantes by Portinari, from the MASP collection, is a surprise.  As well as seeing a small Sérvulo Esmeraldo at the same time that we confessed the difficulty in locating Brennand, João Câmara, or Miguel dos Santos.

And suddenly we find Montez Magno, among a crowd of unexpected diversified creators, with no logic of presentation in space.  The oppisite to the long-awaited exhibitionism that attracts a multitude of heterogeneous visitors who deserve a clear orientation to come out with a notion about the artistic expression in a region so extensive and broad in its creativity.  Maybe this show settles before how one should not make an exposition (and could not have been divided into steps according to the diversity of languages?).  In fact, curatorship is not an easy task to be conceived.