On November 08th, Sesc Belenzinho opened the doors of the exhibition “Fields of Invisibility.” The curatorship is by Cláudio Bueno, Ligia Nobre and curatorial assistance by Ruy Cézar Campos, who also presents two works.
Through the organization of 23 productions by 18 Brazilian and foreign artists, it is proposed to immerse and reflect on what is actually behind the various technological achievements present in the daily life of the contemporary subject. In other words, what are the industrial processes and geopolitical impacts they generate. Photographs, videos, audios, maps and installations question the myth of immateriality implanted by technologies and denounce the extremely high costs for the environment.
Fields of Invisibility concentrates works that carry different baggage of Brazilian, English, British, Colombian, Canadian, French, African and French-Guyanese artists, with a common reflection.
Fields of invisibility: humanity emptied
The group show was divided into five cores that establish connections with each other: Praia do Futuro, Farewell to Sete Quedas, Ouroboros, Cosmograms e World views.
Produced by Ruy, the video “The arrival of Monet” opens the space of Sesc Belenzinho in dialogue with the works of Tabita Rezaire and Louis Henderson. His works question the use and territorial, material and social deprivation involved in the exploratory processes of the environment in terms of technological infrastructures.
For Tabita Rezaire, digital spaces are responsible for the continuity of a colonial heritage, promoting exclusion and oppression. The artist establishes a relationship between the reproduction of racism in these environments, pointing to the use of slave ship routes as a path for transmission cables.
the work of Carolina Caycedo, in turn, draws attention due to its dimensions: a satellite photo, more than 2 meters high and 3 meters long, shows the region of Mariana, Minas Gerais, after the catastrophe that occurred in November 2015. Previously exhibited at the Bienal de São Paulo (2016), the image shows the dimension of the victimization of ecosystems due to human neglect in favor of a supposed industrial development.
"Seven falls for me passed, / And all seven vanished.
The thunder of the waterfalls ceases, and with it / The memory of the Indians, pulverized,
It no longer arouses the slightest shiver. / (…) The seven ghosts of the murdered waters
By the hand of man, owner of the planet.
(…) Here seven visions, seven sculptures / of liquid profile / Dissolve between computerized calculations / Of a country that is ceasing to be human / To become an icy company, nothing more.
(…) What light and charged power generate /At the expense of another good that has no price / Nor ransom, impoverishing life / In the fierce illusion of enriching her.”
(Carlos Drummond de Andrade, Adeus a Sete Quedas, 1982)
Just behind, a kind of booth houses the projection of a video entitled “A Gente Rio.” The narration of the poem by Carlos Drummond de Andrade is superimposed on images of waterfalls and rivers, which little by little give way to dams and hydroelectric plants. The video flows in conversation with characters who talk about the exploration of the environments in which they live.
The other panels approach, in common, oil and coal exploration, diagrams that think about communication from the observation of bacteria and other species, the display of maps in real time of the routes of planes, ships, submarine cables and abandoned mines. , in addition to the movement chart of the São Paulo Stock Exchange. It is through them that the curators seek to evidence the physical and massive presence of technological infrastructure in the functioning of life in the second millennium of humanity.
The Brazil of the future that arrived
To introduce the different layers and approaches proposed in the navigation that can be chosen when opening the show, as Lígia puts it, on November 07th, before the opening, at 18:30, the Fields of Invisibility Encounter. The table brought the artist, professor at PUC-Rio and researcher at CNPq, Débora Danowski, and the artist-storyteller, Tabita Rezaire.
Débora comments on the sensations resulting from the recently ended electoral period. The violent contexts in which the process submerged itself, she says, put her in shock. This is because one can see the rise of the extreme right in Brazil, which brings with it ideas deniers with regard to social minorities and environmental issues.
The artist and professor has studied, in recent years, the idea of the end of the world caused by progressive climate change and global ecology, mainly due to the burning of large amounts of fossil fuels and other practices that have driven capitalist activity since the middle of the last century. “I confess I didn't expect the sky to start falling on our heads so soon,” laments Danowski.
For the curator, Brazil is going through a moment of important political turning point, which puts it in front of a supposed development. “He (Bolsonaro) says that there will be no more indigenous lands, among other things. He ignores histories, memories and populations. This also implies the technological project being debated here”, he points out.
Tabitha ends by proposing alternatives based on her experiences, research and work, “Decolonial Healing: Technology, Spirituality and the Erotic.” For her, the importance of the works on display is to enable the planting of seeds. "We live crossed by imposed and illusory norms. But we are here, we exist and we don't give up. We have to fight with love”, he concludes.