View of the DESVAIRAR 22 exhibition
View of the exhibition "Desvairar 22", with a sarcophagus in the foreground. Photo: Ricardo Ferreira

“Allah-la-oh, hey hey hey hey hey. But how hot oh oh oh oh. We crossed the Sahara desert. The sun was hot. It burned our face”. It is with the famous carnival march that the public has its first contact with rave 22, exhibition on display at Sesc Pinheiros, in São Paulo. Curated by Marta Mestre, Verônica Stigger and Eduardo Sterzi, the show invites the imagination from four milestones in 1922: the Week of Modern Art, the centenary of the Independence of Brazil, the first radio broadcast in the country and the discovery from the tomb of Tutankhamun in Egypt.

More than 270 items – including paintings, photographs, books, literary excerpts, videos, music and an allegorical float of Greater Rio – lead us through the collective, which transits between facts and fiction, literal and poetic, sewing the ephemeris. 🇧🇷rave 22 it is a great invitation to place the imagination as a guiding thread of this relationship with Brazilian modernism”, says Verônica Stigger, to which Eduardo Sterzi continues: “It is, to some extent, invoking the modernist imagination to transport oneself a little to that time”. Stigger adds: “I also think that’s where the name of the show comes from, it’s an invitation for the viewer to also go wild with us in these years 1922 and 2022.”

A arte!brasileiros visited the exhibition and spoke with two of its curators, Eduardo Sterzi – writer, literary critic and professor of Literary Theory – and Verônica Stigger – writer and university professor. Check out:

The exhibition is organized into four sections: miss egypt, the bones of the world, Means of transport e Wandering Indians. Em miss egypt there are works by Abdias Nascimento and Tarsila do Amaral (who spent their honeymoon in Egypt with Oswald de Andrade), “pharaonic” projects registered by Marcel Gautherot, photos of D. Pedro II's trip to the African country and an original sarcophagus.

the section the bones of the world is inspired by the book of the same name by Flavio de Carvalho🇧🇷 For the modernist, the ruins and collections of museums make it possible to understand the various layers of history, helping us to understand not only the past, but the present and the future. “The past matters, above all, as an image to be activated in the present. This activation, according to Flávio, is up to the 'badly behaved archaeologist', who, unlike the 'well-behaved', apprehends 'the penetrating force of poetic elaboration' in what remains: the residues, the inscriptions, the ruins”, explains the text wall, giving tone to the core.

Means of transport, in turn, transits between the real and the poetic. “We use the notion of literal means of transport, but we also use the idea in the metaphorical sense: as art and poetry are means of transport too. We enter them and transport ourselves to other places, to other times and other ways of thinking”.

Em wandering indians, among different variations of Iracema, works by Denilson Baniwa, Anna Maria Maiolino, Carybé, Hélio Oiticica, Lygia Pape and Paulo Nazareth stand out. Sterzi explains that in this section, the curatorship sought to “make a journey through which we first present these images of indigenous peoples as depicted by the modernists, but we also bring indigenous artists. We propose to some extent that at a certain moment it was necessary for some artists to imagine this presence so that it could become effective in a country that is racist and excluding. To some extent for things to exist in reality, they must first exist in imagination. The imaginary space opens up a political space”.

rave 22 is on display until January 15, 2023 at Sesc Pines🇧🇷 Visits take place free of charge, from Tuesday to Saturday, from 10:30 am to 20:30 pm; and on Sundays, from 10:30 am to 18:XNUMX pm.

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