art by Baniwa
Nhandecy Eté and Peabiru. Photos: courtesy of the artist

I WRITE THIS TEXT in the midst of the isolation to which we have been subjected in recent days by the pandemic that has devastated our planet, to a greater or lesser extent, in most countries.
In Italy, where until now we have barely commented on the exhibitions at the Venice Biennale, approximately 30 citizens have died in the last 12 days. We all follow the international scenes, typical of science fiction films, in amazement. We read and hear daily a multitude of data and information about an unknown scourge, COVID-19, which only comes close to the Black Death, in the Middle Ages, or the Influenza. Spanish, before World War I. Today and here, we are trying to minimize the numbers of human losses in Brazil, collaborating with a quarantine that allows the smallest number of infected people.
We are perplexed by our fragility at the cracks of an economic and political system that is not sustainable when it comes to serving human beings equally. Who until a few days ago defended the minimal State, recognizes today in the Single Public Health System (SUS) the only way out of crises of this magnitude. Scientists who at the beginning of the year were forced to stop their research thanks to cuts in grants and investments are now in demand all the time.
The coronavirus came against our everyday virus.
In culture, where we already discussed cuts in incentive laws and watched the dismantling of various institutions, the pandemic brings a new challenge.
To date, March 31, 2020, all meetings and cultural activities have been canceled or postponed. The Art Basel fairs in Hong Kong and Basel closed their doors; ARC Lisbon; SP-Arte, in São Paulo; and arteBA, in Buenos Aires. The São Paulo and Mercosul Biennials were postponed, as was Manifesta13 in Marseille. The Berlin Biennale has yet to announce whether it will be held in June.
The IFEMA Exhibition Center, where the traditional ARCO Madrid fair operated just a month ago, has just been transformed into a “hospital” with over a thousand beds for infected patients.
“The outlook is bleak for the country's cultural sector,” said Manuel Fernandez-Braso, president of the Asociación de Galerías de Arte de Madrid.
Despite the anguish we experience, having to take care of ourselves and our fellow human beings, we had to find, in our daily lives, moments of reflection and work solutions so as not to become discouraged.
For our team, this would be a moment of great celebration. In this issue #50, the first of the year, ARTE!Brasileiros turns 10 years old. Ten years where we defended the idea that art synthesizes transversal narratives and that, specifically in the work of art, the artist expresses his ability to move away from the world and perceive him as a subject. It contains his ideas and, of course, his anxieties and those of his time.
In these years we have sought to portray the strength and diversity of Brazilian contemporary art, for Brazilians and for the world, in some of the themes that stood out in this period in a remarkable way: the defense of freedom and gender issues; the fight against racial discrimination, the segregation of women, economic, social and political oppression; migratory movements, freedoms, the denunciation of aggressions to the environment and the planet.
We also portray innovation in movement, in color, the search for new supports, experimentation, research on materials and stories.
To this end, we invested in a platform for contemporary digital culture and art, capable of speaking to both academia and the market.
We created a huge network of national and international collaborators and our seminars brought together interlocutors from several countries.
We have come this far with a positive balance. More than 50 subscribers to the print magazine, close to 80 organic and loyal followers on Instagram, in addition to a network of relationships and readers of around XNUMX on the www.artebrasileiros.com.br portal
This year, if we manage to beat COVID-19 and its sequels, we will hold our VI International Seminar, scheduled for early October.
This edition, which features a new graphic project, commissioned especially from the Alles Blau Studio team of designers, had the ability to adapt to the difficulties of the moment. The work with the teams at home-office, their interviews and reports, showed a very high degree of collaboration and competence on the part of all those involved. Most of the texts were produced before the various postponements of exhibitions and biennials, but we chose to keep them, believing that better days will come.
We hope to find everyone healthy, and we can imagine another moment, which will certainly require us to re-born.

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