What is beyond art in the images of Ana Maria Maiolino in the series Poemação from the 70s, in the work “O que sobra”, where she cuts her tongue, her nose? What's beyond a disturbing, thought-provoking image? In her words, “they are images, reflections of emotions that are sustained by resistance. I use my own body not as a metaphor, but as a truth, something that belongs to the realm of reality, given that, in a moment of repression and torture like that of the dictatorship, all bodies become one in pain”. [Anna's skin: Anna Maria Maiolino. Ed.Cosac Naify, 2016]. Or in the works of countless women who used irony just to denounce the place of invisibility in which they were placed in a world of men.
What's beyond art in the works of artists who built their work based on research into secret documents. Shedding light on the unsaid, the censored, the erased.
What is beyond art in the XNUMXst century, in a Biennial that is built around a new global map. And another that decides to have a black majority in its curatorial group. And when artists from different parts of the world, use the same visual metaphors, in different supports to denounce the xenophobia of their countries towards immigrants. These countries are mostly colonizers.
Transcendence, one of the frameworks of art, is today impregnated not only by the strength of the aura, or by the poetics that enchants us, but also by its ability to bring up silences and memories, in an accelerated time that doesn't want to know.
This edition, which accompanies the realization of our V International Seminar, coincides with the opening of exhibitions where radicalism appears in the most varied forms.
The video that opens the exhibition Mulheres Radicais, on display at the Pinacoteca do Estado de São Paulo, Me screaming black!, by the Afro-Peruvian artist and poet, Victoria Eugenia Santa Cruz, is a slap in the face.