CAs if it weren't enough to know about our fragility, it is a fact that the clashes that sooner or later would appear because of the brutal inequality that was built throughout the 19th, 20th and 21st centuries are coming to light. excluding in new guises and, worse, sets back many hard-won conquests after the 1988 Constitution.
In art, this appeared in the cry of indigenous and black artists who, growing in their representation, are faced with pressures inherent to the cultural barriers inherent to the dichotomy that exists when it comes to making art, sharing art and selling art. The perverse voracity of the circuit puts everything in question: it is not enough to write, you have to sell; it is not enough to paint, you have to sell; and, to sell, the best work is not always the one that you can hang on the wall.
Just look at works taken by galleries to Art Basel Miami, showing off the color to guarantee a kind of condominium of alienation.
However, as we live in very acute times, all this is in question and even the great collectors surrender to the idea that it is impossible to disguise. As a result, the presence of women, indigenous people and blacks in the collections grows. These are achievements that are here to stay, despite the complaints of privileged patriarchy.
In the midst of the respite that the virus and its variants give us, together with greater vaccination, there was the opportunity to go out again, get in touch with works, visit new scenography and even travel and take a look at the international scene.
Thus, we accompany Brazilian artists who transit the new international scene, who are experimenting with new projects in the interior of Brazil and that form part of the reason why it has always been worth investing in Brazilian culture, unique and prolific.
Even the François Pinault collection, ubiquitous in Venice and one of the largest in the world, gained space in Paris with the exhibition Overture, in the reformed Commerce Bourse (Bolsa de Comércio), including works by the Brazilian Antonio Obá – born in Ceilândia, a satellite city of Brasília. Julio Villani, with its enormous trajectory, exhibits in Paris and New York; at Martins it is in the largest gallery in Chicago, Mariane Ibrahim, now also based in Paris; Maxwell Alexandre, at the Palais de Tokyo, and the engraver Santidio Pereira exhibits in Shanghai.
In this sense, it is dramatic to see the contradiction that exists between reality and the ideological misery of the politicians who govern us today, who began a crusade to precarious the institutions and companies dedicated to culture and the dissemination of culture. We heard the culture secretary Mario Frias – currently linked to the Ministry of Tourism, which is “responsible” for culture, its strategies and its budget in Brazil – say that he will fight with all his strength so that the recently approved Paulo Gustavo Law, which provides an amount of almost R$ 4 billion for the cultural sector in states and municipalities.
In a long interview in this issue, Danilo Santos de Miranda, who has chaired Sesc-SP since 1984 and is responsible for numerous high-quality permanent activities in more than 40 units in the state, comments:
“It is a sequence of progressive worsening, unfortunately. The Rouanet law is a law envied by other countries in the world (…) There were problems mainly regarding the geographical issue and regarding the mix between advertising and culture, but even so, it was a law that had broad participation of businessmen, artists, cultural promoters, creators and managers, with a committee representing society. When you cut that out and make it all decided by one person, whoever it is, you're going backwards.” (read the interview with Danilo Miranda)
It is necessary to say, even if some feel uncomfortable, that art, as part of the culture and general education of a society, needs jumping outside the walls of ideological and financial groups in order to be great.
