Gildo Xavier, João Pessoa, Portrait of Families, 2017, acrylic on canvas

A art helps to break free and deal with suffering. A few years ago we experienced a great upheaval in Brazil and in the world with the convening of different forces, both political, religious and social, who opted for ideas and ideological strategies that were outdated for more than 50 years.

Suddenly, our lack of economic solutions, our disappointment with the administration of the State and the behavior of parties and institutions and the failure of the elites, incapable of dividing anything, became propitious terrain for the choice of backwardness, unlike developed countries that they had the role of looking after the common citizen, producing a certain advance in democracy and customs.

It is interesting to see that, despite the fact that it all started as an argument of certain isolated groups that praised the fight against corruption, this quickly proved to be “secondary” and even false.

The masks fell, as in the painting by Andre Griffo, on the pages of this issue, and the real speech appeared: “ideology is worse than corruption” said in the official media Jair Bolsonaro, President elected in Brazil by 1/3 of the votes in the country.
Don't have the slightest doubt, what matters is ideology. Everyone's ideology is our cultural capital, what we think about… what we believe… what we value and whom. How indignant we are at the suffering that is inflicted on us and others. What are our values? Our ethics. And, it's true, depending on all that, you're also going to be corrupt.

Detail of the work Pregação, 2017, by Antonio Obá on display at the Rio de Janeiro Art Museum. Photo: Patricia Rousseaux

In art, the ability to create and speak is infinite. Therefore, art is also subject to censorship. Nothing escapes art. Art has the ability to make you think, before obeying. And it has the ability to create annoying disruptions whether it's overt or subtle. The fact that we are in contact with the work is already mobilizing.
However, in acute moments of confrontation, art becomes a liberating channel and many artists choose the work and their work as a form of militancy. Not for nothing, in one way or another, our editions this year bring exhibitions and collectives full of meaning.

Today, we ask ourselves. Who decided that this is a white country? The whites. Who decided that this is a country of individuals with no autonomy in their choice of gender? Whites and blacks unable to respect differences. Who decided that the school will not be a democratic space to discuss different ideologies? Whites and blacks incapable of respecting differences and who do have a certain ideology. Who decided that the State is no longer secular? The whites and blacks who are incapable of respecting differences and who have a certain ideology and who defend, yes, only one religion. On the other hand, we, go ahead, with everything we learn, follow and respect what is produced and created in the diversity of this country.

As a symbol, there is on the cover, Rubem Valentim, Brazilian, black, painter from the 50s/60s, wonderful, either as a constructivist or an expert representative of his “ideology”. And within the issue a collection of texts, articles, memories, exhibitions and works that represent in all their magnitude an enormous amount of work for the desire for freedom. Good reading!

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