Work by Elvys Chaves and Carlo Schiavini exhibited at the Casa do Governador Cultural Park, in Espírito Santo
Elvys Chaves and Carlo Schiavini, Cybernetic Geosculpture. Photo: Leandro Pereira

There is a growth in the cultural environment of certain Brazilian states, such as Ceará and Espírito Santo, with the emergence of new public facilities such as the Estação das Artes Cultural Complex and the Image and Sound Museum, both in Ceará, and the Governor's House Cultural Park, in Vila Velha, Espírito Santo, all opened in 2022.
In Vila Velha, the new park occupies the governor's former beach residence, a modernist house in front of a private beach. The view there is enviable and, with the sculpture park, the site is reminiscent of one of the art spaces in Europe celebrated for its insertion in nature, the Louisiana Museum of Modern Art in Denmark.

Opened last May, for now only with scheduled visits, the place has 21 sculptures made as site specific, being ten temporary and 11 permanent, at a cost of R$ 2 million. The works were selected after a national public notice, which included the registration of 234 proposals. There is a mix between local artists, such as Geisa Silva and Natan Dias, and from other states, such as Estela Sokol, from São Paulo, and Marilá Dardot, from Minas Gerais, who lives in Mexico.

Marilá's work is one of the most poetic. She installed boards that, instead of containing typical informative phrases, gather quotes from books by authors with wide diversity, whether LGBTQiA+, black, black and indigenous, published or republished in Brazil in the last 20 years, such as Djamila Ribeiro, Ailton Krenak and Audre Lorde.

The idea for the sculpture park came from the Secretary of Culture, led by the artist and cultural manager Fabricio Noronha. He has been responsible for a team with dynamic projects. These initiatives have been occupying the cultural spaces of the state with partnerships, such as the one carried out at the Espírito Santo Art Museum, which hosted the exhibition Twist, with a collection of Videobrasil Cultural Association, also held at the Homero Massena gallery, which will soon have a new headquarters.

In interview with arte!brasileiros, Fabricio tells, below, the principles that guided his management of the last four years and the importance of the new laws Aldir Blanc 2 and Paulo Gustavo, for the decentralization of public funds in Brazil.

ARTE!✱ – While the federal government has waged a battle against culture over the last four years, Espírito Santo acted with exemplary public policies, such as creating the Casa do Governador Cultural Park, in Vila Velha. How was the orientation towards culture in this government that ends?

Fabricio Noronha – The guidance of Governor Renato Casagrande, my first major experience in public management – ​​I, who come from the private sector, organize and produce events and curate exhibitions – was the challenge of working a culture policy in a transversal way, understanding the centrality of culture in our life, its potential for economic development as well as the sense of belonging of the capixaba. All this with a great freedom of creation and work. In four years we have built many things. The governor sanctioned a law to encourage ICMS, which was a desire of the cultural sector of Espírito Santo for decades, and a mechanism for transferring resources from the state fund to municipal funds, and with that we managed to grow four times the number of funds and municipal cultural laws.
Along with that came the idea of ​​him and the first lady, Maria Virgínia, of transforming the governor's beach house into a park. The Secretariat entered with the sculpture competition that anchors this cultural park.

ARTE!✱ – Among the innovations of this management is the creation of the park with sculptures made especially for the place. What was the overall design of this project?

The idea came from the governor himself to open the residence and a park for visitors, mixing art, environment and technology. We created an interdisciplinary group of several departments and we came up with the proposal for the sculpture park, which today totals ten temporary works and 11 permanent works, a total investment of R$ 2 million. This conception goes through the very relationship of the house and its historical and political meaning, as well as the place where it exists for the creation of works. site specific. We received 234 proposals from artists from all over Brazil, it was the first national contest of the State Culture Fund, and we selected 21 works. As ten are temporary, we will have a new cycle for the selection of new works, thus creating a dynamic for this park. For now, visits are scheduled, but we have biweekly events that mix music, theater, poetry and dance, various artistic languages ​​on Sundays.

ARTE!✱ – The Homero Massena gallery, where the Videobrasil exhibition was held, also plans to change its venue. When is the new space expected and what is the intention with the change?

We are working on a new headquarters for it, which is currently in the design phase. Soon we should hire this work. It is in front of the current headquarters, which was the former Public Archive, listed by the State Heritage. It should have a gallery twice its current size, a workshop area, a studio for residences, a mini-auditorium, an adequate technical reserve for the entire collection of the gallery, which is the oldest art space in Espírito Santo, dating back to the 1970s. , and has a very interesting collection.

ARTE!✱ – You led, through the Forum of Secretaries of Culture, the Paulo Gustavo and Aldir Blanc 2 Laws, the overthrow of the president's vetoes, even so the release of approximately R$ 6 billion was postponed until October, and it is possible yet another postponement. What is the meaning of this?

We are facing two historic advances in the cultural sector, above all the Aldir Blanc Law 2, which is a permanent resource of R$ 3 billion that, together with the possible return from the Ministry of Culture, gives a very good perspective for the cultural sector. These are laws that work from the federative pact, from the decentralization of resources to states and municipalities, strengthening the institutionality of culture in these places, strengthening cultural councils and local scenes. The two laws work within a logic through the participation funds of municipalities, states and the population of each location. Thus, in this way, a balance in the distribution of resources is achieved, unlike other mechanisms, such as the Rouanet Law itself, which concentrates a lot in Rio, São Paulo and Minas. These laws manage to balance, pulverize and reach the small. A study by the Bahia Creative Economy Observatory showed that 63% of those benefiting from the Aldir Blanc 1 law, very similar to 2, had never received public funds. This demonstrates the reach and capillarity of these laws. And this process was built by the National Congress, by the culture bench, the Paulo Gustavo law, by the senator Paulo Rocha, the Aldir Blanc law 2, by the deputy Jandira Feghali, and we are very involved as a forum of secretaries. It is a beautiful movement that is beyond the cultural sector, so collective.

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