Ana Teixeira, “Bandeira”, 2019.

Amidst the chatter of Mackenzie students who spend their free time sitting in the gap in front of the Maria Antonia Cultural Center, in Vila Buarque, a loudspeaker can be heard uttering words in the imperative: “Impress, be, guarantee…”, echoes a male voice easily associated with the voices of salespeople who drive cars through the streets of neighborhoods. The sound intervention is a work of the exhibition It's late but we still have time, a solo show by the artist Ana Teixeira curated by Galciani Neves that ends on February 2nd.

Growing up in a family where literature and cinema were essential, building a strong relationship with the object 'word' was, for Ana, inevitable and progressive. “What is meant to be are the words”. The previous sentence, which the artist attributes to Guimarães Rosa, is very significant for her. “Playing with words is something that attracts me. I think that words generate developments that interest me a lot, because they generate provocations”, she says.

In all the works that the artist presents in this exhibition, and in many others throughout her career, the word has functioned as a kind of exchange, whether exchanges of experiences, feelings/emotions or moments, among others. The work In touch, for example, which consists of buoys with an adverb written on each one, was created to occupy swimming pools and make people who use them approach them to form sentences. The approximation through the “game” with words makes these people exchange a moment with each other.

At Maria Antônia, the buoys are on the floor, but ready to be worn by the public that wants to explore its creative possibilities. “There are countless possibilities of sentences that can be formed with just 14 adverbs”, Ana explains, showing the adverb “still” tattooed on her wrist. She says that it was from then on, in mid-2010, that she began her relationship with this class of words: “I was interested in this idea that we can form sentences without the verb”.

Around the stairs that lead to the exhibition room and part of the walls that surround it are dream line, which results from some testimonies of the performance exchange dreams, work that also illustrates very well the issue of exchange rate as a point in the artist's work. Anyone who thinks the word is just a way to get in touch with something or someone is wrong. Contact is, after all, a means for an exchange to take place.

exchange dreams, in turn, is an intervention that the artist mounts on the street, where she distributes dreams (the candy) asking in return that people who approach her confide some dream (those that are on her mind). At the same time that this occurs, another exchange takes place: in exchange for the interest of those who approach her, Ana presents the perception that money is not the only currency.

 

We enter this universe also in the unprecedented Shut up, he's dead. Another version of this work was presented at the collective for the 7th National Marcantonio Vilaça Industry Award — for which the artist was one of the 30 finalists —, held at MAB-FAAP between September and October of last year. For her solo show, she spent ten days drawing more than 40 women on one of the walls of the exhibition space, women who held posters with lines like “No more standards”, “I'm not crazy, I have an opinion” and “Your opinion over my body is yours”.

The volunteers who chose their phrases and posed for the artists received, in exchange, their representation in drawing. In this work, however, the “barter” also involves sisterhood, the feminist principle of union between women that requires a relationship of identification and return between two or more. An evident sharing of the sensible.

The jobs Another Identity, which exchanges fingerprints for a fictitious identity card with a phrase with which the person identifies, and I lend my eyes to yours, which exchanges a memory for a visual record of where it took place, — and even I listen to love stories, who exchanges a statement for a friendly shoulder — also unfold along this path.

This set refers to a perception raised by Lévi-Strauss (on top of Mauss' “gift”) that the word would be a way to understand society, when used in an exchange. It is visible that in Ana's search for a way to communicate and relate through them, the desire to understand the other is present.

“I am not the focus, the focus is the other. I'm interested in the other, my raw material is the other”, she says. It is in this way, therefore, that it is possible to observe that the understanding she seeks does not pass exactly through a cultivation of petty erudition, but through a fluid movement of empathy in relation to the other, even when the other is within herself.


Slam Cala a Boca Já Morreu and closing of the exhibition
February 2, from 15pm to 17pm
Maria Antonia University Center – USP: R. Maria Antonia, 258/294 – Vila Buarque, São Paulo – SP
More info: 11 3123-5202

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