Ato enter the world of Jeanete Musatti, an emblematic artist of small-format works, is to reinforce the idea, apparently obvious, that collecting is being close to the things that give us pleasure. The set of 65 works that make up the exhibition pressed hearts, in the gallery Art Bag, was made with objects stored throughout his life in seven 60×20 typography drawers, a kind of technical reserve for his findings. With these disparate objects, she builds a solid, personalist work, under multiple influences. Delicate, the small sets realized inside transparent boxes are profiled on the gallery walls, leading the visitor to admire each one of them like a take of a film without a logical sequence. Individually, each one has its own life and constitutes a work in itself. The artist's fiction informs about psychological circuits, marginal knowledge, escapist dreams that can be called countercultural. All in opposition to the obvious and to the zones of the system that authorize the voice, as defined by Foucault.
Collecting is like counting, counting, but with the intention of leaving everything unresolved, stimulating new narratives. The guiding thread of his production is the singularity that moves against the grain of contemporary society, where everything happens quickly and simultaneously, with no time for a more detailed observation. The set of boxes moves between chaos and order, between dispersion and junction. There is a balance of forces between the objects and the founding images that mark the passage of time. As a whole, the works pulse like a living organism, not allowing the spectator to remain indifferent. On the contrary, he acts as a narrator because it is impossible to remain silent in front of one of the boxes without commenting. THE The uniqueness of this collection of finds lies in the apparently anarchic character of the material stored. That private museum, full of trinkets or valuable jewelry, acquires a museological sense turn everything into a work of art. The persistence of these artistic relationships achieves variations of great drama in some of the scenes.
A striking personality, Jeanete Musatti adopted small formats at a time when the art circuit and biennials favored large-scale works. Opposing the idea of entertainment it adopts a continuous search, almost like a frenzy in the face of something found. The findings transcend the family circle, gain other territories, are thrown into the arena and observed by alien bodies, like voyeurs.
One of the emblematic works of this moment of pandemic and seclusion is planet thermal inversion, 2020, a transparent pot store, where a map of the world printed on paper was crumpled, resignified and imprisoned like us. Next to it, another identical container displays a celestial map, similarly crumpled up and placed on hold, contradicting the idea of infinity and spatial freedom. Jeanete Musatti transits this void and appropriates these referential universes to represent the current dismantling.
As a whole, these works function as memory activators that naturally insert the viewer into the history of each piece. THE The uniqueness of this series' contribution is the polymorphic character of its material. The insistence on these artistic relationships is intertwined in ready-made pieces, such as the miniature accordion, a gift from her son-in-law, or in others that will be subtly or exhaustively worked on to compose utopian narratives.
Each finding can be transformed into a matrix, creating rhizomes without a hierarchy of origin or market value. In her studio, full of objects, you can find many of them acquired on Rua 25 de Março in São Paulo, which she considers a great place to search for unusual pieces. What can be recognized in the work of Jeanete Musatti is a huge desire to contradict social destinies, exercised by basic decisions in her life, such as living on a farm in the countryside where she is now during the pandemic with her husband, businessman and collector Bruno Musatti. . Or the decision to move to London with the whole family at a certain point in her life, when her daughters were still children. Composing her personal life with her almost miniaturized artistic world is part of her poetic adventure. The claim of her personal history lived in a family of artists (belonging to the Leirner dynasty: Felícia, Giselda, Nelson, Jac, Sheila, Bettina and others) is a special gain of this artist who works as an inventor of improvisations of enigmatic readings. From this dispersed and contradictory universe, of discourses and scenarios, she experienced art, listened, played instruments and enjoyed various forms of knowledge at every moment of her life.