"Hunting Retreat or Another Capelobo", 2019, by Gê Viana. Photos: Karina Bacci

As announced by the curator Júlia Rebouças in an interview for the 47th edition of ARTE!Brasileiros, the sertão on which the 36th Panorama of Brazilian Art focuses is not the geographical place, but a “way of thinking and acting”. With the opening of the exhibition to the public on August 17, it is certain that not everything is or not everything arrives in São Paulo: “It is something that this Panorama talks about. Not everything is concentrated here, not all intelligence is there, not all wealth. There is a lot of intelligence and a lot of sophistication that we don't see”, she declares in a conversation during the assembly of the exhibition.

Júlia chose to ask that the expography, made in partnership with Estúdio Risco, be more open, exercising the idea of ​​what would be a public space or a space shared between all the artists: “Or even a landscape, but not a closed room or a private place,” she explains. The curator says that the intention is for the public to be able to see several works at the same time and reflect on how they relate to each other. “I wanted things to have to live together, whether harmoniously or more conflictingly.”

The works present in the show invite the public to go far away, and two of them do so literally. The artist Raquel Versieux, born in Belo Horizonte and currently based in Ceará, proposes that the public go to Cariri in Ceará. She introduces the project Moving Management, carried out in collaboration with Elis Rigoni. The intention is to bring the public together in meetings with artists, farmers, students and local leaders to carry out land practices, social practices and image practices. The meetings take place in four moments: three in the Cariri region and the last one in São Paulo, at MAM, all on weekends.

“My Life in a Bush of Ghosts”, 2012, by Luciana Magno

The work of the Santa Catarina duo Gabi Bresola and Mariana Berta takes anyone willing to go to the city of Joaçaba, in the interior of Santa Catarina, to participate in the surungo, also the title of the artists' work. They offer the public a 14-hour bus ticket to the place on the banks of the Rio do Peixe so that those interested can surrender to the experience of the Surungo dance. “Our center is different”, Mariana writes, “it is to this art circuit that we decided to aim, because it could not be different”.

A veteran of the 29 artists and collectives participating in the Panorama, Gervane de Paula, born in Cuiabá, presents three works in the exhibition: God Apis, his wives and his flock ou The Animal World (2016-2019), set of wood carvings, horns and crafts; Art, Don't Invent (2016); and Art Here I Kill (2016), both oil paintings on iron plate. The latter, cover of this issue of the magazine ARTE!Brasileiros. The title of the work is a pun on the name of the book by the art critic from Mato Grosso Aline Figueiredo, Art here is bush, launched in 1990. “Cuiabá, despite being a city quite far from the big centers, has a strong movement of art, mainly of painters. And this book of hers talks about this abundance of artists”, he says. But, at the same time, the artist noticed what he calls “a decadence”: “An art that is produced and has no resonance, has no public, its authors live full of privations and, because it is closed, it is very resistant to the new. Art Here I Kill it can also be the president's hand, pointing a gun at art, at us, right?” he asks.

Gervane uses materials characteristic of the region where he was born and lives, such as barbed wire and wood from corral posts. “This wood comes with a load of time, a poetic load, because they are fence posts that have been there for over 10 years undergoing the changes of time. I don't cut down a tree to do my works. I collect this old stuff,” she explains.

The video installation cool down (2016-2019), by artist Vulcanica Pokaropa, features 12 channels with testimonials from transvestites, transsexuals and non-binary people who work in the arts. The work discusses the positioning of these people in institutional spaces and their performance in non-marginalized spaces. In addition to the series of videos, the work is also composed of paintings and prints on canvas. In the testimonies, artists such as Lyz Parayzo, Rosa Luz (also a Panorama participant) and Jota Mombaça participate.

Originating in Ceilândia, in the Federal District, the artist Antônio Obá takes four paintings to Panorama, a larger one entitled Mama (2019), in which a black woman holds two felines in a maternal gesture, proposing a reflection on the identity of the country, and a series of three other smaller paintings that refer to the black body and traditions, also approaching a religious context. . The artist Gê Viana, born in Maranhão, exhibits three photographs printed as lambs and fixed on huge canvas hanging from the ceiling. Hunting retreat or another capelobo (2019), as the work is titled, comes, according to the artist, “from the need to talk about the things that happened to our peoples removed from their place of origin”. She says that when she asked one of her grandmothers if the family had an indigenous origin, the answer was: “My mother was angry. She was caught in the bush.” From then on, Gê began to question the history of some families in which the constitution took place through violence, such as imprisonment and rape.

As much as the varied supports, themes or formats of the works that make up the 36th Panorama may make us think that they are different from one another, it is necessary to be aware of a strong characteristic among the 29 participating artists and collectives: they are people who, as he says Gervane, chose to take over their region.

36th Panorama of Brazilian Art – Sertão
until November 15
Museum of Modern Art (MAM) – Av. Pedro Alvares Cabral, s/nº – Ibirapuera Park

 

 

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