still from
Still from "Mesa curandera", by Louidgi Beltrame, 2018. Photo: publicity.

CWith the opening on the 22nd of February, the press conference A Natural History of Ruins opens the 2021 Pivô exhibition program. show proposes a critical review of the modern distinction between culture and nature from the work of a unique group of fifteen artists from different contexts and generations, some of them presenting their works in Brazil for the first time.

Participating in the show: Denilson Baniwa (Brazil), Louidgi Beltrame (France), David Bestué (Spain), Minia Biabiany (Guadalupe), Paloma Bosquê (Brazil), Elvira Espejo Ayca (Ayllu Qaqachaca), Sheroanawe Hakihiiwe (Sheroana, Alto Orinoco), Isuma (Nanavut), Cristiano Lenhardt ( Brazil), Candice Lin (USA), Lina Mazenett and David Quiroga (Colombia), max willámorals (Brazil), Daniel Steegmann Mangrané (Brazil/Spain) and Janaina Wagner (Brazil).

Through a series of historical processes, humans “separated” from nature and colonial regimes propagated this notion of exploitation, normalizing nature as a “resource” available to humans, as curator Catalina Lozano explains. “It is largely through the knowledge and ecological practices of indigenous peoples that these functioning colonial categories can be productively challenged”, adds Lozano in the exhibition's curatorial text. She further explains that another idea that guides A Natural History of Ruins it is that of a life that reacts to human violence in the ruined landscape of capitalism.

Some highlights of the show: in Healer's Table (2018) French artist Louidgi Beltrame records healing ceremonies with the San Pedro cactus promoted by a shaman in Peru; Qapirangajuq: Inuit Knowledge and Climate Change (2009), by the Inuit art and media collective Isuma, which occupied the Canada pavilion at the Venice Biennale in 2019, is the first documentary made in Inuktitut on the topic of global warming; the drawings by the Yanomami Sheroanawe Hakihiiwe describe the shapes and marks left by animals and plants that are part of the environment where he lives, in the Venezuelan Upper Orinoco; made especially for the project by the Spaniard David Bestué, the series of new works is inspired by the dirty poem, by Ferreira Gullar.

See information about visitation in this link.

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