AThis Saturday (28), starting at 16pm, at Bolsa de Arte (SP), the auction of the private collection of Emanoel Araujo (1940-2022) – plastic artist, former director of the Pinacoteca, creator, director and curator of the Museum Afro Brazil. The auction should have taken place at the end of September, but the Brazilian Institute of Museums (IBRAM), the agency responsible for the National Museum Policy (PNM), requested the suspension, so that members of the Brazilian Museum System could “exercise their right preferably in the acquisition of cultural assets”, according to current law.
The set to be auctioned – around 4 thousand pieces – is estimated at R$30 million. This Saturday, the objective of the auction is to sell in a single lot, to the same buyer. If this does not happen, there will be two other auctions, on Monday and Tuesday, at two times (16pm and 20pm).
The items are divided into seven categories: African art (bronzes, ceramics, ivories and textiles); Afro-Brazilian art (ceramics, sculptures, engravings, Creole jewelry); modern (sculptures, engravings, furniture, paintings, porcelain and tapestries; oriental art (cavalry armor and swords, ivories and porcelain); European art (engravings, Catholic Imaginaries from the 16th to the 19th century and paintings); Brazilian art (sculptures, engravings , furniture, emblazoned pieces and paintings).
Among the rarities are creations by Mestre Valentim (1745-1813) and Xavier das Conchas (1739-1814), two important names in the Brazilian Baroque, and a set of Creole Jewelry, from the XNUMXth century, worn by enslaved, freed or freed black women, especially in Bahia. O most valuable item, with an opening bid of R$1 million, and an oil on canvas by the Italian Renaissance painter Niccolò Frangipane.
It is with deep concern and sadness that we address all the people who
share a passion for culture and art at this critical time. The news that the personal collection of the renowned Emanoel Araújo will be auctioned is a cause for great consternation. We understand that the rights of heirs must be respected, and we agree that fair payment is an obligation. However, allowing this collection of items that represent our culture and history to be distributed at auction is an act of negligence towards our cultural heritage.
Emanoel Araujo, a great name in Afro-Brazilian culture, dedicated his life to enriching our understanding of art and history. He left an impressive legacy as a curator, museologist and artist. His collection, which partly makes up the collection of the Afro Brasil Museum, should be honored as a long-term commitment to the appreciation of Afro-Brazilian culture.
Our efforts must now focus on convincing the state (federal, state or municipal), some private company or large fortune of the importance of maintaining this collection, creating exhibitions and encouraging research into such relevant material. The history of these works and their importance for our culture deserve a better fate than an auction that could disperse them forever.
Emanoel Araujo's situation is not unique; many other important collections also faced similar fates. Valuable collections that should be kept in public museums were dispersed due to lack of resources. It's time to rethink the role of collectors and great fortunes in protecting our cultural heritage. Emanoel Araujo's legacy is an invaluable cultural heritage. As a nation, as a state, as a municipality and as companies, we have a responsibility to preserve this legacy and enrich our cultural heritage. Shouldn't the integrity of this collection be exposed to the public at least once?
This is the time to act, to find creative solutions to preserve Emanoel Araujo's collection and others like it. We cannot allow the auction to take place and then regret the irreparable loss of this valuable heritage. United, we can protect the present and ensure that future generations can enjoy the cultural richness that Emanoel Araujo so valued.
Abiniel João Nascimento / visual artist
Adriana Barretto Figueiredo / chef
Alan Diniz / journalist
Alice Yura / visual artist
Ana Gentil / visual artist
Ana Lenice Fonseca da Silva / psychologist and president of the Leonilson Project
Ana Rey / visual artist
Anna Biondo / visual artist
Arthur Arenari / journalist
Beatriz Lopes Paulino / lawyer
Beatriz Morgado / teacher
Beth da Matta / visual artist, cultural manager
Caroline Fucci / researcher
Daniela Castro / curator, artist, researcher
Eliana Francisca de Queiroz
Gabriel Pessoto / visual artist
Guilherme Borsatto / visual artist
Gustavo Torrezan / visual artist
Guta Galli / visual artist
iah bahia bruno de oak / visual artist
Izabel Pinheiro / gallerist
Jaqueline Votja / visual artist
José Patricio / visual artist
José Roberto Aguilar / visual artist
Júlia Buenaventura / curator
Júlia Pereira / visual artist
Juliana Notari Nascimento / visual artist
Jussi Szilágyi / visual artist
Laura Lima / visual artist
Leonardo Antan / curator, writer
Leonardo Nones / researcher
Liana Vila Nova / researcher, producer and curator.
Lília Malheiros / visual artist
Lu Grecco / architect, set designer
Luciana Molisani / editor
Luciana Monteiro / psychologist, visual artist
Manoel Sá and Benevides / collector
Marcelo Poloni / banker
Maria Amélia Sallum / business administrator in Art and Culture
Maria Aparecida de Oliveira Lopes / teacher
Michaela Affonso Ferreira Nardone / architect, visual artist
Milton Kanashiro / collector
Mônica de Souza Gouvêa / psychologist
Mônica Tinoco / artist and teacher
Nelson Fernando Inocencio da Silva / teacher
Paula Braga / teacher
Raimundo Rodriguez / visual artist
Renata Melo Barbosa do Nascimento / historian
Ricardo Alves / visual artist
Rita Leite Pereira / collector
Rita Maria Mourão Barbosa / Desapê manager
Shanon Botelho / curator
Sofia Carvalhosa / communications advisor
Sueli Espicalquis / visual artist
Tania Chreim / exhibition mediator
Thaís Hilal / gallerist
Yhuri Cruz da Silva / visual artist