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ENGLISH VERSION RETROSPECTIVES

in Porto Alegre, in the south of the between popular artists segregated by “As our conversations progressed, the idea
country, presents installation proposals the art system and renowned names, with of doing something in the context of the
that investigate architectures through whom they have close ties, in different 35th Bienal came up. Then came the idea of
the colorful reproduction of some of its biennials, over seven decades thinking about many artists, who are in the
elements. They exist in contrast to the by eduardo simões gallery, and had a history in the legitimation
white and modern curves of the Biennale of the biennials, especially those in São
building. Conceição, of African descent, what makes the sculptures of Bahian Paulo, at the Bienal Latinoamericana, at
does not replicate militant protests in his Agnaldo dos Santos (1926-1962) more Naïf and at the Mostra do Reescobrimento:
work. Although there are elements that prestigious by the art system than the Brasil+500”.
subtly suggest his ethnic origin, this is not carrancas of his fellow countryman – and The exhibition brings together works made
the theme that the artist focuses on. This, confessed reference in his artistic training with different techniques and media, by 42
let’s say, border, which establishes the field – Mestre Guarany (1884-1985)? Or even the artists from different generations, creations
of militancy, participatory art and supposed production of the Pernambuco painter Lúcia mostly belonging to the Station’s collection.
apolitical formalism is increasingly obsolete, Suanê (1922-2020) is abysmally less valued Placed side by side, the works speak for
as the work is not exactly about tension, but than the works of Alfredo Volpi (1896-1988), themselves: sometimes aesthetically,
about relocation, displacement of meanings with whom she shares poetic and language formally or thematically similar, they ask why
and senses. similarities? some artists were recognized and others
The work of photographer Rosa Gauditano, at the exhibition Reversos e Tranversos: were not. In addition to the examples cited
for example and by the way, expands the off-axis artists (and friends) at the above, Heráclito mentions Antonio Poteiro
debate around lesbian history in the country, biennials, on display in Station Gallery, (1925-2010) in contrast to Djanira, Marepe
but beyond that it reveals the gravity of a the artist and curator Ayrson Heraclitus (1970) and Alcides Pereira dos Santos (1932-
work that was previously little considered. investigates how issues of race or gender, 2007) and also an emblematic case:
The story she presents from her photos, among others, are probably at the basis “In 1951, at the first Bienal de São Paulo,
despite the advances observed in certain of the gradual segregation that occurred there were many of these artists [regarded
circles, generally continues in silence. between the so-called popular artists and as popular] in the selection for the show.
Here it gains breadth, as if establishing a those considered erudite, in a process And Heitor dos Prazeres [1898-1966], who
“temporary zone of freedom”, which outside consolidated over seven decades by the is this great multimedia artist, who is being
of this territory is banned by the agenda of biennials. very celebrated today, with a large ccbb
the so-called conservatives. “Volpi, this Italian immigrant artist, who exhibition, and parallel shows in private
The establishment of a vocabulary had been a house painter, was elected galleries, won a silver medal, with the canvas
that reflects the concerns of those who by a group as a great master, of great Milling, reminds the healer. “Heitor is a very
diverge will allow it to be incorporated formal intelligence, which removed him important artist for thinking precisely about
into the repertoire of everyday ideas and from a limbo of a primitive artist, without this turning point from modern art to, let’s
actions. Trivialized, this same glossary may elaboration. Almost a contemporary of Volpi, say, pop art. Then, we watch these artists
unfairly suggest that there already exists an Lucia was not as lucky. Was it a gender being turned away, in a way, or not invited
equitable representation of class, gender issue?” asks Heráclito, in an interview with to participate in the biennials”.
and race in the art environment. It can, arte!brasileiros. “Both, as artists, were Heráclito tells that in his researches for
even worse, suggest the predominance close, but today there is a great distance Reverse and Transverse managed to identify
of a group, previously stigmatized and of legitimacy. So, in this show, we build a “some very tense moments, at the same time
relegated, over another, which has always bridge between the artists to highlight the reflective”, when, for example, at the Bienal
been incensed and overrepresented. abyss that exists between these productions de São Paulo, pop art enters Brazil, with
The four curators of this Biennial, Diane in terms of recognition by the Brazilian art artists such as Andy Wahrol, Rauschenberg,
Lima, Kilomba Grada, Hélio Menezes and system. Volpi is not aesthetically superior Jasper Johns and Roy Lichtenstein. “With
Manuel Borja-Villel, bringing historicized to Lucia; both are very important in their their arrival at this very important institution
productions to the center of the pavilion, constructions and complexities. But they worldwide, which creates an art system,
such as that of Emanoel Araújo or those in are not seen in this horizontality”. the so-called popular artists leave, they
the process of historicization, such as the Reverse and Transverse began to be are not invited, because they lose space.
work of Rosa Gaditano and Sidney Amaral conceived last year, af er Vilma Eid, gallerist And at that moment, a harmful idea was
(1973-2017), take the risk of signaling to the in charge of the Station, saw the exhibition articulated that Brazilian contemporary art
need to precisely validate the permanence Yoruba, in which Heráclito brought together could not be understood based on those
and circulation of today’s experiences and almost 40 years of my artistic production at popular references”, he says.
stories from others that were once also Pinacoteca de São Paulo. Eid was already The curator points out that artists such
perceived as divergent. familiar with his work as a curator at the as J. Cunha (1948), Aurelino dos Santos
exhibition Afro-Atlantic Stories, presented in (1942) and even Heitor dos Prazeres
2018 by Masp. Heráclito, in turn, considers establish relationships “with pop, with
exhibition são paulo [pages 42 to 47]
himself a “great visitor” to the Station, “a this mass culture, from the perspective
‘REVERSOS E gallery that has a very diverse collection, of large urban centers, large cities” . Even
TRANSVERSOS’ SEEKS especially of Afro-Brazilian artists and, more so, they are excluded from the art system.
Among the contemporaries also present at
recently, more and more indigenous artists”.
TO DISSOLVE THE Invitation accepted, the curator, who the exhibition, Heráclito mentions Xadalu
DICHOTOMY BETWEEN is also one of the artists selected for the Tupã Jekupé, selected for the 1 Biennial of
st
POPULAR AND 35th Bienal de São Paulo, initially thought the Amazons, and Dalton Paula (1982), for
of holding individual shows at the gallery,
him an “example of overcoming obstacles”.
ERUDITE ART “names that I thought were important to “When he started producing, Dalton was
Curated by Ayrson Heráclito, the exhibition present to the gallery and to present, mainly, much closer to the Bienal Naïf – a term
at Galeria Estação establishes parallels to the São Paulo art system. Paul,” he says. that I find very prejudiced, because it takes
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