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the damage caused by the construction of stretched out into infinity. I want moqueca!” the exhibition ReFoundation is part of a
indigenous boarding schools that operated When I finished reading it I thought, phew!, utopian perspective on the social mobility
in Catholic boarding schools, built in I’m glad I didn’t get confused by this text of art that began with the designer, sculptor
indigenous territories. “In my region, in that has the soul of the exhibition Forrobodó, and professor from Rio de Janeiro Nelson
the interior of Amazonas, there were some whose party/vernissage took place at the Felix exactly five years ago. In 2018,
of these institutions that forced children headquarters of A Gentil Carioca, in the during the 33rd São Paulo Biennial, Felix,
to go there and forget their language and heart of Rio, with crazy performances with commissioned by the foundation to create
identity. My parents and grandparents were the look of an early carnival. a work, chose to carry out his work outside
also hospitalized and were lef with trauma. Ibirapuera, at Ocupação. That work, titled
The presence of foreigners in catechesis exhibition são paulo [pages 56 and 60] Schizophrenia of fashion and ecstasy, whose
contributed to the disappearance of the duration would be 24 hours and would cover
language of indigenous people of various TRATAGEMS OF the spring equinox (which, in 2018, occurred
ethnicities throughout Brazil”. RESISTANCE TO FASCISM at 22:54 pm on September 22), consisted of a
Arbitrariness and threats still spread sculpture composed of iron, steel cable and
across various locations today and cause Collective with 134 artists at Ocupação two mandacarus of seven meters each on
terror, which is why many indigenous people 9 de Julho brings to the center of the the building’s gables (continuity of the series
become Catholics, and those who resist are debate the role of art as a lever for of sculptures that Felix had assembled on
demonized. The name of the exhibition is social and political affirmation the 2nd floor of the Bienal Pavilion). Af er
taken from the book Moqueca de Marido: by jotabê medeiros installing the pieces, the artist used the
Indigenous erotic myths, by Beth Mindlin. bathroom wall of the occupation gallery to
“The publication brings together several with 134 artists and collectives outline his work (and principles) in in situ
sensual, erotic, scatological stories that I to date (new enlistments are expected drawings, in the manner of still life painters.
brought into the research. Catechization throughout its duration, until January 28, This intervention is still there, as if passing
created a taboo on sin, with all forms of 2024), the exhibition ReFoundation, which the baton for the new ongoing exhibition.
punishment, including repressing sexual reopened on Saturday, September 2nd, On the internal staircase of the building
freedom, for example, and this brings Galeria Reocupa, at Ocupação 9 de Julho that gives access to the three floors there is a
trauma. The abuse is historic, but now (Rua Álvaro de Carvalho, 427), presents matte fabric panel with an unprecedented 7
we have the possibility of restructuring an unprecedented opportunity to witness meter long drawing by Lia Chaia, the Ossilda
indigenous society. It is clear that knowing the result of a visual arts exhibition whose (2023, with the figure of a human skeleton
what happened in the past and still happens, originating impulse is totally democratic, superimposed on the photograph of the
reconstruction needs to be carried out, and entirely collectivist and open-minded. To building’s facade), which accompanies the
from today onwards”. give you an idea: with private, governmental visitor on the route. There is no hierarchy
Denilson points out the excess of other support and incentive laws, the 35th São of spaces between renowned artists, such
myths coming from outside, whether due to Paulo Biennial will have 121 invited artists. as Rivane Neuenschwander, Ernesto Neto
religion or mass culture. “In this exhibition The Ocupação 9 de Julho exhibition, and Leda Catunda, and the local artist
there are works that talk about still ancient organized by the Movimento Sem Teto do collectives themselves, such as Bordadeiras
mythologies, one of them reconstructs the Centro (mstc) has 134 participants so far Ocupa (the Borda & Ocupa mstc group),
talk about the possibility of finding heaven, only with the collective effort of organization formed by 13 people, especially women
a heaven that we know exists, but we don’t and assembly. from the occupation.
know, and that everyone says is good”. It is no coincidence that Ocupação “The exhibition proposes a review of
Denilson comments on two mythologies 9 de Julho has become the object of an existing political marks and cracks in our
contained in this legend. The first talks about extraordinary focus of the art sonar at historical narrative, at the same time that
a party in the sky, where only those who fly this moment: the popular gastronomy it reflects the need to create other ways
could enter. A tortoise heard that heaven experience of its community kitchen has of thinking, relating and practicing art in
was fun and wanted to go, so he got into a been one of the stars of the recently opened the world”, said artist Preta Ferreira, artist
bird’s bag. When he got there he didn’t like 35th Bienal de São Paulo – choreographies and activist who spent more than 100 days
what he saw, he wanted to go back, but as of the impossible, a mega-exhibition in prison for her work in the Homeless
he can’t fly he stayed there, slipped and fell underway at the Ibirapuera Park Biennial Movement in the Center and in the Fight
to the ground, which is why their carcasses Pavilion. Also set up in volunteer efforts for Housing Front in the city of São Paulo.
are flat. “When the Catholic church arrives (the kitchen has, for example, an oven Preta Ferreira’s definition circumscribes the
and promises us redemption in heaven, no collected by the artist Ding Musa from a motivations that led to the agglutination of
one understands what heaven this is, so we Brazilian woman who made cakes and, af er artists present in the ReFoundation: social
lose the strength of our bodies and thoughts marrying a German, went to live in Europe concern, activism for fundamental human
that are available to this heaven. This work and donated the piece), the kitchen was rights, commitment and proximity to social
talks about these possible heavens that opened in 2017 and consolidated its action movements and affirmative themes.
enslave you.” during the Covid-19 pandemic, today serving The artist Guilherme Bretas, for example,
The anthropologist and filmmaker Carlos around a thousand meals a day (half of them sought material from the pioneering past for
Fausto, who curates this exhibition, writes in for homeless people) and using organic his aesthetic engagement between memory,
his text: “Denilson puts on stage the forms products from family farming and its own politics, technology and History. He created,
of eating, sexual and cannibalistic, in which garden. on an old monitor, an animation that uses
people and animals mix, the enlightened Installed symbiotically in the Ocupação 1837th century photos of black people found
nun receives a vibrator, the tapir with his building, in the gallery on the ground in the collection of pioneer photographer
huge penis he dances close to the girl, a floor and on the 1st, 2nd and 3rd floors, Militão Augusto de Azevedo (1905-xnumx).
couple sucks a spaghetti of intestines and a between the apartments and the routine Using Artificial Intelligence, Bretas
woman delicately and sensually devours her of the approximately 400 people who live created an animation of the anonymous
husband’s arm, lying in his hammock-canoe there, with residents as visitor monitors, photographs, displayed in black & white
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