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ENGLISH VERSION RETROSPECTIVES

with a new “life”, as he explained. “When Affinity can then be demonstrated by the sale of works, part of the resources will
delving into the Militão collection, I found proximity itself, as is the case of the artists be directed directly to the needs of the mstc
photographs of black people of all types, who already live there, such as André and part will be reverted, in an equitable way,
such as engineers, architects. This was Chiarati, resident of the 13th floor, or by long to benefits for all artists participating in the
something that affected me, with the vision collaboration, such as the jamac collective exhibition. The Gallery does not seek profit
they gave us. We always have this idea that (acronym for Jardim Miriam Arte Clube, a or pay any remuneration to the organizing
black people were limited to slave labor space culture of the south zone of São Paulo, members, except for the two hired educators
during this period,” he said. created by the artist Mônica Nador in 2004, and the exhibition’s assemblers.
André Komatsu plays a double role in with collective action and management).
ReFoundation: he is part of a curatorial This could give rise to the conclusion
organization committee and exhibits his that the discourse, the pamphlet approach, exhibition porto alegre [pages 62 and 65]
work there at the same time. In the large predominates. There is no demonization DELICATE BALANCE
gallery, Komatsu exhibits Crónica, a work of the pamphlet, on the contrary: from the
from the series Social contract which he triptych of the renowned Cinthia Marcelle In “Ajuntamentos”, on display at Fundação
started in 2018, lead sheet origami with (a drawing in which a rack of t-shirts and Iberê Camargo, Afonso Tostes once again
which he covers part of the body of a copy the first one bears the inscription “Private focuses on the concepts of essence and
of a certain press vehicle (leaving out only property created crime”) to the plaques simplicity, in works that evoke the tenuous
stability of his structures
the name of the journalistic company). The from the Mangue Archive (Camila Mota and
object forms a kind of shield. “Thinking Cafira Zoé ), with phrases like “Everything by eduardo simões
about the material, both the newspaper alive corrodes”, politics permeates the
and the lead, I see this double function, interventions. This policy is, however, the until october 22 , the Iberê Camargo
nd
both protection and poisoning”, pondered admission that it is necessary to continually Foundation, in Porto Alegre (rs), receives
the artist. “Lead is toxic; the newspaper, act in the social fabric to affirm common wills, Gatherings, by the Minas Gerais artist Afonso
the ink used, is also toxic. And seeing this rights, perceptions, and this ranges from Tostes. The exhibition brings developments
relationship of conveying information as the Ocupação 9 de Julho Kitchen (“Cooking from the show of the same name that at the
one of the founding and constructing bases is revolutionary”) to the photographs of the beginning of the year marked Tostes’ debut
of reality, (I see) that it is information that Retratistas do Morro – a work to recover at Galeria Luciana Brito, in São Paulo – until
is coordinated, manipulated and directed the experience of photographers who lived then, he was represented in the capital of
according to private interests. Therefore, and worked in favelas, recording the daily São Paulo by Milan.
in this series, I propose several geometric ways of life of their communities over the At the Fundação Gaúcha, at the center
reformulations and leaving only the name last 50 years. of the exhibition, the public will find large
of the vehicle”. Crónica is the name of a Themes dear to the Occupation, such wooden sculptures that refer to totemic
Mexican newspaper. as housing, food, social protagonism and forms, as Luisa Duarte defined in her
Komatsu, as well as Ding Musa and other emancipation predominate, but there are curatorial text for an exhibition previously
members of the exhibition, are part of the also works that evoke very recent and new held in São Paulo. The works were created
body of collective decisions that articulated conflicts. These are the cases, for example, from trunks, mostly collected in Ibirapuera
the exhibition. As it is a collective action, the of the works of Fumaça Antifascista and the Park, in the capital of São Paulo, but also in
answer to questions of arte!Brasileiros work Listing Process. In the latter, Elton Rio de Janeiro, where Tostes lives.
on the choice process was also prepared Hipólito presents the following working These sculptures have a “tenuous
collectively and sent af er a short debate. material: “Acrylic paint on fabric and wooden stability”, also as described by Duarte. A
“The de-hierarchization of artists, evident support on the Federal Constitution of 1988”. delicate balance is maintained, suggests
and intentional in the exhibition, is manifest It is a reconstruction of the coup invasion Tostes, with the support of wedges and thin,
not only as an organizational proposal, but of the headquarters of the Three Brazilian twisted structures, which imitate branches,
above all as a reference to the diverse and Powers on January 8th of this year, a painting also made by the artist with pieces of wood,
legitimate ways of existing, in society and in of the coup plotters with football team and which he calls walking sticks.
art”, state the organizers in their response. t-shirts perched on the symbolic statue of “I started developing these works at least
“This non-vertical way of operating is present Justice – the entire work is supported by a five years ago, even before the exhibition at
in the exhibition and in the way we organize wooden raf er, comment by the artist about Luciana Brito, but they had not been shown
Galeria ReOcupa. From the beginning, all the fragility of democracy. A ReFoundation until then”, says Tostes to arte!brasileiros.
decisions made came from a collective and It takes place in the still hot terrain of recent “They, however, do not represent a major
horizontal discussion.” fascist attacks, but its testimony is that departure from my line of work, nor do they
In this way, the artist is already integrated of resistance and the strength of survival follow a logical sequence. My creative
with an idea, a purpose, contained in the strategies in the face of circumstances. process is always linked to the materials I
theme of ReFoundation. “Over the seven “The sharing of exhibition space between collect and interact with in my studio.”
months of organizing the exhibition, each already established artists (in institutions and The ideas that emerge from this
member of the collective nominated artists in the market), from different generations, coexistence, says Tostes – within his field
who were voted on by the group. Af er that, at the beginning of their careers, possibly of research on nature, the environment and
the lists were analyzed to ensure parity uninteresting to market models, and artists the relationship with the environment, urban
between the artists. There was a long and with less visibility, are indications of the desire or natural – remain, “simmering” in his head
democratic process to guarantee a balance for a society in which everyone can enjoy until they flow into the works he presents
of presence. Thus, dehierarchization did the benefits, recognition and opportunities to the public. “When I do an exhibition like
not appear spontaneously in the result. It generated by their productions”, say the gatherings, I am not only gathering those
was the result of conscious, democratic organizers, who intend to make the exhibition ideas, but also working on my references,
and judicious work of conversations and itinerant, taking it to other cultural spaces in experiences, the observation of what, I
adjustments”, explained the organizers of the country. One of the signs of the idea of understand, forms me as an artist.”
the exhibition. opposing the logic of the market is that, from Tostes also states that these works
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