[ text Joao Flor de Maio and Renata Oliveira]
The Art Biennial of Sao Paolo , the largest event of its kind in America and one of the oldest (along with the Venice Biennale), has recently gone through several crises due to mismanagement and the crisis of art in itself . These problems have occurred in the penultimate Biennale (the one in 2008), in which there were several protests by artists and activists. There was, for example, in the exhibition building, a completely empty, the editor in response to the crisis and, quite rightly, there was controversy in the action of some artists who wrote sentences on the walls in protest. The authors of the claimed a renewal of the event is a political position clearer art. In a short time, the Biennial of 2008 was called the "Biennale of the Void."
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| [the empty floor of the Bienal do Vazio] |
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| [the sentences of protest artists] |
Judging the works on display at the Palais des Arts in Belo Horizonte from January 2011 it seems that the curators of the Biennale of 2010 have better understood the message. Belo Horizonte?! But we were not talking about the Biennial in Sao Paolo? In fact, the proposal to bring a selection of what was exhibited in 2010 in Sao Paolo in various capitals of the country, is an essential part of the program of the new Biennale. The core is a survey about the different facets that the combination of art / politics can generate.
The answer is perhaps the only interesting as possible before the problems faced by art, the Biennale itself and the convulsive world in which we live today. World in which, perhaps, we have always lived. Simultaneous cutting serves to demonstrate that the works speak of today's problems, temporal spaces in which we put questions and proposals.
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| [a very political Biennale. Gil Vicente, the presidents of self-killing half the world] |
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| [photo of the room: Bureau for Research Into Brazilian Normality] |
Belo Horizonte, the first city visited by the works, has received very appropriate. In addition to the more recent work has been made a historical digression, which predominate in the works of the 60 and 70, some of which included the controversial exhibition opening of the Palace of Arts and even in the cultural center they have been exposed now. During the same period in which they were conceived was the military dictatorship in Brazil, while in Europe and the United States lived with a post-war cultural life like no other. These works are very useful to historical and cultural context of the country and many of the works of young artists present in the exhibition take their inspiration directly from the time that it challenged the boundaries between democracy and authoritarianism, but unfortunately you can draw a parallel with our time worrying which the governor-elect of Belo Horizonte acts as an authoritarian dictator, and it is not the only one around the world ...
however, draws attention a more contemporary work that you do not use blood, sweat and tears - at least not in obvious form used in most of the works, this is the "Brazilian Centre for Research on Normal," by Jimmie Durham USA. In this work the artist has simply placed in a room a series of articles, newspaper clippings, magazines, photographs and excerpts from treatises of Brazilian sociology, with a shocking result. In this veritable museum of costume sketches are not what Brazil is a tropical paradise, but a place rich in all types of violence. I do not speak of violence against tourists "gringos" assaulted the beaches of Rio, but instead of violence that is perpetuated every day, 500 years in a country that insists on using the blood of his own people as a lubricant for the economy. The look of the alien (a privileged observer of the contemporary) has allowed the artist to highlight details that subvert some historical notions quite common in Brazil, especially the positions of ruler and ruled.
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| [landing platform for helicopters of Sao Paolo ] |
Assembly helps to see as the Brazilians are not only victims of European or U.S. imperialist domination. We are also perpetrators of ourselves and we refuse to acknowledge our own country. Often imitated so grotesque that people pointed out as conquerors, and sometimes invoke as saviors. We fear a barbarism that could put in front of the warmth of our tropical their true nakedness. Some may be naive to say that the artist was a hypocrite, he is one of the most violent countries in the world, or that he just does not understand the local culture. I as a Brazilian I would not have difficulties in using " Brazilian cannibalism" to say that his vision is valid, interesting and just so we have to swallow it whole! And here we introduce the power of the work is not understood "other," shows that we ourselves are the "other". Westerners identify this "other" as the difference, often by inserting the definition of "pharmacy" of multiculturalism. Do not you remember that multiculturalism is a term that in itself already implies a bias, outpacing human groups and cultures. Terence wrote: I am human and nothing human is alien to me what. " Perhaps for this reason, the object that impressed me most in the room staged by Jimmie Durham, placed in parete and isolate, è uno specchio.
to view the version Portuguese click here to below
The Bienal de Arte de Sao Paulo, the largest event of its kind in America and one of the oldest in the world (along with the Venice Biennale) went through a recent crises linked to poor DIRECTORS event and the very crisis of contemporary art. These problems were reflected in the penultimate biennial, in which events occurred as the defacement of the building by a group of artists / activists. There was this empty pavement a biennial, curator's response to the crisis, and precisely where the action occurred controversy. The authors called for the renewal of the event and a clearer political position of art. In time, the void deck just giving the biennial derogatory nickname for the 2008 Biennial empty ...
The curators of the Biennial of 2010 seems to have understood the message better, judging by the works currently on display at the Arts Palace in Belo Horizonte. Belo Horizonte?! But we're not talking about the Biennial of Sao Paulo? Yeah, the proposal to bring a selection of what was exposed in 2010 to various capitals of the country is part of the required biennial review of the proposal. The curatorial was the art / politics in various degrees of relationship that might give rise to such terms. The interesting response is perhaps only possible on the problems faced by art, by the biennial and the convulsive world in which we live today. World in which, perhaps, have always lived, the current crop goes to show that the work speaks to today's problems, time in which they operate their questions and their proposals.
Belo Horizonte, the first city visited by the striking works receives them in a very opportune time. In addition to the more recent works was made a historical view, which dominate the works of the '60s and '70s, some of them included in the controversial exhibition opening of the Palace of Arts, the same cultural center where they are now exposed. At the same time Brazil was a military dictatorship and post war in Europe and the United States brought enormous political and cultural effervescence. Works are to stem the socio-cultural country and many of the works of young contemporary artists in the exhibition bring explicit reference to the same historical period. Time limits for opposition between democracy and authoritarianism, it is possible to make a disturbing parallel with the current reality in which the elected mayor of Belo Horizonte acts as an authoritarian dictator, and not the only one around the world ...
However, he draws attention to a more contemporary and not using blood, sweat and tears - at least not as obvious as the majority: "It is the " Research Center of Brazilian Normality "by Jimmie Durham USA
this work, the artist simply puts the room in a series of objects, cuts from newspapers, magazines, photographs and snippets of sociology dealt with Brazilians in a confusing result. In this veritable museum of costumes that you draw is not a tropical paradise but a place rich in all kinds of violence. I do not speak of violence against the gringo tourist mugged on the beaches of Rio, but the violence daily to 500 years in a country that insists on using the blood of his own people as a lubricant for the economy itself. look abroad allowed the artist to emphasize details that overturn some historical notions current in Brazil, especially the role of dominant and dominated. The assembly allows you to see how the Brazilians are not only victims of European or American imperialist domination. We also alienate ourselves and we refuse to recognize our own nation. Often imitated so grotesque that people sometimes declared as explorers, and others as saviors. We fear a barbarism that dares to face the heat of the tropics with the truth of nudity. Some might say that the naive artist was hypocritical, he who comes from one of the most violent countries on earth, or he does not understand the local culture. As a Brazilian I would have no difficulty in using the "Brazilian cannibalism" to say that his view is valid, interesting and therefore should be eaten by us. So even if the power enters the work, it is not unreadable to the "other", it shows that we are the other. Westerners only identify the difference that other, sometimes snapping it into soft expression of multiculturalism. Do not you remember that multiculturalism is a term that already relies on itself to a bias away different human groups, different cultures. It was for the Roman poet Terence "I am a man and nothing that is human is alien to me." It is not without reason that the object that struck me the room Jimmie Durham, placed on the wall in a prominent position, is a mirror.
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