Professional Documents
Culture Documents
Zona de Poesia Árida
Zona de Poesia Árida
Zona de Poesia Árida
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COnTRAFIL
Monumento catraca invisvel
[Monument to the invisible turnstile]
2004
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Arid Poetry Zone presents the set of more than 55 works by 16 So Paulo art
and activism collectives present in the MAR Collection. These works make up
the Collective Creativity Fund/Funarte formed by means of the 6th edition of the
Marcantonio Vilaa Plastic Arts Award, an initiative of great importance in the
field of cultural public politics in this country. The museum is grateful to Funarte
and to the artists for having chosen MAR and for the privilege of housing this
unique set of artworks among the countrys public collections.
This group of artworks shows that MAR is a museum of processes: The
Collective Creativity Fund is a fundamental breakdown of the presence of several
collectives and groups from So Paulo in the inaugural exhibition The Shelter
and the Land, which debated the right to the city and to housing, as well as
the relationship between public and private. In 2014, the MAR at the Academy
programme presented the seminar City, Art and Architecture: Social Housing
in Brazil, in partnership with PROURB/UFRJ, Instituto Casa, ETH-Zrich and
Swissnex Brazil. The production of artists, activists and members of social
movements is a point of inflection on Brazilian art history, which demands to
be thought of critically. It becomes necessary to collect, to exhibit and to reflect
upon this production, so that its pressing issues social, aesthetical, political,
economic encounter resonance, increasing its public and the historical
significance of its struggles.
The incorporation of this set into the MAR Collection forms the bases for
discussion around the processes of public circulation and institutionalization of art
and, in a general sense, of the practices of creation and resistance of society a
key debate which requires a renewed capacity of self-analysis from institutions.
As such, the agenda of institutional critique is yet another important step for the
museum, one that has been applied since The Shelter and the Land and advancing
through exhibitions like Stratigraphic Turbidities Yuri Firmeza, Eu Como Voc
Grupo EmpreZa or the current exhibition Museum of the Man of the Northeast.
Arid Poetry Zone demonstrates the established new practices of the 2000s,
which crisscross strategies of art and an especially intense form of activism.
It is, in the end, with a desire to reverberate this potential of confrontation and
invention that the Collective Creativity Fund becomes consolidated. After all, the
Museu de Arte do Rio, as an institution that appeared in the 21st century and
that faces the challenges posed by the current cultural sociopolitical context,
understands that the continued activation of this field of investigations is part of
its responsibilities.
Museu de Arte do Rio MAR
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Poltica do Impossvel
Cidade luz
[Light city],
2008
Frente 3 de Fevereiro
Onde esto os negros?
[Where are the black people?],
2005
BijaRI
Cartaz gentrificado
[Gentrification poster],
2005
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Nova Pasta
A Revolta dos Burros
[The Donkey Revolt],
2012
contra fil
Monumento catraca invisvel
[Monument to the invisible turnstile]
2004
Esqueleto Coletivo
Passagens
[Pathways],
2005
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FREnTE 3 dE FEVEREIRO
Zumbi somos ns
[We are Zumbi], 2006
foto [photo]: Jlia Vallengo
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turnstile, by the Contrafil collective, in which the symbol of the turnstile and
its tacit disturnstilation has been upgraded to a landmark of resistance.
These are works by a generation that lived and created a trajectory together,
a repertoire, a singular group of actions in one of the biggest metropolises in
the world. A generation that tore up institutional space right up to public life,
crossing and being crossed by various social movements.
It is not just the most relevant works of part of this generation of So Paulo
art collectives from the start of the 21st century that are brought together. An
Arid Poetry Zone is also constructed, which has the city and its cracks as its
topography.
Daniel Lima and Tlio Tavares, curators
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CIA CACHORRA
Zona de poesia rida
[Arid poetry zone], 2006
foto [photo]: Antnia Brasiliano
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Ocupeacidade
Projeto kombi
[Combi project],
2009
ELEFANTE
Dignidade
[Dignity],
2005
Esqueleto Coletivo
Vida x propriedade
[Life versus property],
2003
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MICO
Chega de Mickey: 500 anos de mico!
[Enough of Mickey: 500 years of faux pas!],
2000
Catadores de Histrias
Ocupao Guapira
[Guapira squat],
2004
Catadores de Histrias
Ocupao Guapira
[Guapira squat],
2004
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dissemination. Art speaks of social time, it changes the course of historic time
and transforms society.
We live in war in the city of So Paulo. It starts here, with the hypothesis that
the art collectives using public space as the field of action all had something
in common. Collective artistic projects question the relationship between art,
politics and issues of life in this city, which produces a strategically excluded
space. They operate in a minefield, where it might not be possible to enter
without putting themselves at risk.
Hence the search by grassroots movements, to go to the city, to the squats, to
abandoned places, places that no one sees. We knew that new symbols could be
produced, even if they were symbols that might fall out of the category of art.
Because these groups stopped being an art movement and became a movement
of the city, environmental, political and social, bringing the field of art closer
to that of political activism, as a result of interventions in non-institutionalised
spaces and with an eminently critical character.
The art world didnt understand then what was happening: the reference to art
is annihilated. We werent better understood by theorists or even by ourselves.
We ended up losing ourselves. There were symbolic barricades against the
police; signs advertising real estate were stolen from the streets, repainted with
forms and designs by the EIA collective. Things were never in any form of order,
far from anything recognisable. How do you create a symbolic artistic barrier
which interrupts the actions of the police on a day of eviction? The police would
have to remove artwork from their path, to invade the squat and take people out.
Those barriers made from real estate signs were being repeated, until they were
repainted by the Elefante collective and ended up with the word DIGNITY. Now it
was possible to understand a little better. Now it is no longer a work of art trying
to block the arrival of the police, it is the word DIGNITY. They were barriers
because those signs had a physical size for this, and we imagined the riot police
arriving and trying to take many things from inside. But now they would mainly
have to remove the word DIGNITY.
The artists that produced art at that time used to manipulate information, they
would manipulate how a certain group of social housing would be seen by the
media. Everything very plastic, everything very imagetic.
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It wasnt easy, it wasnt simple. It was a moment of great tension. In the air was
the danger of having to leave running in the middle of the night. We were there
producing art, experimenting.
I believe that the movement of these collectives will become famous when they
no longer pose a threat, when it no longer smells like shit, when it becomes
photos, films, books, masters degrees, PhDs, post-theses, to appear in large
biennales and museums in order to say why that symbolic act was important.
Right in the moment when the movement appears to be perfume is when the
virus, implanted there at the back, right at the start, before the hurricane forms,
will be eternally unbalancing, messing things up, disorganising and disrupting.
New people there at the front, even with things neatly packaged, will be coopted by this disorganising virus. They will think powerful, potent things and
continue to disintegrate. That is bigger intention, that all this history is an eternal
disintegrating element of absolute values. A viral process of collective agency
of temporary autonomous zones, produced starting from incessant dissenting
recompositions and not from a logic of consensus. They are facts that point to
the limits between the power of subversions and the power of co-option within
the system of art and life; a moment in which the art system and the political
and economic system manage to take ownership of every critical movement of
disruption.
They are becomings of a historical construction, actions and absurd or surreal
interferences in time and some place in the universe that is infinite.
Present in this text are the voices of Sebastio de Oliveira Neto, Ricardo Rosas,
Andr Mesquita, Fabiane Borges, Flavia Sammarone, Milena Durante, Ricardo
Basbaum, Plato.
Tlio Tavares
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BIjARI
Poderes
[Powers],
2011
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make Escape
Arent we the asphalt of this street? Arent we the cement of these walls? Arent
we the windows of this time that are always flung open, always and always? We
came to mark this territory with another poetry. To create another world. We came
for the practice of a politics that is impossible and infinite. To multiply stories
everywhere without words, on the streets, at home, in circles of conversation, in
couples, in affection, in struggle. We allow ourselves an emergency exit.
The knot, the tangle, the path. This is not about attempting to untangle and bring
order to what is chaotic. But rather, to find the ends of wires in the turmoil. To
offer departures.
To this fascism of power, we oppose the positive and active lines of flight,
because these lines lead to desire, to machines of desire and to the organisation
of a social field of desire: it is not about escaping personally, but to make
escape, like when a pipe or an abscess bursts. To allow streams to flow, under
the social codes that want to cannibalise, to block them.
Flix Guattari. Conversations, 1972
Where are these shortcuts, these passages to the cities behind the city? Where
can we find these routes, these straight paths? In what situations can we be
sucked in, taken to the other side of the mirror?
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fazer fugir
No somos o asfalto desta rua? No somos o cimento destes muros? No
somos as janelas deste tempo que se escancara sempre, sempre e sempre?
Viemos para marcar este territrio com outra potica. Criar outro mundo.
Viemos para a prtica de uma poltica impossvel e infinita. Multiplicar histrias
sem palavras em toda parte, nas ruas, nas casas, nas rodas de conversa, nos
casais, no afeto, na luta. Nos damos a permisso de uma sada de emergncia.
...
O n, o emaranhado, o caminho. No se trata de tentar desembaraar e trazer
ordem ao catico. Mas, sim, encontrar no tumulto pontas de fios. Oferecer
partidas.
...
A esse fascismo do poder, ns contrapomos as linhas de fuga ativas e positivas,
porque essas linhas conduzem ao desejo, s mquinas do desejo e organizao
de um campo social de desejo: no se trata de cada um fugir pessoalmente,
mas de fazer fugir, como quando se arrebenta um cano ou um abscesso. Fazer
passar fluxos, sob os cdigos sociais que os querem canalizar, barrar.
Flix Guattari. Conversaes, 1972
...
O perigo maior da interveno: deixar de ser apario e se tornar cena. Correse o risco constante de perder sua dimenso de desterritorializao e apenas
assumir uma reterritorializao. Uma experincia que, em vez de apagar os
contornos, os refaz em outro contexto, deixando apenas espaos para pequenas
variveis. A apario nunca sabemos se completamente real, existe certa
translucidez. possvel ver atravs, atravessar o fato. O surgimento da apario
permite ver juntos o contnuo e o descontnuo da situao.
...
Onde esto esses atalhos, essas passagens para as cidades por trs da cidade?
Onde podemos achar essas veredas, esses caminhos estreitos? Em que
situaes podemos ser sugados, tomados para esse outro lado do espelho?
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In some areas, you dig a little and soon on the surface gush countless repressed
forces. Many holes lead to an arid geology. Vibrations indicate light lands of sand,
deep walls of granite, distinct porosities. We project complex mazes. We squeeze
into straight tunnels in order to, occasionally, open passages to new worlds.
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Drago da Gravura
Integrao sem posse
[Integration without property],
2005
COBAIA
A insero da dvida no espao pblico
[The insertion of doubt into public space],
2012
Espao Coringa
Sem ttulo
[Untitled],
2003
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Cia Cachorra
Lona rubra
[Crimson canvas],
2010
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credits
exhibition
Curators
Daniel Lima
Tlio Tavares
Concept
Bijari
Daniel Lima
Eduardo Verderame
Mariana Cavalcante
Tlio Tavares
Research
Bia Martins
Graphic Design
Bijari
Exhibition Design
Mariana Cavalcante
Production
Bruna Tavares
Paula Maia
Carpentry
Humberto de Oliveira Silva
Automation
Info Pantoja
Rossini Maltoni
Setup of Artworks
Amf
Igor Vidor
Pablo Vieira
Silvio de Camillis Borges
Rio Hiking
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crditos
exposiO
Curadoria
Daniel Lima
Tlio Tavares
Concepo
Bijari
Daniel Lima
Eduardo Verderame
Mariana Cavalcante
Tlio Tavares
Pesquisa
Bia Martins
Design GrFicO
Bijari
Projeto Expogrfico
Mariana Cavalcante
Produo
Bruna Tavares
Paula Maia
Cenotcnica
Humberto de Oliveira Silva
Automao
Info Pantoja
Rossini Maltoni
Equipe de Montagem
Amf
Igor Vidor
Pablo Vieira
Silvio de Camillis Borges
Rio Hiking
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CONCEPO
CONCEPO E
E REALIZAO
REALIZAO
Parceiros
Museu de Arte do Rio - MAR
MANTENEDOR
MANTENEDOR
PATROCNIO
PATROCNIO
CONCEPO E REALIZAO
MANTENEDOR
PATROCNIO
APOIO
APOIO
GESTO
GESTO
REALIZAO
REALIZAO
APOIO
GESTO
REALIZAO
Exposies/Exhibitions
Horrios de visitao especial
de vero
teras e sextas de MAR de Msica
>das 10h s 20h (acesso at 19h)
demais dias > das 10h s 18h (acesso
at 17h30)
segundas > fechado
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