On the occasion of the celebration of 200 years of Brazilian independence, which is celebrated on September 7, the Museum of Art of São Paulo (MASP) opened the exhibition Brazilian Stories, which offers a historical overview and points to a more comprehensive, diverse and multiple than that , which we officially know about the country.
The collective exhibition, which opened on Friday (28), occupies two floors of the institution and will remain open until October 30.
380 works by 250 artists and groups are exhibited, 24 of which are new. The works are exhibited on the first and second floors of the museum and are organized into eight thematic groups: Flags and Maps; landscapes and tropics; Land and Territory; Photographs; Riots and uprisings; Myths and rites; And parties.
The purpose of the exhibition is not to present the works in the context of art history, but to give them a social and political perspective that relates to the intimate, the personal, the customs and the everyday.
Histories from Brazil continues the museum’s project of presenting exhibitions dedicated to history, as it has already done in Stories of Childhood (2016), Stories of Sexuality (2017), Afro-Atlantic Stories (2018), Women’s Stories, Feminist Stories (2019). ).) and Dance Stories (2020). The history presented by the museum is not the one that appears in the official books, but rather the one that has a wider and more open meaning. The idea is to reconstruct this traditional history, review it and make room for challenges and reparations.
After facing protests from artists and the public for vetoing an exhibition of photographs of the Landless Movement (MST), the museum reversed its decision and the photographs are on display in the exhibition, in the Retaken section, whose curators also offered six of these photographs by Joao Zinclar, Andre Villarón and Edgar Canaico to be reprinted and distributed free to the public. It is also proposed to hold an online seminar, which will be broadcast on the Masp YouTube channel and on the MST platform.
In addition to photographs, the core of Retomadas discusses the present as a moment of restitution, restitution, and reclamation. “The preposition ‘again’, which distinguishes repetitions from an ethical and political point of view, does not mean a rescue or a return to a point that is supposed to have been before the colonial invasion. Away from the nostalgic and fetishistic dimension of coloniality itself, re-appropriation also means create, create fiction, transform,” core curators Clarissa Diniz and Sandra Benitez argue.
Visiting the exhibition starts from the first floor. The Flags and Maps section presents – from a more artistic and critical perspective – important historical elements such as the national flag. In the work Afro-Brazilian Flag (2022), for example, the artist Bruno Baptistelli changes the tones of the Brazilian flag to make it an Afro-Brazilian flag, where green and yellow are replaced by black and red.
The Landscapes and Tropics core features the photograph Nature Still Life 1 (2016) by Denilson Baniwa, which features the silhouette of a dead native silhouetted in the Amazon jungle, drawing attention to the devastation of the jungle caused by generations of invaders of native territories.
In the second basement is the Rebellions and Revolts core, which presents a range of works that aim to “reexamine and question official narratives about art and politics, challenging the myth of a peaceful country without wars. Its purpose is to present a counter-history,” say curators André Mesquita and Lilia Moritz Schwartz. In this core, the imperative “Lyutnia” (Fight!) appears repeatedly, even to a serigraph by Santarosa Barreto.
The exhibition has free admission on Tuesdays and Thursdays. In addition to the exhibition, MASP offers faculty meetings, conferences and dialogues. The exhibition has free admission on Tuesdays and Thursdays. In addition to the exhibition, MASP promotes faculty meetings, conferences and dialogues. To visit the exhibition, a mandatory ticket reservation is required on the museum page.