18 Jul 2022
Hello Hello Bahia writing
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The Museum of Modern Art of São Paulo has prepared a special program for the 37th edition of Panorama de Arte Brasileira, whose theme will be “Under the ashes, ember”. The event, which takes place between July 23, 2022 and January 15, 2023, will bring together 26 artists and will be curated by Claudinei Roberto da Silva, Vanessa Davidson, Cristiana Tejo and Cauê Alves. The visitation can be carried out from Tuesday to Sunday, from 10 am to 6 pm, and tickets will be available at www.mam.org.br/ingresso.
With the proposal to raise reflections on the confrontation of the emergency scenario of social and environmental agendas in Brazil, committing to the promotion of ethnic, gender and class equality, the exhibition has a significant number of unpublished works, including installations, photographs , paintings, videos and sculptures.
To contemplate this edition, the Museum of Modern Art of São Paulo sought to expand its borders, using the Jardim das Esculturas space, with work by Jaime Lauriano, as part of the circuit of works, and establishing a partnership with the Afro Brasil Museum that receives the works by the artists Davi de Jesus do Nascimento and Lídia Lisboa.
The educational program includes activations in the works, conversations with artists, mediated visits and workshops and includes discussions about heritage, history and territory in the work of Giselle Beiguelman, a film show curated by the artist duo RODRIGUEZREMOR, a workshop for the construction of a ceramic Japamala, among other activities.
The highlights of the program are Gustavo Torrezan, who brings to the public reflections on the power structures that historically shape collective organizations, as well as their cultural and identity constitutions. For Panorama, the artist brings works that approach the idea of the national flag and the relationship with coal, the result of the end of the ember. Jaime Lauriano invites us to examine the power structures contained in the production of History, highlighting the violent relationships maintained between institutions of power and State control. At Panorama, the artist presents new paintings and an installation with brazilwood seedlings distributed in the Sculpture Garden. Ana Mazzei also starts from research on historical moments and their representations in the history of art, building structures that, based on public interaction, reposition these symbols of power. Marina Camargo, on the other hand, exposes a map of Latin America made of rubber, exploring the notion of a malleable, frayed country, flexed in several directions.
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