{"id":42895,"date":"2016-01-09T15:57:05","date_gmt":"2016-01-09T17:57:05","guid":{"rendered":"https:\/\/galerialeme.com\/?post_type=expo&p=42895"},"modified":"2023-12-05T19:40:21","modified_gmt":"2023-12-05T19:40:21","slug":"totemonumento","status":"publish","type":"expo","link":"https:\/\/galerialeme.com\/en\/expo\/totemonumento\/","title":{"rendered":"Totemonumento (curated by Isabella Rjeille)"},"content":{"rendered":"","protected":false},"featured_media":42926,"template":"","meta":{"_acf_changed":false,"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","_uag_custom_page_level_css":"","footnotes":""},"expo_year":[78],"class_list":["post-42895","expo","type-expo","status-publish","has-post-thumbnail","hentry","expo_year-2016-en"],"acf":[],"spectra_custom_meta":{"_wpml_word_count":["{\"total\":0,\"to_translate\":{\"en\":2,\"pt-br\":2}}"],"_edit_lock":["1701805090:4"],"_edit_last":["4"],"_wpml_media_featured":["1"],"_wpml_media_duplicate":["1"],"_last_translation_edit_mode":["native-editor"],"leme_artist":["Cildo Meirelles, Clara Ianni, Erica Ferrari, Frederico Filippi, Jaime Lauriano, Jos\u00e9 Carlos Martinat, Raphael Escobar and Regina Parra"],"_leme_artist":["field_6436bf3605737"],"expo_description":["The dialogue with the dead must not stop until they deliver\r\n\r\nthe future which has been buried with them\r\n\r\nHeiner M\u00fcller\r\n\r\n \r\n\r\nIn the original sense, a monument can be understood as \u201ca work of man erected for the specific purpose of keeping particular human deeds or destinies (or a complex accumulation thereof) alive and present in the conciousness of future generation.\u201d[1]<\/sup><\/a>\u00a0Built on a durable material, the monuments sometimes aim to eliminate traces of the passage of time; it\u2019s forms synthesizes, in balance and magnificence, the heroes, martyrs and characters of selected social facts. They seek to forge a collective memory in order to create a sense of belonging to a particular group; they aim to reinforce the sociopolitical boundaries in the Nation State imagination and mark their presence in the public space, wether it be a contemplation site or a passageway. Not coincidentally, the Monumento \u00e0s Bandeiras [Monument to the Settlers] of Victor Brecheret, opens the Avenue Brazil.\r\n\r\nThe title of the exhibition Totemonumento refers to the very controversial work of Cildo Meireles, Tiradentes: Totem-Monumento ao Preso Pol\u00edtico [Tiradentes: Totem-Monument to the Political Prisoner]; held in the context of the iconic exhibition Do corpo \u00e0 Terra [From Body to Earth], curated by Frederico Morais, in Belo Horizonte, in the year 1970. The action consisted of tying ten chickens to a wooden stake and burning then alive. It took place during the opening of the exhibition, on the holiday\u2019s eve of Tiradentes, in which the figure of the conspirator was taken as a national hero by the military dictators. As is known, Tiradentes was arrested, tortured and killed for opposing the State, and the violence inflicted on him in the eighteenth century was used as an oppression tool. After being dismembered, its limbs were scattered and exposed in public squares in cities in Minas Gerais to scare other possible conspirators. Cildo\u2019s action consisted of a brutal critique, a reaction in the heat of the moment to the cynicism of state power over historical narratives, which transformed a political prisoner of the past into a hero of that present, while the same State was torturing, persecuting and arresting many others who disappeared during the military dictatorship and whose stories still need to be tell. The violence, in the context and in the action itself, points out to the instrumentalization of death, which transforms subjects into martyrs, heroes or anonymous statistics.\r\n\r\nFrom the ephemeral \u201cmonument\u201d of Meireles, it remained coal, feathers and photographs, along with the memory of the artist and who witnessed the action. This work is presented in the exhibition as a critical reading of the Brazilian history made at a crucial time in its development. The decision to show one picture of the series of documentation photographs \u2013 specifically, the picture of the day after, with coals and feathers \u2013 leads to the desire of updating some of the questions that this work raises: how the past is rewritten today? How their marks are part of the present and how it directs it? What was aimed to be forgotten and to whom were erected \u201cmonuments\u201d? How to restore silenced stories from what\u2019s left?\r\n\r\nMemory becomes a place of dispute, and permeated by various forces, may become a tool for power, whether it be for sovereign or resistance; It is also the place of survival. Transcends the body and insists on returning. In this exhibition, the idea of monument is justaposed to the idea of document[2]<\/sup><\/a>, taking into account that every monument \/ document is the result of an assembly, a framework made by the society on history and time, according to certain interests. Therefore, the monuments represent a narrative on the past built in the present, for the future \u2013 it is also an analytical material about the ways of building a collective memory.\r\n\r\nThus, we must also look through these monuments \/ documents to glimpse a part of history that has no representation. Shattered in ruins, it becomes almost an archaeological document \u2013 these \u201cantimonuments\u201d are formed by fragments left over from a history that was meant to be erased, silenced. This idea is explored in the work of Clara Ianni, Repara\u00e7\u00e3o [Repair], in which the artist addresses the rescue of these narratives through bones. Based on a manual for Forensic Antropology used by teams that investigate crimes committed by the Brazilian State, the artist created a series of drawings that propose a repair of these traumatisms through image \u2013 for each catalogued fracture, there\u2019s a graphic intervention. Analysing the relation between the fractures and the institutional procedures of control and oppresion over bodies, the work constitute a typologie of abstract forms produced by those violations. The abstract form, which is common to the artistic field, is, in this case and at the same time the document and the medium of reconstruction of what was lost \u2013 for both the narratives and the broken bones. This constelation of unconcluded fragments that compose this work questions the idea of history as a linear discourse capable of being accessed in an absolut manner.\r\n\r\nForm is taken as a common ground in the construction of narratives, such as in the art history or in the research of the past. Ianni takes as basis for her drawings a Forensic Anthropology\u2019s book, an investigative area that is often engaged in the rescue of memory, being responsible for the non anonymity of the dead bodies. They seek to rescue the future that is still buried with them.\r\n\r\nThe work of Raphael Escobar, Furo[Hole], deals with histories that tried to be silenced but survive through memory and through orality they leak as a constant promise of reviewing the hegemonic narratives. In this work, Escobar brings the memory of a survivor of the massacre at Carandiru jail, crossing it with the various narratives that ran in the press \u2013 the idea of history as a version and an assembage is questioned here.\r\n\r\nThe figures of the survivor, the immigrant and the refugee appears in the work Sobre la Marcha II (o sobrevivente) [Sobre la Marcha (the survivor)] and Zona de Espera (o fot\u00f3grafo) [Waiting Zone (the photographer)], by Regina Parra, as presences that indicates to a crisis in the established order of Nation States. From the moment they are forced to leave their country and seek for other territories they colapse the imposed sociopolitical borders, whose collective memory seeks to strengthen, in its monuments, stories, heroes, martyrs and anthems.\r\n\r\nThe idea of the monument is also permeated by violence, however, the monuments sublimate it in codes and symbols. In Monumento \u00e0s Bandeiras [Monument to the Settlers] by Jaime Lauriano, the rounds of ammunition used by the military police were merged into a miniature replica of Brecheret\u2019s sculpture \u2013 this last one, a \u201ctribute\u201d to the founder ethnocide of the country, was reconstituted here with elements of the maintainers agents of the State. In Sobre Nossas Cabe\u00e7as [Over our heads], by Erica Ferrari, the \u201creverse\u201d of an equestrian monument is made of demolition rubble of S\u00e3o Paulo\u2019s buildings and lifted by a wooden stake. It\u2019s fragile support is a symbol about to fall apart and go back to the ruins where it came from. A paw raised horse, in the tradition of equestrian sculpture, means that the \u201chero\u201d portrayed died on the battlefield \u2013 again, it brings the discussion about the making of heroes and the monument as a way to abstract the violence of an historical fact.\r\n\r\nIn Direito de Resposta, by Frederico Filippi, the artist appropriated from a fragment of the Monument to the Discovery of the Americas, located in Madrid, and merged into a plate, then, irregularly installing it next to the monument. This plate was placed as a response to ethnocide practiced in the Americas to show that while Europeans found another continent, indigenous peoples found the abyss. Then the painting Mapa refers to the \u201cdiscovery\u201d and the restructuring of the political geography from the point of view of the invasion of a territory, the establishment of states over the ethnocide of indigenous autonomous societies, the restructuring of the lines and limits, both cosmological and political. In Contextualizable [Contextualizable], Jos\u00e9 Carlos Martinat turns to the idea of history and memory as dispute, moldable according to time and to who intends to do so. Non-representation and instability compose this antimonument.\r\n\r\nThe works in Totemonumento aim to investigate the idea of historical narrative constructions, memory as resistance and survival, representations and non-representation \u2013 or, as would the historian Jacques Le Goff say, it is to confront the historical representations with the realities they represent.\r\n\r\n \r\n\r\nIsabella Rjeille\r\n\r\nS\u00e3o Paulo, January of 2016\r\n\r\n \r\n\r\n[1]<\/sup><\/a>\u00a0Alois Riegl. The Modern Cult of Monuments: Its Essence and Its Development. Originally published in\u00a0Der moderne Denkmalkutus: Sein Wesen und seine Entstehung\u00a0<\/em>(Vienna: W. Braumuller, 1903). Translated by Karin Bruckner with Karen Williams.\r\n\r\n[2]<\/sup><\/a>\u00a0The historian Jacques Le Goff, in his essay\u00a0Document \/ Monument\u00a0<\/em>compares the idea of monument with the idea of document, considering the document as an \u201cassembly, conscious or unconscious, of history and time, by the society that produced it, but also by the successive epochs during which continued to live, perhaps forgotten, manipulated, even if by silence. The document is something that is, that lasts, and the witness and the knowledge (to evoke the etymology) that it brings must first be analyzed, demystifying it\u2019s aparent meaning. The document is a monument. Results from the effort of historical societies to impose to the future \u2013 willingly or unwillingly \u2013 certain image of themselves. Ultimately, there is no document-truth. Every document is a lie. It is the role of the historian not to play the\u00a0na\u00efve<\/em>\u00a0\u201c(Free translation from\u00a0Document \/ Monument<\/em>. In:\u00a0History and Memory.<\/em>\u00a0Translation to Portuguese: Bernardo Leit\u00e3o. Editora Unicamp, Campinas, 1990. P.547-548)."],"_expo_description":["field_64442aea60f9a"],"expo_catalog_expo_catalog_text":[""],"_expo_catalog_expo_catalog_text":["field_6447bb26033f7"],"expo_catalog_expo_catalog_file":[""],"_expo_catalog_expo_catalog_file":["field_6447bb3f033f8"],"expo_catalog":[""],"_expo_catalog":["field_6447bac1033f6"],"gallery":["a:17:{i:0;s:5:\"42896\";i:1;s:5:\"42898\";i:2;s:5:\"42900\";i:3;s:5:\"42902\";i:4;s:5:\"42904\";i:5;s:5:\"42906\";i:6;s:5:\"42908\";i:7;s:5:\"42910\";i:8;s:5:\"42912\";i:9;s:5:\"42914\";i:10;s:5:\"42916\";i:11;s:5:\"42918\";i:12;s:5:\"42920\";i:13;s:5:\"42922\";i:14;s:5:\"42924\";i:15;s:5:\"42926\";i:16;s:5:\"42928\";}"],"_gallery":["field_6436be9722a75"],"videos":[""],"_videos":["field_644491b47cb7e"],"leme_visit":[""],"_leme_visit":["field_6436bb780169e"],"text_expo":[""],"_text_expo":["field_6436bf9def280"],"files":[""],"_files":["field_64453629d51d1"],"leme_begin":["20160119"],"_leme_begin":["field_64442ce3d3a50"],"leme_end":["20160305"],"_leme_end":["field_64442d00d3a51"],"_thumbnail_id":["42926"],"leme_artist_coletivo":["1"],"_leme_artist_coletivo":["field_649b22d81cddd"],"_uag_css_file_name":["uag-css-42895.css"],"_seopress_search_console_analysis_clicks":["5"],"_seopress_search_console_analysis_ctr":["0.0043327556325823"],"_seopress_search_console_analysis_impressions":["1154"],"_seopress_search_console_analysis_position":["3.6672443674177"],"_uag_page_assets":["a:9:{s:3:\"css\";s:260:\".uag-blocks-common-selector{z-index:var(--z-index-desktop) !important}@media(max-width: 976px){.uag-blocks-common-selector{z-index:var(--z-index-tablet) !important}}@media(max-width: 767px){.uag-blocks-common-selector{z-index:var(--z-index-mobile) !important}}\";s:2:\"js\";s:0:\"\";s:18:\"current_block_list\";a:7:{i:0;s:11:\"core\/search\";i:1;s:10:\"core\/group\";i:2;s:12:\"core\/heading\";i:3;s:17:\"core\/latest-posts\";i:4;s:20:\"core\/latest-comments\";i:5;s:13:\"core\/archives\";i:6;s:15:\"core\/categories\";}s:8:\"uag_flag\";b:0;s:11:\"uag_version\";s:10:\"1776891104\";s:6:\"gfonts\";a:0:{}s:10:\"gfonts_url\";s:0:\"\";s:12:\"gfonts_files\";a:0:{}s:14:\"uag_faq_layout\";b:0;}"]},"uagb_featured_image_src":{"full":["https:\/\/galerialeme.com\/wp-content\/uploads\/2016\/01\/vista3-1.jpg",705,470,false],"thumbnail":["https:\/\/galerialeme.com\/wp-content\/uploads\/2016\/01\/vista3-1-150x150.jpg",150,150,true],"medium":["https:\/\/galerialeme.com\/wp-content\/uploads\/2016\/01\/vista3-1-300x200.jpg",300,200,true],"medium_large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2016\/01\/vista3-1.jpg",640,427,false],"large":["https:\/\/galerialeme.com\/wp-content\/uploads\/2016\/01\/vista3-1.jpg",640,427,false],"1536x1536":["https:\/\/galerialeme.com\/wp-content\/uploads\/2016\/01\/vista3-1.jpg",705,470,false],"2048x2048":["https:\/\/galerialeme.com\/wp-content\/uploads\/2016\/01\/vista3-1.jpg",705,470,false]},"uagb_author_info":{"display_name":"Cheyenne","author_link":"https:\/\/galerialeme.com\/en\/author\/"},"uagb_comment_info":0,"uagb_excerpt":null,"_links":{"self":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/42895","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo"}],"about":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/types\/expo"}],"version-history":[{"count":0,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo\/42895\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media\/42926"}],"wp:attachment":[{"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/media?parent=42895"}],"wp:term":[{"taxonomy":"expo_year","embeddable":true,"href":"https:\/\/galerialeme.com\/en\/wp-json\/wp\/v2\/expo_year?post=42895"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}