2024
\ndesenho
\n(l\u00e1pis grafite sobre papel)
\n29,6 x 43cm<\/p>\n
Composer avec le pass\u00e9<\/strong>\u00a0(\u201cFazer as pazes com o passado\u201d) \u00e9 o t\u00edtulo da mat\u00e9ria publicada no jornal genebrino \u201cLe Courrier\u201d, em janeiro de 2019, em que Mohamed Musadak narra o debate p\u00fablico gerado em raz\u00e3o da renomea\u00e7\u00e3o do \u201cEspace Louis-Agassiz\u201d, rua onde se localiza a Faculdade de Artes e Ci\u00eancias Humanas da Universidade de Neuch\u00e2tel, por \u201cEspace Tilo Frey\u201d. O acontecido se justifica por uma repara\u00e7\u00e3o em curso e de \u00e2mbito internacional que reavalia honrarias dadas a personalidades hist\u00f3ricas. Neste caso, o su\u00ed\u00e7o-estadunidense Louis Agassiz, sob a alcunha de glaciologista racista, \u00e9 deposto pela camaronesa-su\u00ed\u00e7a Tilo Frey, primeira mulher de descend\u00eancia africana a ser eleita no Parlamento Cantonal, em 1969, e dentre as primeiras mulheres eleitas para o Parlamento Federal, em Berna, entre 1971 e 1975.<\/p>\n A imagem da not\u00edcia de jornal que se v\u00ea desenhada parte de uma fotografia que me foi enviada por Richard Le Quellec, atual diretor da Embassy of Foreign Artists (Lancy, Su\u00ed\u00e7a), como gesto cuidadoso em me inteirar, por e-mail, sobre eventos atuais referentes ao cientista Louis Agassiz (1807-1873). Entre abril e junho de 2016 fui residente na EoFA para pesquisar o pensamento controverso do naturalista su\u00ed\u00e7o ao liderar a Expedi\u00e7\u00e3o Thayer no Brasil entre 1865 e 1866. Os trabalhos resultantes desta pesquisa podem ser consultados no ensaio visual Mon cher, je suis fatigu\u00e9, et j\u2019ai besoin de repos; je vais fl\u00e2ner au Br\u00e9sil!<\/strong>, exposto no Pal\u00e1cio das Artes, em Belo Horizonte (2018). Feito nota de livro, Composer avec le pass\u00e9<\/strong> atualiza o conjunto de trabalhos e faz par ao desenho Words Spoken<\/strong>. Ambos ressignificam fatos hist\u00f3ricos documentais a partir de nosso contexto presente.<\/p>\n \u00c9 muito comum me indagarem sobre a veracidade destes desenhos, deduzindo se tratarem de inven\u00e7\u00f5es e desacreditando de sua natureza documental \u2013 diga-se de passagem, um papel que, a partir de meados do s\u00e9culo XIX, passou a competir \u00e0 fotografia. A lisura destes desenhos, cujas sucessivas camadas de grafite apagam qualquer rastro da m\u00e3o, pode ser que queira simular uma realidade que n\u00e3o existe; digo, pode parecer querer convencer de um fato inventado. A princ\u00edpio, s\u00f3 assim se justificaria a escolha de apresentar tais imagens pelo desenho e n\u00e3o pela fotografia. N\u00e3o \u00e9 este o caso. Desenhos t\u00e3o \u201cfotogr\u00e1ficos\u201d, penso, prop\u00f5em lan\u00e7ar d\u00favida sobre a veracidade dos pr\u00f3prios fatos reais, expondo ser o que se v\u00ea uma realidade em disputa, hoje em dia, cada vez mais assombrada pela fic\u00e7\u00e3o.<\/p>\n \u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026\u2026.<\/p>\n [come to terms with the past]<\/p>\n 2024 Composer avec le pass\u00e9<\/strong> is the title of a newspaper article published in Le Courrier (Geneva, CH) in January 2019, in which the journalist Mohamed Musadak discusses the public debate sparked after the Neuch\u00e2tel municipality renamed \u201cEspace Louis-Agassiz\u201d, the street where the University of Neuch\u00e2tel\u2019s Faculty of Arts and Human Sciences is located, to \u201cEspace Tilo Frey\u201d.<\/p>\n This event adds to the countless cases that have been occurred around the world to promote historical reparations by reassesses honors given to historical figures. In this case, the Swiss-american Louis Agassiz, know as a racist glaciologist, is replaced by Tilo Frey, a Swiss-Cameroonian woman who was the first person of African descent to be elected to the Cantonal Parliament (1969), and one of the first women elected to the Federal Parliament in Bern, between 1971 and 1975.<\/p>\n The newspaper\u2019s image that we see drawn here was made from a digital photograph sent to me by Richard Le Quellec, current director of the Embassy of Foreign Artists (Lancy, CH). It was a thoughtful gesture of him to keep me informed, via email, about recent events regarding scientist Louis Agassiz (1807-1873). Between April and June 2016, I was resident at that institution running a research on the controversial thinking of the Swiss naturalist while leading the Thayer Expedition to Brazil between 1865 and 1866. The results of this research can be found in the visual essay Mon cher, je suis fatigu\u00e9, et j\u2019ai besoin de repos; je vais fl\u00e2ner au Br\u00e9sil!<\/strong> exhibited at the Pal\u00e1cio das Artes in Belo Horizonte, Brazil (2018). In the form of a book note, Composer avec le pass\u00e9<\/strong> updates this body of work and pairs with the drawing Words Spoken<\/strong>. Both propose to bring new meanings to historical documentary facts departing from our present context.<\/p>\n People very often inquiry me on these drawings\u2019 veracity, assuming they are inventions and doubting their documentary nature \u2013 which, by the way, is a role that, since the mid-19th century, began to be taken on by photography. The smoothness (lisura<\/em>) of these drawings, with their successive layers of graphite erasing any trace of the hand, might indeed seem to simulate a reality that doesn\u2019t exist; I mean, it could appear as if they are trying to convince one of an invented fact. At first, this would possibly be the only justification for presenting such images through drawing rather than photography. However, this is not the case. Drawings that are so “photographic,” I think, aim to cast doubt on the truth of the very real facts, exposing that what is seen nowadays, regardless of its media, is a reality in dispute, increasingly haunted by fiction.<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":" 2024 desenho (l\u00e1pis grafite sobre papel) 29,6 x 43cm Composer avec le pass\u00e9\u00a0(\u201cFazer as pazes com o passado\u201d) \u00e9 o t\u00edtulo da mat\u00e9ria publicada no jornal genebrino \u201cLe Courrier\u201d, em janeiro de 2019, em que Mohamed Musadak narra o debate p\u00fablico gerado em raz\u00e3o da renomea\u00e7\u00e3o do \u201cEspace Louis-Agassiz\u201d, rua onde se localiza a Faculdade […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[16],"tags":[],"class_list":["post-2017","post","type-post","status-publish","format-standard","hentry","category-16"],"_links":{"self":[{"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=\/wp\/v2\/posts\/2017","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2017"}],"version-history":[{"count":4,"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=\/wp\/v2\/posts\/2017\/revisions"}],"predecessor-version":[{"id":2029,"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=\/wp\/v2\/posts\/2017\/revisions\/2029"}],"wp:attachment":[{"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2017"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2017"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.anunciodeartificio.com.br\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2017"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\ndrawing
\n(graphite on paper)
\n29,6 x 43cm<\/p>\n