WHAT ABOUT TOMORROW? / abiótico-biótico
Several people must be unaware that their internal structures flow organic pipes that form an extraordinary network through which exocrine secretions travel, expelled through ducts. They are salivary, lacrimal, sweat, mucous secretions. Through them the virus proliferates.
Let us try to understand the historical moment in which we find ourselves, where Man has been deprived of the playfulness that permeates his existence. Given this observation, I create the figure of biotic-abiotic. This being, half machine, half people, in fact exists and proliferates in the flabby bosom of contemporaneity. The biotic-abiotic has a heart that beats and, at times, synthetic dandrops hang, fluttering-confetti-carnival in the hour. It is a fact that these two-part structures differ from refrigerators or vacuum cleaners. Of course, after all, there are heads on their shoulders who decide between a Nike or Adidas sneaker, paid in 24 installments.
In his daily life, in the course of his existence, the biotic-abiotic submits to the hysterical chief, whose tone is found in the abnormality of hysterical sirens. In work, At lunch time, swallow the poisonous and lifeless paste of some murderous FASTFOOD. The end of the day on returning home, in the crowded train car, presents, daily, the live performance entitled “Contained displacement of the mass; downcast looks and absent whispers ”. Arriving home, where he lives with his 90-year-old blind mother, the biotic-abiotic opens a beer and dulls himself in front of the TV, absorbing the lies disseminated by the news of the established, associated media, largely as a manual of good conduct. , to the interests of the few. The fact is that this man, more and more machine; humiliated and exploited, he continues to serve those who tyrannize him. About this incomprehensible picture, unchanged for centuries, the French philosopher Etienne de la Boétie, in his main work, “The Discourse on Voluntary Servitude”, asks: “Extraordinary thing, certainly; and yet so common that one should be more sorry than be astonished to see a million men serve miserably, with their necks under the yoke, not obliged by a greater force, but somehow (it seems) enchanted and bewitched only by the name of one, from whom they must not fear power because it is alone, nor love its qualities because it is inhuman and fierce towards them ” Interesting is the fact that this work, published in 1563, is so current. What changes radically is the increasing uselessness of the human workforce, which is now disposable on a large scale. The way in which world authorities have been dealing with COVID 19 is, to some extent, a sign of things to come. The pandemic arises in a devastating manner and, even with the virus still out there, countries are easing quarantine under the genocidal argument of preserving economies. The most impressive thing, however, was the suicidal behavior in some countries like Brazil, motivated by irresponsible leaders, who at least despised the contagion, stimulated crowds to invade shopping centers, as well as, young people to congregate in bars and restaurants without using masks. An unprecedented trivialization of life.
In his daily life, in the course of his existence, the biotic-abiotic submits to the hysterical chief, whose tone is found in the abnormality of hysterical sirens. In work, At lunch time, swallow the poisonous and lifeless paste of some murderous FASTFOOD. The end of the day on returning home, in the crowded train car, presents, daily, the live performance entitled “Contained displacement of the mass; downcast looks and absent whispers ”. Arriving home, where he lives with his 90-year-old blind mother, the biotic-abiotic opens a beer and dulls himself in front of the TV, absorbing the lies disseminated by the news of the established, associated media, largely as a manual of good conduct. , to the interests of the few. The fact is that this man, more and more machine; humiliated and exploited, he continues to serve those who tyrannize him. About this incomprehensible picture, unchanged for centuries, the French philosopher Etienne de la Boétie, in his main work, “The Discourse on Voluntary Servitude”, asks: “Extraordinary thing, certainly; and yet so common that one should be more sorry than be astonished to see a million men serve miserably, with their necks under the yoke, not obliged by a greater force, but somehow (it seems) enchanted and bewitched only by the name of one, from whom they must not fear power because it is alone, nor love its qualities because it is inhuman and fierce towards them ” Interesting is the fact that this work, published in 1563, is so current. What changes radically is the increasing uselessness of the human workforce, which is now disposable on a large scale. The way in which world authorities have been dealing with COVID 19 is, to some extent, a sign of things to come. The pandemic arises in a devastating manner and, even with the virus still out there, countries are easing quarantine under the genocidal argument of preserving economies. The most impressive thing, however, was the suicidal behavior in some countries like Brazil, motivated by irresponsible leaders, who at least despised the contagion, stimulated crowds to invade shopping centers, as well as, young people to congregate in bars and restaurants without using masks. An unprecedented trivialization of life.
The works found in the present exhibition point to the need for a world in which man is master of himself and not a slave to capital; of the money. A minimalist world with values associated with human essence in connection with the divine. The curatorship was guided by these principles, seeking to exploit to the maximum the extraordinary possibilities brought by contemporary visual arts and the countless languages that make up the field. A tomorrow where there is justice and equanimity, where everyone has access to the most sophisticated products produced by human intelligence, is necessarily connected with spiritual practices, combined with the transversal impulse of art in its expanded field.
To achieve concrete results, we need to forge strategies aimed at democratizing access; a didactic work that deepens the understanding of this complex universe where contemporary visual arts are located in conversations with other artistic frontiers. The virtual world is propitious to support the development of this, which will be a long and hard work. But it is useless to use the medium to reproduce the same flawed relationships in the real world.
To achieve concrete results, we need to forge strategies aimed at democratizing access; a didactic work that deepens the understanding of this complex universe where contemporary visual arts are located in conversations with other artistic frontiers. The virtual world is propitious to support the development of this, which will be a long and hard work. But it is useless to use the medium to reproduce the same flawed relationships in the real world.
ART VEINE, with the project “What About Tomorrow?”, Is part of the purposeful flow of thinking about other models that will enable the strengthening of the field; another paradigm that is inclusive and not exclusive. It is a hand in hand journey with the turn to build another planet, dictated by the utopias to be rescued.
About the exhibition space, we sought to make the most of the platform's possibilities, inserting not only images, but also explanatory texts that enable an expanded understanding of the works. In the exhibition, the most significant presence is the video, followed by painting and photography. But there is also sculpture, sound art, artist's book, collage and visual poetry.
The purpose of this exhibition, in addition to promoting the diffusion of contemporary visual arts and exchanges between artists from different countries, is also to take it to a physical space. In this sense, a simulation was carried out, privileging the video and photography exhibition of works that were created for exhibition in space, such as sculptures. This was a strategy designed only to present the project to potential stakeholders, between cultural centers and other events.
The purpose of this exhibition, in addition to promoting the diffusion of contemporary visual arts and exchanges between artists from different countries, is also to take it to a physical space. In this sense, a simulation was carried out, privileging the video and photography exhibition of works that were created for exhibition in space, such as sculptures. This was a strategy designed only to present the project to potential stakeholders, between cultural centers and other events.
Nelson Ricardo Martins / Curator
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