{"id":3297,"date":"2022-11-02T13:10:37","date_gmt":"2022-11-02T13:10:37","guid":{"rendered":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/\/?p=3297"},"modified":"2022-11-03T16:45:33","modified_gmt":"2022-11-03T16:45:33","slug":"against-the-muteness-of-walls","status":"publish","type":"post","link":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/11\/02\/against-the-muteness-of-walls\/","title":{"rendered":"Against the Muteness of Walls"},"content":{"rendered":"\t\t
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EN<\/a> | PT<\/a><\/span><\/p>\n

Author: Al\u00edcia Gaspar\u00a0<\/p>\n

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Located by the Tagus River, in MAAT (Museum of Art, Architecture and Technology) which is in the most colonial parish of Lisbon, Bel\u00e9m, we find the exhibition Interferences: Emerging Urban Cultures. As part of the celebrations of the 50th anniversary of the 25th of April, it aims to commemorate “48 years of democracy and the construction of the Lisbon Metropolitan Area”.1<\/em><\/p>\n

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Thus, and integrating the Lisbon cultural scene, the artworks of the many artists and collectives invited to participate are embraced by different audiences. One of the purposes is to guarantee visibility and support to urban cultures from where “projects with a transformative potential come from, once they are managed in\/by the communities, especially in the so-called peripheries”.2<\/em><\/p>\n

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In an attempt to “expose diversities” and “uncover bodies and their stories”3<\/em>, the curators Alexandre Farto (Vhils), Ant\u00f3nio Brito Guterres, and Carla Cardoso sought to integrate into this project young artists to express and show their work beyond the borders of the neighborhood where they live, together with established artists in the contemporary art circuit, creating and promoting synergies, as well as the diversity of expressions, movements and contexts. This articulation in terms of artistic recognition is beneficial for both parties. It nurtures the young artists, who are now beginning their conquests, showing them that they are not confined to the periphery. During the exhibition\u2019s installation, Ant\u00f3nio Brito Guterres received several guests, one of whom said in a conversation with the newspaper \u201cA Mensagem\u201d that his neighborhood had never been in the museum.4 <\/em>It is, therefore, a way of giving and creating encouragement, supporting new talents and transmitting urgencies.<\/p>\n

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Hence, it becomes imperative to ask some questions: What is the object causing the interference? Do we interfere in the city or, on the contrary, does it interfere in our development? Is the city a safe space for everyone, which allows us to explore according to our desires, or is this definition just a myth? And how and why are there people who are unaware of this interference?<\/p>\n

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Art and Politics holding hands<\/h2>\n

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We enter the exposition from the lower floor of the museum and are immediately confronted with pieces of cloth hanging from the ceiling, which hover over us like the ghost of colonialism that currently marks part of Portuguese culture. The clothes are not blank, they have double sides. On one side there are photographs of moments, one would say memories of the Unidigrazz collective, of their daily life and the kilometers they travel to get to the “center”, decentralization and the darkness associated with it are exposed, the notorious division between social classes, some who can afford the cost of living in Lisbon, and others who are spread out among the peripheries, all united by a line, a train, a reason: to be seen.<\/p>\n

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In between journeys, we hear echoes of Tristany’s Hinu Digra, an adaptation of the Portuguese national anthem, which takes into consideration the neighborhood experiences and lives and suburban culture, sometimes marginalized, only understood by those who experience it.<\/p>\n

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Dreadlocked warriors, you who are valiant and immortal
Rise up again today, without documents
I am illegal
Amid the spells of memory
Guys, look what voice!
From the cops that come to us
Keep us strong and together
The tears, the spirits, on land and on sea
Raise up your weapons for the hood and let us fight
Those who come after us are still us<\/em><\/p>\n

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– Tristany, Hinu Digra5<\/em><\/p>\n

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With verses in Cape Verdean Creole, the hinu digra is written behind the cloths that expose the hotographs, holding our hand, introducing us to the other artworks in the exposition. We now find ourselves in a wide, white space, about to be filled with stories and perspectives and flooded by an audience eager to decipher what these interferences are. Interferences that we go through and deal with directly or indirectly every day in our city, maybe without ever stopping to pay attention and reflect on them.<\/p>\n

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View of the exhibition \u201cInterferences. Emerging Urban Cultures\u201d, maat, 2022. Courtesy of EDP Foundation\/maat. Photo by Bruno Lopes.<\/span><\/p>\n

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In this space, time stops, and we are invited to take a place of listening and discussion in what is the most politicized exhibition presented so far at MAAT.<\/p>\n

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As we move forward, we are made to remember a painful past, a result of colonialist ideologies and practices, through the many artworks presented there, such as the replica pages of the old newspaper \u201cIndependente\u201d. Can be read on the front page of the paper: “HIGH TENSION\u201d. The secret services have investigated the black and violent gangs in Portugal. The report is frightening”, defamations and incitements of hatred are accompanied by racist and xenophobic illustrations. The report divides racialized people into three groups: Zulus, Raps and Black Boys. Two years after this report was published, Alcindo Monteiro was murdered, being a victim of a hate crime.6<\/em> The defense lawyers claimed that Alcindo belonged to a gang, was violent and that he was going to attack his murderers. To this day no justice has been served. However, many artists choose to pay tribute to him, as was the case of Fidel \u00c9vora and his artwork \u201cDispidida\u201d. Made up of three frames that contain two paintings of a black face imagined by the artist, \u00c9vora “seeks to portray the loneliness felt on the night of the murder”.7<\/em> The installation is composed of a video that is placed between the two paintings, in which we can observe different images complemented by sound, being the public taken into a unique and immersive experience, between moments of awareness and uncertainty.<\/p>\n

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An emotional portrayal of life in the periphery<\/h2>\n

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We pass by the works of Ana Arag\u00e3o, Carlos Bunga, Herberto Smith, G Fema, Kiluanji Kia Henda, Petra Preta, Tony Cassanelli (of Aurora Negra), Wasted Rita, Xullaji, Julinho KSD and many other contemporary artists.8<\/em> These artists fill everyday life with their projects and ways of communicating culture. They study and improve their work so that the public can get the necessary information from it, to promote and effect changes in society. Thus, meeting one of the premises of the project, “(\u2026) to reflect on which city, urban spaces and artistic and cultural institutions can be built (\u2026)”.9<\/em> Because after all, we can and should educate ourselves in different ways.<\/p>\n

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Until we notice a pattern: the projects of the Unidigrazz collective are spread across various planes of the room and captivate the curious eye. Just like the ghostly clothes at the entrance, which allude to life on the periphery on one side and the hymn on the other, now we see a miniature replica of the Sintra line from two different but complementary perspectives. The sun shines on and illuminates this one at daybreak, reminding us that for the residents of the periphery the day begins with the sun still hidden so that they can reach Lisbon in time for their work. And the moon that makes itself noticed on the hypothetical windows of the train, were it not for the installation made of cardboard. The crossing of the residents of the periphery is completed, a journey full of echoes of the hinu digra, we now question if the
verses are not also graffitied in one of the stations. It is this dual resource that complements itself and allows Lisbon life to function perfectly, as the workers of the periphery open the doors of the city.<\/p>\n

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Composed of nine cores: Preamble, Against the Muteness of the Walls, Coercion, Resistance and Identities, City Design: Common, Us by Us, Network City, The Right to Imagine<\/em>, and Monument<\/em>, the exhibition manages to gather in a single space the dynamics promoted by and in the city. Although the “place of art in Portugal is still restricted to a small group of white people”10<\/em>, when we perceive the different perspectives and works gathered around a single sense, that of highlighting urban cultures, it becomes clear that these also claim a space to speak. It is, therefore, of the utmost pertinence that museums and curators adapt to the times and realities, “facing their own discomfort”11<\/em>. The interferences project is the result of this adaptation and works with and for the community. In order to promote the involvement of the public in a regulated artistic space, different from urban experimentation, an alliance was also developed with the \u201cIminente Festival\u201d, and several artists, who together with MAAT’s team proposed the organization of workshops.12<\/em><\/p>\n

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View of the exhibition “Interferences. Emerging Urban Cultures”, maat, 2022. Courtesy of EDP Foundation\/maat. Photo by Diana Tinoco<\/span><\/p>\n

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With the visual and auditory richness present in the space, we follow our way with our attention fixed on the smallest detail, not letting any escape, until we find ourselves in the middle of a family room. A family that could be ours. A television playing a short film on a loop invites us to sit in the armchair perfectly positioned just a few meters away. We sit without knowing that we are about to witness the testimony of a mother whose son was murdered, that is the unfortunate reality of the family whose room we invade\u2026 It is this proximity to the installations, in this case of the Unidigrazz collective, and the possibility of being part of them, that makes it impossible to equate forgetting everything we absorb.<\/p>\n

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The critical effects of assembly<\/h2>\n

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One could say that the setting of the exposition is claustrophobic and overwhelmed with information, but perhaps that was the intention. Leaving the public with no space to reflect on what they saw in that moment, to create cacophony and various syncretisms. Perhaps it was the desire that the pieces were both observed and felt, touched and heard. There is also the issue of transposing street languages to a museum space. The dimensions of the room and the artworks exhibited there would normally be painted and displayed on a wall outside an institutional space. It is the montage that suffers a readaptation to the space, and not the artworks that are conditioned to it. At no time was creative freedom taken away, on the contrary, the artists’ initiatives were welcomed in order to enrich the project. If we have installations by Ana Hatherly and Kiluanji Kia Henda, two well-known names on the literary and artistic scene, we also have the collective Unidigrazz and Diogo VII. Because, as Ant\u00f3nio Brito Guterres announces, “(\u2026) this is not a community scene, it is to tell the story of a city from several voices, and I want those voices to be referenced as such”13<\/em>.<\/p>\n

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The final look<\/h2>\n

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We found traces of told and untold stories, which have only just begun. To finish on a high note, a pink flag, with the phrase \u201cN\u00e3o foi descobrimento foi matan\u00e7a\u201d (It wasn’t discovery, it was slaughter), the artwork of the artist ROD. We left with the feeling of having learnt more about those who share the city with us and the way of expressing it. Unfortunately, not all of us felt the interference. Some people felt offended by the exhibition and criticized the choice of the artworks, in particular ROD’s flag. Among the explanations for the offence, there is a common testimony, that of the integrity of the past and respect for the country\u2026 This is how the lasting effects of colonialism, the importance of politicizing art and the debate about the city are understood.<\/p>\n

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View of the exhibition “Interferences. Emerging Urban Cultures”, maat, 2022. Courtesy of EDP Foundation\/maat. Photo by Pedro Pina<\/span><\/p>\n

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Deserving all the attention and visits for being immensely relevant and intense on a cultural, political and social level, this is not just any exhibition. It is a place of encounters and re-encounters with our memories and history displayed\u2026 After the visit, we can’t help but explore the themes addressed and return to the space already with another understanding, so as to gather us around the debate on life in the periphery, post-colonialism, anti-racism and the interconnection between all these themes. Themes finally seem to be addressed and analyzed in the media sphere.<\/p>\n

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*This exhibition was on display at MAAT from March 30 th to September 5 th , 2022.*<\/p>\n

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  1. https:\/\/comunidadeculturaearte.com\/interferencias-prisma-e-naturezas-visuais-ocupam-o-maat\/<\/a> With Jo\u00e3o Pinharanda as MAAT\u2019s new programmer, this exhibition took place between March and September 2022.<\/li>\n
  2. Rosa Helena Mendon\u00e7a in “Urban Culture and Education<\/a>“.<\/li>\n
  3. https:\/\/www.maat.pt\/pt\/event\/agenda-interferencias<\/a><\/li>\n
  4. https:\/\/amensagem.pt\/2022\/03\/29\/antonio-brito-gueterres-exposicao-
    interferencias-museu-maat-belem-periferia-lisboa\/<\/a><\/li>\n
  5. https:\/\/amensagem.pt\/2022\/03\/29\/antonio-brito-gueterres-exposicao-interferencias-museu-maat-belem-periferia-lisboa\/<\/a><\/li>\n
  6. Lyrics of Hinu Digra here<\/a>.<\/li>\n
  7. Alcindo – The documentary<\/li>\n
  8. https:\/\/www.instagram.com\/p\/CeYPfrDs1E3\/<\/a><\/li>\n
  9. List of artists here<\/a>.<\/li>\n
  10. Curated text here<\/a>.<\/li>\n
  11. https:\/\/www.buala.org\/pt\/mukanda\/a-destruicao-comeca-na-imaginacao<\/a><\/li>\n
  12. https:\/\/www.buala.org\/pt\/palcos\/pre-publicacao-o-que-e-que-temos-a-ver-com-isto-o-papel-politico-das-organizacoes-culturais<\/a><\/li>\n
  13. Agenda of workshops here<\/a>.<\/li>\n
  14. https:\/\/amensagem.pt\/2022\/03\/29\/antonio-brito-gueterres-exposicao-interferencias-museu-maat-belem-periferia-lisboa\/<\/a><\/li>\n<\/ol>\n

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    Contra a Mudez das Paredes<\/h1>\n

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    Situada \u00e0 beira do rio Tejo, no MAAT (Museu de Arte, Arquitetura e Tecnologia) que fica na freguesia mais marcadamente colonial que \u00e9 Bel\u00e9m, encontramos a exposi\u00e7\u00e3o\u00a0Interfer\u00eancias: Culturas Urbanas Emergentes.<\/em>\u00a0Inserida nas celebra\u00e7\u00f5es dos 50 anos do 25 de abril, pretende comemorar \u201cos 48 anos de democracia e de constru\u00e7\u00e3o da \u00c1rea Metropolitana de Lisboa\u201d.1<\/em><\/p>\n

    Assim, e integrando o cen\u00e1rio cultural lisboeta, as obras dos muitos artistas e coletivos convidados a participar s\u00e3o abra\u00e7adas por diferentes p\u00fablicos. Um dos prop\u00f3sitos ser\u00e1 o de garantir a visibilidade e o apoio a culturas urbanas de onde adv\u00eam \u201cprojetos com um potencial transformador, uma vez que gestados nas\/pelas comunidades, em especial nas chamadas periferias\u201d.<\/span>2<\/em><\/p>\n

    Numa tentativa de \u201cexpor diversidades\u201d e \u201cdesocultar corpos e as suas hist\u00f3rias\u201d<\/span>3<\/em>, os curadores Alexandre Farto (Vhils), Ant\u00f3nio Brito Guterres, e Carla Cardoso procuraram integrar neste projeto jovens artistas a expressarem e mostrarem o seu trabalho al\u00e9m-fronteiras do bairro onde residem juntamente com artistas firmados no circuito de arte contempor\u00e2nea, criando e promovendo sinergias, bem como a diversidade de express\u00f5es, movimentos e contextos. Esta articula\u00e7\u00e3o no que toca ao reconhecimento art\u00edstico \u00e9 proveitosa para ambas as partes. Nutre os jovens artistas que come\u00e7am agora as suas conquistas mostrando-lhes que n\u00e3o est\u00e3o cingidos \u00e0 periferia. Durante a montagem da exposi\u00e7\u00e3o, Ant\u00f3nio Brito Guterres foi recebendo v\u00e1rios convidados, um dos quais proferiu em conversa com o jornal\u00a0<\/span>A Mensagem<\/em>\u00a0que o seu bairro nunca estivera no museu.<\/span>4<\/em>\u00a0Trata-se pois de dar e criar alento, apoiando os novos talentos e urg\u00eancias de transmiss\u00e3o.<\/span><\/p>\n

    Torna-se, portanto, imperativo colocar algumas quest\u00f5es: Qual \u00e9 o objeto causador da interfer\u00eancia? Interferimos na cidade ou, pelo contr\u00e1rio, esta interfere no nosso desenvolvimento? Ser\u00e1 a cidade um espa\u00e7o seguro para todos, que nos permite explorar conforme as nossas vontades, ou esta defini\u00e7\u00e3o n\u00e3o passa de um mito? E, ainda, como e porque \u00e9 que existem pessoas que n\u00e3o se apercebem destas interfer\u00eancias?<\/span><\/p>\n

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    Arte e Pol\u00edtica de m\u00e3os dadas<\/h2>\n

    Entramos na exposi\u00e7\u00e3o pelo piso inferior do museu, e somos imediatamente confrontados com peda\u00e7os de tecido pendurados no teto, que pairam sobre n\u00f3s como o fantasma do colonialismo que atualmente marca parte da cultura portuguesa. Os panos n\u00e3o est\u00e3o em branco, t\u00eam faces duplas. De um lado observam-se fotografias de momentos, dir-se-iam mem\u00f3rias do coletivo Unidigrazz, do seu dia-a-dia e dos quil\u00f3metros que percorrem para chegar ao \u201ccentro\u201d, est\u00e1 exposta a descentraliza\u00e7\u00e3o e a escurid\u00e3o associada \u00e0 mesma, a divis\u00e3o not\u00f3ria entre classes sociais, umas que conseguem suportar o custo de vida exigido em Lisboa, e outras que se espalham por entre as periferias, todas unidas por uma linha, um comboio, um motivo: o de ser visto.<\/p>\n

    Entre viagens, ouvimos ecos do<\/span>\u00a0Hinu Digra<\/em>\u00a0de Tristany, adapta\u00e7\u00e3o do hino portugu\u00eas, tendo em considera\u00e7\u00e3o as experi\u00eancias e viv\u00eancias bairristas e uma cultura suburbana, por vezes marginalizada, apenas compreendida por aqueles que a experienciam.<\/span><\/p>\n

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    Her\u00f3is da linha, povo dread
    Digras valentes e imortais
    Levantai hoje de novo
    Sem do custo ilegal
    Entre as macumbas da mem\u00f3ria
    Rapazes, obi kel voz
    Dos bong\u00f3s vindo a n\u00f3s
    Nhoz manti coragi fitchado
    \u00c0s l\u00e1grimas, \u00e0s almas
    Sobre a terra, sobre o\u205fmar
    \u00c0s\u205farmas,\u205f\u00e0s armas
    Pela zona\u205fe vamos lutar
    Depos\u205fde noz ainda \u00e9 noz<\/em><\/p>\n

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    \u2014 Tristany, Hinu Digra5<\/em><\/p>\n

    Com versos em crioulo de Cabo Verde, o\u00a0<\/span>hinu digra<\/em>\u00a0encontra-se escrito por detr\u00e1s dos panos que exp\u00f5e as fotografias, a dar-nos a m\u00e3o, introduzindo-nos \u00e0s restantes obras presentes na exposi\u00e7\u00e3o.<\/span><\/p>\n

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    Vista da exposi\u00e7\u00e3o \u201cInterfer\u00eancias. Culturas Urbanas Emergentes\u201d, maat, 2022. Cortesia Funda\u00e7\u00e3o EDP\/maat. Fotografia de Bruno Lopes<\/i><\/span><\/span><\/p>\n

    Encontramo-nos agora num espa\u00e7o amplo e branco, prestes a ser preenchido com hist\u00f3rias e perspetivas e inundado por um p\u00fablico ansioso por decifrar que interfer\u00eancias s\u00e3o estas. Interfer\u00eancias pelas quais passamos e com as quais lidamos direta, ou indiretamente todos os dias na nossa cidade, talvez sem nunca termos parado para prestar a devida aten\u00e7\u00e3o e refletir sobre as mesmas. Neste espa\u00e7o, o tempo p\u00e1ra, e somos convidados a tomar um lugar de escuta e discuss\u00e3o naquela que \u00e9 a exposi\u00e7\u00e3o mais politizada apresentada at\u00e9 hoje no MAAT.<\/p>\n

    \u00c0 medida que avan\u00e7amos somos levados a recordar um passado doloroso, fruto de ideologias e pr\u00e1ticas colonialistas, atrav\u00e9s das muitas obras ali presentes, como \u00e9 o caso da r\u00e9plica de p\u00e1ginas do antigo jornal\u00a0Independente<\/em>. L\u00ea-se na capa do jornal: \u201cALTA TENS\u00c3O. Os servi\u00e7os secretos investigaram os gangs negros e violentos em Portugal. O relat\u00f3rio \u00e9 assustador\u201d, as difama\u00e7\u00f5es e incita\u00e7\u00f5es ao \u00f3dio s\u00e3o acompanhadas de ilustra\u00e7\u00f5es de cariz racista e xen\u00f3fobo. O relat\u00f3rio divide as pessoas racializadas em tr\u00eas grupos:\u00a0zulus, raps<\/em>\u00a0e\u00a0black boys<\/em>. Dois anos depois da divulga\u00e7\u00e3o desta not\u00edcia, Alcindo Monteiro6<\/em>\u00a0\u00e9 assassinado, v\u00edtima de um crime de \u00f3dio, os advogados de defesa alegaram que Alcindo pertencia a um gangue, era violento e que ia atacar os seus homicidas. At\u00e9 hoje n\u00e3o foi feita justi\u00e7a. No entanto, muitos artistas escolhem homenagear a sua pessoa, como foi o caso de Fidel \u00c9vora e a sua obra a\u00a0Dispidida<\/em>. Composta por tr\u00eas molduras que albergam duas pinturas de um rosto negro imaginado pelo artista, Fidel \u201cprocura retratar a solid\u00e3o sentida na noite do homic\u00eddio\u201d7<\/em>. A instala\u00e7\u00e3o \u00e9 composta por um v\u00eddeo que se situa entre as duas pinturas, no qual observamos diferentes imagens complementadas por som, sendo o p\u00fablico levado numa experi\u00eancia \u00fanica e imersiva, por entre momentos de consci\u00eancia e de incerteza.<\/p>\n

    \u00a0<\/p>\n

    Uma representa\u00e7\u00e3o emotiva da vida na periferia<\/h2>\n

    Passamos pelas obras de Ana Arag\u00e3o, Carlos Bunga, Herberto Smith, G Fema, Kiluanji Kia Henda, Petra Preta, Tony Cassanelli (dos Aurora Negra), Wasted Rita, Xullaji, Julinho KSD e muitos outros artistas contempor\u00e2neos8<\/em>. Artistas estes que nos v\u00e3o preenchendo o quotidiano com os seus projetos e formas de comunicar cultura. Que estudam e aperfei\u00e7oam os seus trabalhos para que o p\u00fablico possa retirar destes a informa\u00e7\u00e3o necess\u00e1ria por forma a promover e efetuar mudan\u00e7as na sociedade. Indo assim ao encontro de uma das premissas do projeto, \u201c(\u2026) refletir sobre que cidade, espa\u00e7os urbanos e institui\u00e7\u00f5es art\u00edsticas e culturais podem ser constru\u00eddas (\u2026)9<\/em>. Porque afinal, podemos e devemos educar-nos de diversas maneiras<\/p>\n

    At\u00e9 que notamos um padr\u00e3o: os projetos do coletivo Unidigrazz espalham-se por entre v\u00e1rios planos da sala e cativam o olhar curioso. Tal como com os panos fantasmag\u00f3ricos \u00e0 entrada, que aludem \u00e0 vida na periferia de um lado e o hino do outro, agora surge-nos uma r\u00e9plica em miniatura da linha de Sintra sob duas perspetivas, diferentes mas complementares. O sol incide e ilumina esta ao nascer do dia, relembrando-nos que para os moradores da periferia o dia come\u00e7a com o sol ainda escondido para que consigam chegar a Lisboa a tempo dos seus trabalhos. E a lua que se faz notar nos hipot\u00e9ticos vidros do comboio, n\u00e3o fosse a instala\u00e7\u00e3o feita de cart\u00e3o. Perfaz-se a travessia dos moradores da periferia, uma viagem repleta de ecos do hinu digra, que questionamos agora se os versos n\u00e3o estar\u00e3o tamb\u00e9m grafitados numa das esta\u00e7\u00f5es. \u00c9 este recurso dual que se complementa e permite que a vida lisboeta funcione na perfei\u00e7\u00e3o, uma vez que os trabalhadores da periferia abrem as portas da cidade.<\/span><\/p>\n

    Composta por nove n\u00facleos:<\/span>\u00a0Pre\u00e2mbulo, Contra a Mudez das Paredes, Coer\u00e7\u00e3o, Resist\u00eancia e Identidades, Desenho de Cidade: Comum, N\u00f3s por N\u00f3s, Cidade Rede, Direito ao Imagin\u00e1rio<\/em>, e\u00a0<\/span>Padr\u00e3o<\/em>, a exposi\u00e7\u00e3o consegue reunir num s\u00f3 espa\u00e7o as din\u00e2micas promovidas por, e na cidade. Apesar do \u201clugar da arte em Portugal ainda ser circunscrito a um pequeno grupo de pessoas brancas\u201d10, ao percepcionarmos as diferentes perspetivas e obras reunidas em torno de um s\u00f3 sentido, o de real\u00e7ar as culturas urbanas, torna-se claro que tamb\u00e9m estas reclamam para si um espa\u00e7o de fala. \u00c9, assim, de toda a pertin\u00eancia que os museus e os curadores se adequem aos tempos e realidades, \u201cencarando o seu pr\u00f3prio desconforto\u201d\u00a0<\/span>11<\/em>. \u00c9 resultado desta adequa\u00e7\u00e3o e trabalho com e para a comunidade o projeto\u00a0<\/span>Interfer\u00eancias<\/em>. De modo a promover o envolvimento do p\u00fablico num espa\u00e7o art\u00edstico regulamentado, diferente da experimenta\u00e7\u00e3o urbana, foi tamb\u00e9m desenvolvida uma alian\u00e7a com o Festival Iminente, e v\u00e1rios artistas, que em conjunto com a equipa do MAAT propuseram a organiza\u00e7\u00e3o de workshops<\/span>12<\/em>.<\/span><\/p>\n

    <\/figure>\n

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    Vista da exposi\u00e7\u00e3o \u201cInterfer\u00eancias. Culturas Urbanas Emergentes\u201d, maat, 2022. Cortesia Funda\u00e7\u00e3o EDP\/maat. Fotografia de Diana Tinoco<\/i><\/span><\/font><\/p>\n

    <\/p>\n


    <\/p>\n

    <\/p>\n

    Com a riqueza visual e auditiva presente no espa\u00e7o, seguimos caminho com a aten\u00e7\u00e3o presa ao mais \u00ednfimo detalhe, n\u00e3o deixando escapar qualquer pormenor, at\u00e9 que nos encontramos no meio de uma sala de fam\u00edlia. Uma fam\u00edlia que podia ser a nossa. Uma televis\u00e3o acesa a rodar uma curta-metragem em loop<\/em>, convida-nos a sentar na poltrona perfeitamente posicionada apenas a alguns metros. Sentamo-nos sem saber que estamos prestes a assistir ao testemunho de uma m\u00e3e cujo filho foi assassinado, aquela que \u00e9 a infeliz realidade da fam\u00edlia cuja sala invadimos\u2026 \u00c9 esta proximidade com as instala\u00e7\u00f5es, neste caso do coletivo Unidigrazz, e a possibilidade de fazermos parte delas, que torna imposs\u00edvel equacionar o esquecimento de tudo aquilo que absorvemos.<\/p>\n

    <\/p>\n

     <\/div>\n

    <\/p>\n

    Os efeitos cr\u00edticos da montagem<\/h2>\n

    <\/p>\n

    Poder-se-ia dizer que a montagem da exposi\u00e7\u00e3o chega a ser claustrof\u00f3bica e assoberbada de informa\u00e7\u00e3o, no entanto, talvez fosse essa a inten\u00e7\u00e3o. A de deixar o p\u00fablico sem espa\u00e7o para refletir no que via no momento, criar cacofonia e sincretismos v\u00e1rios. Talvez o desejo de que as pe\u00e7as fossem tanto observadas como sentidas, tocadas e ouvidas. Imp\u00f5e-se tamb\u00e9m a quest\u00e3o da transposi\u00e7\u00e3o de linguagens de rua para um espa\u00e7o museol\u00f3gico. As dimens\u00f5es da sala e as obras ali expostas, normalmente estariam pintadas e exibidas numa parede fora de um espa\u00e7o institucional. \u00c9 a montagem que sofre uma readapta\u00e7\u00e3o ao espa\u00e7o, e n\u00e3o as obras que s\u00e3o condicionadas ao mesmo. Em momento algum foi retirada liberdade criativa, pelo contr\u00e1rio, acolheram-se as iniciativas dos artistas a prop\u00f3sito do enriquecimento do projeto. Se temos instala\u00e7\u00f5es de Ana Hatherly e de Kiluanji Kia Henda, dois nomes conhecidos na cena liter\u00e1ria e art\u00edstica, temos tamb\u00e9m o coletivo Unidigrazz e Diogo VII. Porque, tal como Ant\u00f3nio Brito Guterres anuncia, \u201c(\u2026) isto n\u00e3o \u00e9 uma cena comunit\u00e1ria, \u00e9 contar a hist\u00f3ria de uma cidade a partir de v\u00e1rias vozes e quero que essas vozes sejam referenciadas como tal\u201d13<\/em>.<\/p>\n

    <\/p>\n

     <\/div>\n

    <\/p>\n

    O olhar final<\/h2>\n

    <\/p>\n

    Encontramos vest\u00edgios de hist\u00f3rias contadas e outras por contar, que ainda agora iniciaram. Para terminar em grande, uma bandeira rosa-choque, com a frase N\u00e3o foi descobrimento foi matan\u00e7a<\/em>, obra do artista ROD. Sa\u00edmos com sensa\u00e7\u00e3o de termos aprendido mais sobre quem partilha a cidade connosco e o modo de o expressar. Infelizmente, nem todos sentimos as interfer\u00eancias. Algumas pessoas sentiram-se ofendidas com a exposi\u00e7\u00e3o e criticaram a escolha das obras, nomeadamente a bandeira de ROD. Entre as explica\u00e7\u00f5es para a ofensa, existe um testemunho em comum, o da integridade do passado e respeito pelo pa\u00eds\u2026 Assim se entendem os efeitos duradouros do colonialismo, a import\u00e2ncia da politiza\u00e7\u00e3o da arte e do debate sobre a cidade.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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    Vista da exposi\u00e7\u00e3o \u201cInterfer\u00eancias. Culturas Urbanas Emergentes\u201d, maat, 2022. Cortesia Funda\u00e7\u00e3o EDP\/maat. Fotografia de Pedro Pina<\/i><\/span><\/span><\/p>\n

    \u00a0<\/p>\n

    Merecedora de toda a aten\u00e7\u00e3o e visitas por ser imensamente relevante e intensa a n\u00edvel cultural, pol\u00edtico e social, esta n\u00e3o \u00e9 uma exposi\u00e7\u00e3o qualquer. \u00c9 um lugar de encontro e reencontro com as nossas mem\u00f3rias e hist\u00f3ria dispostas\u2026 Ap\u00f3s a visita n\u00e3o podemos deixar de explorar as tem\u00e1ticas abordadas e retornar ao espa\u00e7o j\u00e1 com outro entendimento, para assim nos reunir-nos em torno do debate sobre a vida na periferia, o p\u00f3s-colonialismo, o anti-racismo e a interliga\u00e7\u00e3o entre todos estes temas. Temas estes que parecem estar finalmente a ser abordados e analisados na esfera medi\u00e1tica.<\/p>\n

    \u00a0<\/p>\n

    *This exhibition was on display at MAAT from March 30 th to September 5 th , 2022.*<\/p>\n

    \u00a0<\/p>\n

      \n
    1. https:\/\/comunidadeculturaearte.com\/interferencias-prisma-e-naturezas-visuais-ocupam-o-maat\/\u00a0<\/a>Com Jo\u00e3o Pinharanda como novo programador do MAAT, a exposi\u00e7\u00e3o inaugurou em Mar\u00e7o e estar\u00e1 patente at\u00e9 5 de setembro.<\/li>\n
    2. Rosa Helena Mendon\u00e7a em\u00a0\u201cCultura Urbana e Educa\u00e7\u00e3o\u201d<\/a>.<\/li>\n
    3. https:\/\/www.maat.pt\/pt\/event\/agenda-interferencias<\/a><\/li>\n
    4. https:\/\/amensagem.pt\/2022\/03\/29\/antonio-brito-gueterres-exposicao-interferencias-museu-maat-belem-periferia-lisboa\/<\/a><\/li>\n
    5. Letras do Hinu Digra\u00a0aqui<\/a>.<\/li>\n
    6. Alcindo \u2013 O document\u00e1rio<\/li>\n
    7. https:\/\/www.instagram.com\/p\/CeYPfrDs1E3\/<\/a><\/li>\n
    8. Artistas presentes na exposi\u00e7\u00e3o\u00a0aqui<\/a>.<\/li>\n
    9. Texto de curadoria\u00a0aqui<\/a>.<\/li>\n
    10. https:\/\/amensagem.pt\/2022\/03\/29\/antonio-brito-gueterres-exposicao-interferencias-museu-maat-belem-periferia-lisboa\/<\/a><\/li>\n
    11. https:\/\/www.buala.org\/pt\/palcos\/pre-publicacao-o-que-e-que-temos-a-ver-com-isto-o-papel-politico-das-organizacoes-culturais<\/a><\/li>\n
    12. Agenda de workshops\u00a0aqui<\/a>.<\/li>\n
    13. https:\/\/amensagem.pt\/2022\/03\/29\/antonio-brito-gueterres-exposicao-interferencias-museu-maat-belem-periferia-lisboa\/<\/a><\/li>\n<\/ol>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

      Located by the Tagus River, in MAAT (Museum of Art, Architecture and Technology) which is in the most colonial parish of Lisbon, Bel\u00e9m, we find the exhibition Interferences: Emerging Urban Cultures.<\/p>\n","protected":false},"author":1,"featured_media":3627,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[47,11],"tags":[],"class_list":["post-3297","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial","category-highlights"],"acf":[],"yoast_head":"\nAgainst the Muteness of Walls - waau art<\/title>\n<meta name=\"description\" content=\"Located by the Tagus River, in MAAT which is in the most colonial parish of Lisbon, Bel\u00e9m, we find the exhibition Interferences: Emerging Urban Cultures.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/11\/02\/against-the-muteness-of-walls\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Against the Muteness of Walls - 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