Pinacoteca, a museum of the Secretary of Culture and Creative Economy of the State of São Paulo, has opened to the public on October 31st its new display of the Brazilian art collection, taking up 19 rooms on the first and second floors of Pina Luz Building, with about a thousand works by over 400 artists. The new display, developed by the Research and Curatorship Hub together with other areas of the museum, as well as in dialogue with external collaborators, is based on a more diverse and inclusive narrative.
After 10 years, the institution has chosen to replace the linear and chronological narrative by a more critical outlook, by means of which the collection may reverberate with more contemporary issues. The curatorial project combines historical times and artistic techniques, discusses the representativeness of female artists, Afro-descendants and indigenous people in the museum collection, investigates the relationship between art and society, and delves into the representation of landscapes and urban spaces. The entire exhibition is structured on a dialogue between works, a strategy that has been tested for many years in educational programs.
Owner of one of the most representative collections of Brazilian art in the country, Pinacoteca brings together in the new exhibition – sponsored by BB Seguros – all collections that are under its tutelage todat, including the Ioschpe Collection and works lent by the Nemirovsky and Roger Wright Collections. Pinacoteca has also borrowed works especially for the exhibition, including for instance a work by artist Adriana Varejão, from Rio de Janeiro.
The narrative is organized around three hubs. The first, Art Territories, investigates how artists observe their own body and other bodies; how they develop ideas about the possible functions and definitions of art; and how they think of art in an autonomous territory. Body and Territory, the second hub, examines how artists shape the earth around them, reflecting on the violent process of domination implied in such representations. Finally, the third hub develops around the relationship between The Individual Body and the Collective Body, in which artists forge ideas of community from a body, investigate social roles, talk about the violence exercised over other bodies and also about affections and desire.
It is important to emphasize that there is no single route for the visitor to follow, since rooms have a certain thematic autonomy, allowing the visitor to choose his own route through the exhibition. Since the exhibition is permanent, exhibition rooms have undergone renovations to offer the public a better experience.
Due to the pandemic, please consult the security protocol for visits in the museum website: www.pinacoteca.org.br .
The new display of the Pinacoteca collection was born from a questioning of its body of works and the history of art that the institution intends to tell, considering the many stories that have remained invisible. In this sense, there is an attempt to highlight and minimize some omissions in hegemonic narratives, such as the under-representation of women, afro-descendants and indigenous artists. The number of works by female artists and afro-descendants has more than tripled compared to the previous display. The number of female artists has increased from 17 to 95, and the number of afro-descendant artists has grown from 7 to 26.
Also, thanks to a donation by the Pinacoteca de São Paulo Contemporary Art Patrons Program, in 2019 the Museum acquired its first two works by contemporary indigenous artists: A Spell to Save Raposa Serra do Sol, by Jaider Esbell, from the Makuxi ethnic group of Roraima, and a set of works by Denilson Baniwa, an artist of the Baniwa ethnic group from Amazonas. Both will be on show in the new display.
On the same day, October 31, Pinacoteca de São Paulo opened its first exhibition entirely dedicated to the art of native peoples. Vexoá: We Know takes up the three new rooms for temporary exhibitions located on the second floor of Edifício Luz and is curated by Ph.D. in education (PUC/SP), MA (UNB) and indigenous activist Naine Terena.
The Research and Curatorship Hub started designing the new collection display in 2017. The overhaul was discussed with all areas of the museum in forums that came to be held once every week. In addition to a survey conducted with visitors to the museum, a seminar held in 2018, “Ways to See, Ways to Exhibit,” brought a great input to the team’s reflective process, especially as regards debates on post-colonialism and ethnic and gender representativeness. The project also relied on dialogues with third-party professionals such as Moacir dos Anjos, Julia Rebouças, Renata Bittencourt and Denilson Baniwa, who debated with the Pinacoteca team the main concepts of the exhibition.
Sponsorship: BB Seguros
Pina Luz Building
From October 31st
Open: from 10am to 6pm, Wednesdays to Mondays
Address: 2 Praça da Luz, Luz, São Paulo, SP.
Tickets: Free for all ages Wednesday to Monday, but must be booked at the Pinacoteca website (www.pinacoteca.orgHYPERLINK “http://www.pinacoteca.org.br/”.br).
Important: Tickets are valid for the exhibition Véxoa: We Know and the
Museum Collection permanent display. It is not valid for OSGEMEOS: Secrets, tickets for which must also be purchased at the museum website.