Comigo ninguém pode
Comigo ninguém pode
Comigo ninguém pode is a series of artworks by Regina Vater that draw from near-anthropological photographs taken by the artist from 1981 onwards, documenting the use of comigo-ninguém-pode plants in front of houses and commercial establishments, certainly due to their mystical, jinx-removing properties.
A democratic plant whose presence would overcome class distinctions, and upon which Vater impinged another layer of meanings, also supernatural. Just as in Western or African religions in which God’s face is unknowable to followers, the artist started creating installations where the telluric force that underpins the comigo-ninguém-pode is covered by pictures of popular faces. Invisible, yet powerful in its ability to keep growing even when chopped or not getting enough water. Unyielding. For the artist, a metaphor for the Brazilian people, resistant to neglect and forsakenness.
The metaphor has been incorporated and expanded upon in the eponymous group show, which features work by female artists and intellectuals. From the affirmation of a slogan – or war cry – about the female condition to the potent invisibility that won’t yield, the featured artists provide their takes on the notion of feminine, characterized by attributes of delicacy, intuition, intimacy, warmth, affection which are often viewed as opposing the realm of rationality, strength, organization and precision. In Comigo ninguém pode, these stereotypes provide no parameter other than that of its own transgression.
Through works, texts and documentation by artists such as Alison Knowles, Ana Mazzei, Charlotte Moorman, Flora Rebollo, Georgete Melhem, Isabela Capeto, Lenora de Barros, Letícia Parente, Lydia Okumura, Maria Noujaim, Marta Minujín, Martha Araújo, Regina Vater, Trisha Brown, Ubu Editora, and Valentine de Saint-Point, Comigo ninguém pode juxtaposes, opposes and superimposes productions from different historical moments and languages, divergent themes. These are productions crated from individual and/or social perspectives, looking into how the output of artists from the 1960s/1970s (and even earlier) reverberates in contemporary practices when it comes to characterizations of the feminine. The exhibit is experimental in character, undergoing changes along the way, incorporating artworks, onsite debates and curatorial collaborations, actions involving Galeria Jaqueline Martins, curator Mirtes Marins de Oliveira, and traveling project Desapê, as well as a partnership with Videobrasil Historical Collection.