Kabuletês. Na Tonga da Mironga

André Parente

Kabuletês. Na Tonga da Mironga

André Parente

  • Period
  • 26.05 — 14.07.2018

  • Opening
  • 26.05 — 2 pm

  • Curated by
  • Ricardo Resende
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All that’s left is to spin around. Vertigo can give us direction. 


In these past few years we fell into a bottomless well of the kabuletê. In a tonga da mironga you are the other who doesn’t hear and doesn’t speak. You are the one who looks and doesn’t see, so all that’s left is for you to have a pala and that’s when you’ll have to learn, like it or not. But if you don’t smoke, don’t toke and don’t go for broke, all that’s left is for me to curse you and send you off into a tonga da mironga do kabuletê. So said, with humor, musicians Vinicius de Moraes and Toquinho in this classic Brazilian popular song in face of endless depression from watching a country go down the drain of a history mistold, without beginning and without an end. It’s circular like history that comes and goes. We go round and round, and around, we contort, we trespass, but get nowhere. The songwriters relied on Nagô language to utter, to curse and let out the anger they felt under our latest dictatorship regime imposed by the military. Nowadays, the repression system works through other “hands” in the institutions, in a “light,” white, suffocating way. 


André Parente’s exhibit at Galeria Jaqueline Martins is an untying of the knots in the throats of those who feel gagged, and it can help vent the angst wrought by the political scenario in Brazil today. 


Aesthetically speaking, works like Bandalha, Irreal, Escola Sem Partido, Kabuletês, A Bela e a fera, Dona Raimunda, Curto-circuito, etc, play a political role, and are reminiscent of the potency of emblematic works from the 60s, a time of heavy clampdown on art and culture, including ones by Claudio Tozzi, Gilberto Salvador, Ana Maria Maiolino, Antônio Dias and Rubens Gerchman. Parente’s career displays an investigative coherence that is now bordering on four decades, looking beyond the questions of the visible, into what is seen and what is unseen, and what lies behind the planarity of cinematic image. The artist straddles the boundaries between drawing, photography, performance, video, film and installation.

 

Historically speaking, exhibitions are places where artists express and denounce, through their poetics, the conjuncture of things in the artistic, social and political field. This exhibition portraying his career takes chances in showing artworks whose message is clear, to the point and adjective-free. Artworks that send us spinning endlessly as a means of acquiring knowledge in another dimension. 

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