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28 marzo - 1 julio 2018
Sesc Santos - SP, Brasil
En cooperación con el Museu Afro Brasil, San Pablo
Curador: Emanoel Araújo
Unas 200 piezas del barroco luso-afro-brasileño
Sesc Santos, en cooperación con el Museo Afro Brasil, una institución de la Secretaría de Cultura del Estado de San Pablo, presenta la exposición “Barroco Ardente e Sincrético – Luso-Afro-Brasileiro”, que reúne unas 200 piezas, cartografiando una miríada de manifestationes del estilo en Portugal y en el Brasil, y enfatizando sus expresiones en un país de razas mixtas. Curada por Emanoel Araújo, la muestra introduce al visitante en el espíritu barroco, mostrando sus referencias en la cultura académica y popular.
“Barroco Ardente e Sincrético – Luso-Afro-Brasileiro” propone una visita a obras del siglo XVII hasta principios del siglo XIX, con contribuciones de los artistas más expresivos del barroco brasileño, Antônio Francisco Lisboa, el Aleijadinho (1730-1814), en Ouro Preto (Minas Gerais), y Mestre Valentim da Fonseca e Silva (1745-1813), en Rio de Janeiro. El escultor Xavier de Brito (?-1751), profesor del Aleijadinho, asi como también piezas religiosas de Portugal y obras de artistas anónimos del barroco sincrético también forman parte de la exposición, que puede ser vista en Sesc Santos hasta el primero de julio, con entrada libre y gratuita.
“I call ardent the question of the tropicality of the Baroque, invoking the woodwork and the afrodescendents mechanic. It is syncretic, too, regarding this strand that includes the profane aspect fo the religious ceremonies, as seen in the “Bumba-meu-boi” in Maranhão, which celebrates the day of Saint John, the “Cavalhada” at Pirenópolis, Goiás, the “Reisados” in Alagoas, and the “Maracatu” processions in Pernambuco. The Baroque, for me, is an endless movement. It is continuous, in the Brazilian culture. It came from Portugal, but finds here the ideal landscape for the construction of its dentity”, says Araújo, Museu Afro-Brasil´s director-curator.
The visitor also gets to see paintings from José Joaquim da Rocha (1737-1807), José Patrício da Silva Manso (1753-1801) and Frei Jesuíno do Monte Carmelo (1764-1819) . Other artifacts from this historic period (oratories, carvings, tiles, goldsmith´s works, silverware, porcelain tile) are also incorporated to the Baroque spirit´s crossing, all this in a dialogue with the poetry of Manuel Botelho de Oliveira (1636-1711), Frei Manuel de Santa Maria (1704-1768) and Gregório de Matos (1636-1696), all of them from Bahia. The exposition is musicaly ambiented with works from the most relevant brazilian religious composers, as José Maurício Nunes Garcia (1767-1830), José Joaquim Emerico Lobo de Mesquita (1746-1805), Damião Barbosa de Araújo (1778-1856) and Domingos Caldas Barbosa (1739-1800).
According to Emanoel Araújo, this multifaceted Baroque showcases the strength of the Portuguese contribution, but highlights “the mixed tropical attitude from Africa and Brazil”, from the sacred to the profane. “The Africans and their descendents, with a massive presence in Brazil, took possession of the Baroque, overall because of the mechanic work corporations absorbing this slave labor force and contribute to the social ascension of the Black people”, explains the curator.
“This exposition is shaped in a scenography that involves different aspects of the baroque art. From tilery to the Bahia´s internal churches walls, photographed by Sílvio Robatto in the “Barroco Rebolado” series, in which he visualizes the sensuality of the angels carvings and of the mephistofelians figures”, says Emanoel Araújo. The exposition shows some of the profane festivities that appears with the advent of the Baroque: the “Cavalhadas” in Goiás, the struggle between moors and christians, the “Maracatu”, the “Rei de Congo” and the “Bumba-meu-boi” in Maranhão.
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