December 15, 2019 - February 09, 2020. Porto Alegre, BR

Estratégias do feminino

The exhibition brings a selection of 95 works produced by Brazilian women from the beginning of the 20th century to the present day. They are works that impact because of their artistic-conceptual power and that problematize the constitutions, conditions and cultures of the “feminine”. The works are grouped based on the identification of evident strategies and procedures that confront the spaces and places reserved for women – even in the history of art – and that have limited their actions in public life, work, culture, standards of beauty, in short, in the full exercise of their citizenship.

280 Chibatadas dialogues perfectly with the concept of intersectionality developed by Kimberlé Crenshaw where the need to cross categories such as race, gender and social class is raised.

Daniela Kern

About 280 Chibatadas

Brazil was the last country in Latin America to abolish slavery, after having imported more African slaves than any other Latin American country from the sixteenth century on. It is also one of the countries that most flaunts its “racial mix and diversity.” For the centennial of the abolition of slavery in 1988, the Universidade de São Paulo carried out a survey in which 96% of those interviewed stated they were not racially prejudiced, while 99% said they knew someone who was: “Every Brazilian feels like an island of racial democracy surrounded by racists on all sides.”

The photographs from a family album of a girl of African descent invite us to participate in a game evoking an average person’s childhood and everyday life. A 280-character tweet is enough to strip bare the tableau of Brazilian wonders, transforming the spectator into a questioner facing brutal banalities and a fatal dehumanization of the other, very much in the present. Well into the twenty-first century, the internet reestablishes a daily reality that shows the incredible power contained in the “single history” and the legacy of its creators or disseminators, as it comes to form part of the collective imaginary, with its gradation of tones and self-definitions: ubiquitous, in spite of the symbolic gestures that lose their meaning and end up being mere excuses, justifications. The aberrant has become natural, licensed.


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