I 2018 Exhibition Program Show | Black on white, overlapping and nuances
Project selected by the Judging Commission of the 2018 Exhibition Program edict (Agnaldo Farias, Lisette Lagnado and Luiza Proença) CCSP Visual Arts Curator (Maria Adelaide Pontes)
Opening: June 16, 3 pm
June 16 to September 9
Tuesday to Friday: 10am to 8pm
Saturday, Sunday and holidays: 10am to 6pm
Caio Graco floor
Free of charge - no need to pick up tickets
I 2018 Exhibition Program Show | Black on white, overlapping and nuances Project selected by the Judging Commission of the 2018 Exhibition Program edict (Agnaldo Farias, Lisette Lagnado and Luiza Proença) CCSP Curator of Visual Arts (Maria Adelaide Pontes) Opening: June 16, 3pm June 16 to September 9
This is not a bird.
Exclamation. In quick movements, colors and pencils and papers and images appear everywhere. We sit on the paints; we are talking about an artist who does not engrave, but "dismantles". The same name given to the time of the harvest of cassava in the city of Curral Cumprido – Piauí state; a collective call that he saw growing and now welcomes.
They are layers of memories, I remember. Repertoire crossed by the fact of having lived a good part of the time with his great-grandfather and his eighty years of stories and teachings. Not about the technique of xylography, but its cosmogony and its ways of seeing life.
By establishing the body as a file, as a way through, Santídio Pereira seems to recreate and translate this ancestral time. Not objectively in his first relief but at the deepest and most fundamental level that takes shape in the nature of his gesture. "Past and present are distinguished only by the wear of wood"1, I read one of these days. "Never a picture is lost, even deep down you can see the end of it, can you?” he asks.
The place we're talking about is mapped on the front page of his travelogue. Migrant birds that flock together, even if separated. Whether in small or large formats, everything happens the moment you see it. Desire to stop time, create an image of himself, what he loves, remembers and pleases. What animates him is what he records.
This is not a bird.
The artist sees beyond. And signs up. He performs his creations and in "The black in white, overlapping and nuances", he announces like possibility of reflection for the present art, the disorganization of his taxonomic speech. Open to the public, available to the many looks and different perspectives in his passage through the CCSP, he rejects a place and the hierarchies that define what is erudite, popular or contemporary art.
Let's make a parenthesis.
As a product of modernity, the procedures of categorization within the art system obey the same process of racialization as Western modern thought2. It was through this expansive force, of its power of reproduction and multiplication in space, subjecting everything that was within the reach of its horizon to its universe of ideas, customs, language and laws, that the colonial order was sustained in its overseas invests. A view according to which humanity would be divided into species and subspecies - distinctive categories, through which it differentiates, separates and classifies hierarchically. It marks the bodies and the expression that are born from them. It invents a past to determine a destiny and a single future. It converts simultaneity into non-contemporaneity3, so as not to compromise its supposed universality.
In this crisis of otherness, in organizing the discourse of rationality through the production of scientific knowledge, it is up to the institutions to reproduce or break these systems of values and their structures that produce the difference that define presences and absences, visibilities and invisibilities.
Thus, what this work opens to us is the opportunity to carve out a way that will deprive this mode of apprehension of the radically deterministic world by finally unleashing the purpose of these words: instead of marking in time a place for the experience of the other, to open space for the aesthetic experience to happen. Just as what it is.
Born in the 90s, a curious fact is that it is in the name of Santídio that the first image of the city of Curral Comprido appears in the search tools of the World Wide Web. Young enough to say that this place is pieces, fragments, parts and contrasts. This game reveals the nuances between black and white, enunciating like black body, which is for himself relevant. It is when he creates permanence and gives continuity to the rigor of the engraving tradition.
This is not a bird.
Full stop. Repeat this phrase a few times.
And let free those who know how to fly.
Diane Lima is an independent curator, researcher and creative director. Master in communication and semiotics at PUC-SP, her work focuses on experiencing multidisciplinary artistic and curatorial practices, developing collective learning devices focused on processes of creation and production of knowledge. In 2015 she created AfroTranscendence, a program of immersion in creative processes to promote contemporary Afro-Brazilian culture. Among the most recent projects is the curatorship of the exhibition Diálogos Ausentes (2016-2017) set up in São Paulo and in Rio de Janeiro, a program of Itaú Cultural that discussed the presence of blacks in the most different areas of expression.
Lança, Marta. Passado e presente se distinguem apenas pelo desgaste da madeira. 2018. Access at:http://www.buala.org/pt/afroscreen/passado-e-presente-so-se-distinguem-pelo-desgaste-da-madeira
 Lima, Diane S. Da S. Lima. MAKE SENSE TO MAKE SENSE: Resignations of a black body in Afro-Brazilian contemporary artistic practices. 2017. 200p. Essay(Master in Communication and Semiotics). Pontifical Catholic University of São Paulo - PUC-SP.
SANTOS, Boaventura de Sousa; MENESES, Maria Paula (Orgs.) Epistemologias do Sul. São Paulo: Cortez. 2010.