CO YBY OR\u00c9 RETAMA \u2013 Essa Terra \u00e9 o Nosso Lugar
\n[CO YBY OR\u00c9 RETAMA \u2013 This Land is Our Place]<\/p>\n[\/spb_text_block] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1\/1″ el_position=”first last”]\n
Andrey Guaian\u00e1 Zignnatto<\/strong><\/em><\/p>\n Curatorship<\/strong> Opening: 08\/21 Andrey Guaian\u00e1 Zignnatto is the heir of indigenous grandparents from the villages of Inhampuamba\u00e7u who were silenced by the colonial city of S\u00e3o Paulo de Piratininga, a place later dominated by bricks and concrete of houses and buildings that today occupy almost all the land of this megalopolis. A self-taught artist, visual arts teacher and social project activist, the artist worked as a mason’s helper from the age of 10 to 14, a descendant of the Tupinaky’ia and G\u00fbarini peoples. These ancestral affective memories are the basis for the conceptual development and methods used in his artistic production.<\/p>\n In the current condition where many originally indigenous territories are covered by concrete, it is difficult to think of the idea of a place to make a fire in the urban context, a traditional custom of the original peoples to form the educational space and transmit ancestral knowledge through orality, among many others of their values violated and buried in these territories. For this reason, when indigenous peoples who had their cultural universes erased decide for the process of resuming their ancestry, despite this process starting from symbolism, it transcends mere symbolic questions. The expression of a sense of belonging is built in the field of images, narratives, memories for a place of life and spirituality.<\/p>\n Andrey Guaian\u00e1 Zignnatto begins his career as an artist based on his memories of the time he worked as a mason and on the knowledge acquired by this profession. In his most recent works, the artist’s shift from questions about civil construction to questions about his indigenous ancestry is evident. It is possible to observe in the works presented in the exhibition elements that demonstrate the artist’s effort to reorder his thoughts in this trajectory, from the urban context to the indigenous context, an effort to equalize the forces of these very different universes. In this sense, it is possible to state that the artist; like so many other contemporary indigenous artists; found in art and its poetic potential instruments that have collaborated to imagine and carry out this possible resumption, and to reinhabit the Tekoha (where<\/p>\n produce a collective way of being), the place originally organized and inhabited by indigenous peoples, a space for the production of knowledge to safeguard ancestral rights.<\/p>\n Here, it is also important to draw attention to the risks and necessary precautions regarding the still constant approaches to indigenous peoples’ issues from colonizing perspectives. Care not to romanticize ancestry too much, as if Brazil were \u201cdiscovered\u201d, as if indigenous populations of different ethnicities were passively \u201ccivilized\u201d, and above all what and who defines someone as an indigenous person. Hence the importance of the indigenous people who were silenced putting themselves in evidence, as well as a reaction of the original peoples who always struggled to resist the invasions, and, in the case of those who choose the paths of the arts, to demonstrate how fiction is also an important device in these political-identity retakes, similar to what, as Oswald de Andrade denounced, was\/is for coloniality. It is not, therefore, a question of thinking of the prefix re necessarily as a rescue or a return to a point supposedly prior to the colonial invasion. For this reason, it is relevant to think that the exhibition space and the production of indigenous artwork are not just any place and work.<\/p>\n The work of an indigenous artist is a work that comes from the attempt to translate the indigenous struggle in favor of the physical territory and also the subjective space of thought. This work is very special because of that, because it translates this movement of resistance, survival and expansion in these spaces. She is not just a simple object, but the result of ancestral and transcendental knowledge. This work is an attempt to translate the thoughts and creativity of collectives, which should not be seen as just one individual, the artist. The importance of the collective for the individual and of the individual for the collective is essential in indigenous art. We are never represented in art by just one individual. And this work created by indigenous artists appears in a way that replaces this thought about the individual within a whole, and the relationship of this individual with this whole. There is no indigenous work without this encounter and this knowledge that is produced by the collective. The work is materialized by the individual, but thinking is a process that occurs in the collective. Although Andrey’s work speaks of his family’s historical process, it also speaks for all the other indigenous people who were buried in cities by tons of concrete indifference.<\/p>\n It is difficult to find in words a way to explain everything that is unique and special, what is transcendental, what is directly associated with the beings of the earth. The body, social relationships, well-being, good living is in intimately related to the surrounding elements, society itself, the elements of the earth, forests and animals, the spirits. It is not possible in indigenous thought to disassociate these relationships. And it is in art that the indigenous find a way to translate the complexities of these relationships.<\/p>\n It is important and necessary for the (non-indigenous) Juru\u00e1 to understand these other ways of thinking, such as these different indigenous perspectives. Indigenous art is yet another alert in an attempt at dialogue between indigenous peoples and these Juru\u00e1, which offers them other ways of seeing beyond the huge concrete walls and asphalt floors, and seeing what unites us in a relationship of respect as humans. , and together what unites us with the non-human in a respectful relationship also with the Ij\u00e1 do Rio, Ij\u00e1 da Mata, the guardians, the spirit of the land, the spirit of the forest, the spirit of the trees. These are some reflections that can be found in the works of Andrey Guaian\u00e1 Zignnatto, which are part of the exhibition CO YBY ORE RETAMA [This Land is Our Place].<\/p>\n July 06, 2021 JAIKO JEVY, JAJAPO JEVY H\u00c1\u2019E KUEPY<\/strong><\/p>\n Andrey Guaiana Zignnatto m\u00e1 nhande kuery ramymin\u00f5 yma ramo ikuai va\u2019ekuery Inhapuamba\u00e7u tekoa oin raka\u2019e S\u00e3o Paulo j\u00e1\u2019eambyte re ayn ramo ita gui meme m\u00e1 opamba\u2019e oin, ha\u2019e m\u00e1 kyrin vy oiko axy raka\u2019e va\u2019eri ayn h\u00e1\u2019e nhombo\u2019e va\u2019e oiko, Guarani regua\u2019i havi oiko tupinaky\u2019i re oje\u2019a i va\u2019ekue. Va\u2019eri h\u00e1\u2019e arandua oguereko va\u2019e rupi meme Ju tembiap\u00f3 oexauka<\/p>\n Ayn gui ita pa oiny yma ramo nhandeva\u2019e Kuery ikuai raka\u2019eague rupi ramo tet\u00e3 re jaiko vy mamo rantu nhamoendy tataypy jaguapy agu\u00e3 nhamombe\u2019u agu\u00e3 nhamdereko h\u00e1\u2019e opamba\u2019ereko regua re, h\u00e1\u2019e va\u2019e aepy nhende Kuery reko, ka\u2019aru maramo jogueroguapy ayvu Por\u00e3 omombe\u2019u. Oiko pete\u2019in Mby\u2019a heta omomba rai\u2019i va\u2019ekue rembyre\u2019i m\u00e1 ayn gui ojevy jogueravy ha\u2019e yvy re joguero\u2019a avi agu\u00e3.<\/p>\n Andrey Guaiana Zignnatto m\u00e1 nhande kuery ramymin\u00f5 yma ramo ikuai va\u2019ekuery omboypy tembiap\u00f3 Oiko pete\u2019in Mby\u2019a heta omomba rai\u2019i va\u2019ekue rembyre\u2019i m\u00e1 ayn gui ojevy jogueravy ha\u2019e yvy re joguero\u2019a avi agu\u00e3 Ayn gui ita pa oiny yma ramo nhandeva\u2019e Kuery ikuai raka\u2019eague rupi ramo tet\u00e3 re jaiko vy mamo rantu nhamoendy tataypy jaguapy agu\u00e3 nhamombe\u2019u agu\u00e3 nhamdereko h\u00e1\u2019e opamba\u2019ereko regua re, h\u00e1\u2019e va\u2019e aepy nhende Kuery reko, ka\u2019aru maramo jogueroguapy ayvu Por\u00e3 omombe\u2019u. Oiko pete\u2019in Mby\u2019a heta omomba rai\u2019i va\u2019ekue rembyre\u2019i m\u00e1 ayn gui ojevy jogueravy ha\u2019e yvy re joguero\u2019a avi agu\u00e3.<\/p>\n Nhande Ipor\u00e3 vaipa ramo katu h\u00e1\u2019evete tove katu anhete toimba Por\u00e3 i katu opamba\u2019eramo jepe koo yvy re nhandekuai por\u00e3, agu\u00e3 rupi katu nhande kuery ramymin\u00f5 yma ramo ikuai va\u2019ekuery regua h\u00e1\u2019e katu imbaraete agu\u00e3 j\u00e1\u2019eambyte re ayn ramo ita gui meme m\u00e1 opamba\u2019e oin, ha\u2019e m\u00e1 kyrin vy oiko axy raka\u2019e va\u2019eri ayn h\u00e1\u2019e nhombo\u2019e va\u2019e oiko, Guarani regua\u2019i havi oiko tupinaky\u2019i re oje\u2019a i va\u2019ekue. Va\u2019eri h\u00e1\u2019e arandua oguereko va\u2019e rupi meme Ju tembiap\u00f3 oexauka jaguapy agu\u00e3 nhamombe\u2019u agu\u00e3 nhamdereko h\u00e1\u2019e opamba\u2019ereko regua re, h\u00e1\u2019e va\u2019e aepy nhende Kuery reko, ka\u2019aru maramo jogueroguapy ayvu Por\u00e3 omombe\u2019u. Oiko pete\u2019in Mby\u2019a heta omomba rai\u2019i va\u2019ekue rembyre\u2019i m\u00e1 ayn gui ojevy jogueravy ha\u2019e yvy re joguero\u2019a avi agu\u00e3.<\/p>\n Apy ma ore rojapo ojejoko agu\u00e3 orea katy. Apy guima nda`eve vei ma amboekue oaxa agu\u00e3 ore yvy ma H\u00e1`e rami ma, oiko ay gui, orevy o Kaninde pe ipor\u00e3vea rami merami rojapo h\u00e1`e va`e Indigena kuery ay gui ikuai va`ema, yma pyguare rami he`y\u2026 Yvy ojeporua voi amboae rami, yvy rupa omba`e rami ae oiporu oikoa`i rupi oi agu\u00e3 yvy ranhe r\u00e3 oipe`a oipe`e eravy nhandegui, ha`eguima oiporuxea rami rive tema ojapo ha`epy ikuai va`ere. Ijayua jave Brasil, vyma oexa\u00e3 ramo yvy rive rami, na\u00e7\u00e3o rami he`y nhande rexa, vyma Brasil ma yvy oi rivea rami jaikuaa? Vy h\u00e1`ema jajogueroa yvy re.<\/p>\n Yvyty manje ojoua rami omombe`u vyma oo Paraty peve ogueraa agu\u00e3 h\u00e1`egui navio pyju, h\u00e1`erami onhemombe`u oiny. Tape puku ojeporu va`ekue apy ikuai aema va`e kuery, ojuka h\u00e1`egui o escraviza pa mavy rive. Jaexa por\u00e3 ramo h\u00e1`e rami voi: yvy oi por\u00e3ve agu\u00e3 ambikuai hague rupi rive oi ovy. Apy ma nda`ikuai yvyre hekoa`i va`ekue anho`i he`y, ikuai avi jurua kuery oejaa rive tape rupi va`e kue voi, h\u00e1`e rami ojejapo ovy j\u00e1`e agu\u00e3 rami rivema aema oi. Nhandero agu\u00e3 yvy nda`eve vei ma, nhande jopy parei ma,<\/p>\n ambo`ekue reve nhande kuai agu\u00e3 joupive`i pave voi. Yvy`\u00e3, ka`aguy, yak\u00e3, ija va`e meme ikuai vy jepe ma, ay gui oiporua mba`emo ojou agu\u00e3 rive etema. Andrey Guaian\u00e1 Zignnatto ayvu rupi rive h\u00e1\u2019eva\u2019e CO YBY ORE RETAMA [Esta Terra \u00e9 Nosso Lugar] He\u2019i va\u2019e regua<\/p>\n Tradu\u00e7\u00e3o para Guarani M\u2019bya: Anthony Kara\u00ed Poty<\/p>\n[\/spb_text_block] [spb_blank_spacer height=”30px” width=”1\/1″ el_position=”first last”] [spb_gallery gallery_id=”17821″ display_type=”slider” columns=”3″ fullwidth=”no” gutters=”yes” image_size=”thumbnail” slider_transition=”slide” show_thumbs=”yes” autoplay=”no” show_captions=”no” enable_lightbox=”yes” width=”1\/1″ el_position=”first last”] [\/spb_column]\n","protected":false},"excerpt":{"rendered":" [spb_row element_name=”Fotos Destaque” wrap_type=”full-width-stretch” row_bg_type=”color” color_row_height=”content-height” bg_type=”cover” parallax_image_height=”content-height” parallax_image_movement=”fixed” parallax_image_speed=”standard” bg_video_loop=”yes” parallax_video_height=”window-height” row_top_style=”none” row_bottom_style=”none” parallax_video_overlay=”none” row_overlay_opacity=”0″ remove_element_spacing=”yes” row_col_spacing=”0″ row_col_pos=”default” row_col_equal_heights=”no” row_expanding=”no” row_animation=”none” row_animation_delay=”0″ minimize_row=”no” simplified_controls=”yes” custom_css_percentage=”no” custom_css=”margin-top: 0px;margin-bottom: 0px;” border_styling_global=”default” width=”1\/1″ el_position=”first last”] [spb_image image=”17828″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1\/3″ el_position=”first”][\/spb_image] [spb_image image=”17817″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1\/3″][\/spb_image] […]<\/p>\n","protected":false},"author":1,"featured_media":19561,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_mo_disable_npp":"","footnotes":""},"categories":[62],"tags":[],"class_list":["post-20504","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions"],"_links":{"self":[{"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/posts\/20504","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/comments?post=20504"}],"version-history":[{"count":0,"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/posts\/20504\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/media\/19561"}],"wp:attachment":[{"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/media?parent=20504"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/categories?post=20504"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/alespacodearte.com\/en\/wp-json\/wp\/v2\/tags?post=20504"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSandra Ar\u00e1 Ret\u00e9 Benites<\/p>\n[\/spb_text_block] [spb_divider type=”standard” text=”Go to top” top_margin=”0px” bottom_margin=”30px” fullwidth=”no” width=”1\/1″ el_position=”first last”] [\/spb_row] [spb_column col_sm=”4″ padding_horizontal=”0″ width=”1\/3″ el_position=”first”] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1\/1″ el_position=”first last”]\n
\nExhibition period: from 08\/21 to 09\/17\/2021<\/p>\n[\/spb_text_block] [\/spb_column] [spb_column col_sm=”8″ padding_horizontal=”0″ width=”2\/3″ el_position=”last”] [spb_image image=”17819″ image_size=”full” frame=”noframe” caption_pos=”hover” remove_rounded=”yes” fullwidth=”no” overflow_mode=”none” link_target=”_self” lightbox=”no” intro_animation=”none” animation_delay=”200″ width=”1\/1″ el_position=”first last”][\/spb_image] [spb_blank_spacer height=”30px” width=”1\/1″ el_position=”first last”] [spb_text_block animation=”none” animation_delay=”0″ simplified_controls=”yes” custom_css_percentage=”no” padding_vertical=”0″ padding_horizontal=”0″ margin_vertical=”0″ custom_css=”margin-top: 0px;margin-bottom: 0px;” border_size=”0″ border_styling_global=”default” width=”1\/1″ el_position=”first last”]\n
\nSandra Ara Rete Benites<\/p>\n
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