O mundo das artes e o movimento ind\u00edgena brasileiros foram surpreendidos na semana passada pela noticia da morte inesperada do artista Macuxi Jaider Esbell<\/a>, aos 41 anos. Jaider era colaborador do projeto CARLA desde o seu in\u00edcio. Nascido na cidade de Normandia, em Roraima, Jaider cresceu na comunidade Macuxi, na \u00e1rea que mais tarde iria se transformar na Terra Ind\u00edgena Raposa Serra do Sol. Jaider despontou para o mundo das artes h\u00e1 pouco mais de quatro anos, e nesse curto per\u00edodo conseguiu abrir espa\u00e7os para a sua arte e para a arte ind\u00edgena de maneira geral nos mais conhecidos museus e exposi\u00e7\u00f5es do Brasil. Seus trabalhos para a \u00faltima Bienal de S\u00e3o Paulo (2021) foram descritos como a \u201cespinha dorsal\u201d da exposi\u00e7\u00e3o, e obras suas vinham sendo adquiridas para acervos importantes como o da Pinacoteca de S\u00e3o Paulo e do Centro Pompidou em Paris, entre outros. Jaider era pintor, desenhista, performer, escritor. Era tamb\u00e9m te\u00f3rico, com uma produ\u00e7\u00e3o importante em palestras e em textos online e impressos, sobre Arte Ind\u00edgena Contempor\u00e2nea, um r\u00f3tulo que adotara junto com outros artistas e estudiosos para discutir a produ\u00e7\u00e3o visual na qual se inseria. Sob esse r\u00f3tulo, Jaider se auto-descrevia como \u201cneto de Makunaima ou Makunaim\u00ee\u201d, o her\u00f3i cultural Macuxi e Pemon apropriado por M\u00e1rio de Andrade para escrever o seu romance hom\u00f4nimo (1928). Enquanto neto de Makunaima, Jaider criou um grupo de estudos e de cria\u00e7\u00e3o que visava interpelar criticamente o modernismo paulista, re-apropriando ou \u201cre-indigenizando\u201d conceitos te\u00f3ricos do modernismo, como a antropofagia e o a ideia do her\u00f3i \u201csem nenhum car\u00e1ter\u201d.<\/p>\n Profundamente inquieto e revolucion\u00e1rio, Jaider questionava constantemente as premissas da arte ocidental, tanto em suas obras (como a \u201cCarta ao velho Mundo<\/a>\u201d, uma genial interven\u00e7\u00e3o num volume de uma \u201cenciclop\u00e9dia de Arte universal\u201d), como em suas performances e entrevistas. Jaider insistia que n\u00e3o era artista, pois o que fazia era pol\u00edtica, ou cosmopol\u00edtica. Jaider via a arte ind\u00edgena como uma pr\u00e1tica pol\u00edtica, anti-colonial, uma pr\u00e1tica que poderia oferecer alternativas para a destrui\u00e7\u00e3o ambiental e cultural promovida pelo capitalismo da mono-cultura. Apesar de produzir uma quantidade impressionante de obras individuais, Jaider era sobretudo um artista coletivo, que buscava colabora\u00e7\u00f5es com outros artistas e artivistas ind\u00edgenas e n\u00e3o ind\u00edgenas. Nesse sentido, trabalhou tamb\u00e9m como curador, tendo criado, por exemplo, a Galeria de Arte Ind\u00edgena Contempor\u00e2nea Jaider Esbell em Boa Vista, Roraima, onde expunha artistas locais. Ele era um promotor incans\u00e1vel da arte ind\u00edgena – n\u00e3o s\u00f3 o que chamava de arte contempor\u00e2nea, mas tamb\u00e9m aquilo que a arte ocidental chamaria de artesanato: as panelas macuxis, as bijuterias ind\u00edgenas, a pintura corporal – que s\u00e3o, como ele insistia, arte. Na sua colabora\u00e7\u00e3o para o CARLA, Jaider produziu, junto com uma de suas colaboradoras, Paula Berbert, um v\u00eddeo descrevendo as obras que integram a sua galeria, e os conceitos por tr\u00e1s de sua cria\u00e7\u00e3o. N\u00e3o s\u00f3 o Brasil, mas o mundo, perdeu neste m\u00eas um grande artista, ativista e pensador. Felizmente ficaram as suas obras, como testemunhas da sua inquieta\u00e7\u00e3o, de sua arguta capacidade de pensar e repensar o mundo, e de torn\u00e1-lo mais belo.<\/p>\n L\u00facia S\u00e1<\/strong><\/p>\n A seguir reproduzimos um texto recente publicado online<\/a> pelo artista ind\u00edgena Denilson Baniwa.\u00a0<\/p>\n Arte em luto<\/strong><\/p>\n Ol\u00e1, Espero que esteja firme mesmo nestes tempos dif\u00edceis que passamos.<\/p>\n Como deve saber, esta semana fomos surpreendidos pelo encantamento de Jaider Esbell.<\/p>\n Desde que eu e ele nos encontramos neste mundo, vivemos e constru\u00edmos juntos caminhos que penso que foram importantes para a cena que se nota hoje.<\/p>\n Ele foi um amigo a quem eu chamava de maninho, modo carinhoso de chamar irm\u00e3o na regi\u00e3o onde nasci. Como irm\u00e3o, nos amamos, brigamos, discutimos, brincamos, viajamos juntos pelo calor e frio do mundo, rimos, choramos, \u201cbagun\u00e7amos o coreto\u201d como dizem por aqui, ficamos sem nos falar, voltamos a nos falar, trabalhamos, pulamos em muitos rios e mares, concordamos com muita coisa, discordamos de outras muitas coisas, mas em uma coisa er\u00e1mos incorrupt\u00edveis: no desejo de construir uma arte onde pessoas ind\u00edgenas pudessem ter voz ativa e chances de quem sabe chegar ao topo, lugar onde nunca estivemos antes. Jaider chegou a esse lugar e o que para os brancos \u00e9 considerado sucesso (ou a melhor fase de sua carreira, como li em mat\u00e9rias de jornais), para n\u00f3s dois esse fake-sucesso-branco, foi dia a dia tornando-se um peso. Infelizmente ficou pesado demais para ele, mas poderia ter sido para qualquer um de n\u00f3s artistas ind\u00edgenas. A cobran\u00e7a de respostas para salvar a arte, a press\u00e3o por n\u00e3o falhar em nossa caminhada ou com nossos parentes ind\u00edgenas, a ininterrupta fome de quem nos v\u00ea como uma novidade devor\u00e1vel no mercado, tudo isso que \u00e9 consider\u00e1vel sucesso e o auge da carreira \u00e9 um muro que nos cerca e nos tira do que \u00e9 mais importante: uma vida saud\u00e1vel.<\/p>\n No momento em que sentimos as m\u00e3os do mundo ocidental nos puxar, eu me retirei para desacelerar e pensar sobre o que estava acontecendo. Primeiro foram as redes sociais, que voltei e revoltei, pois, me ligavam, mandavam mensagens como uma exig\u00eancia de que era preciso estar online o tempo todo, e pior, dispon\u00edvel o tempo todo. Depois deletei meu n\u00famero e comprei um n\u00famero novo de celular s\u00f3 para amigos ou para quem eu quisesse dar aten\u00e7\u00e3o. Poucas semanas atr\u00e1s deletei de novo minhas redes sociais a fim de sair dessa press\u00e3o em estar sempre dispon\u00edvel e sendo obrigado a responder como \u201cdescolonizar o mundo\u201d. Como se isso fosse nossa responsabilidade, salvar o mundo sozinhos. Como se n\u00e3o fosse uma responsabilidade de todos. Ah, n\u00e3o! N\u00f3s somos obrigados a salvar um mundo que nunca nos quis, mas no momento que precisam nos recorrem e exigem que estejamos \u00e0 disposi\u00e7\u00e3o. Demorou trinta e dois anos para o mundo me dar aten\u00e7\u00e3o, eu sei que muitos dos abra\u00e7os e beijos hoje, s\u00f3 fazem parte da etiqueta social dos brancos. Antes disso s\u00f3 receb\u00edamos desprezo desse mundo. Mas, esse sangue ind\u00edgena que guarda rancor, mas ao mesmo tempo quer amar o mundo, nos faz aceitar essa etiqueta branca.<\/p>\n Estive com Jaider a semana passada, conversamos pouco pois nossos e-mails estavam lotados, nossa caixa de mensagem estava lotada, nossos hor\u00e1rios estavam lotados. Mesmo todo dia juntos, do caf\u00e9 da manh\u00e3 \u00e0 hora de dormir, por uma semana inteira conversamos pouco. E nas poucas conversas nossas reclama\u00e7\u00f5es eram as mesmas, a vontade de socar a cara da pr\u00f3xima pessoa que nos pedisse uma webreuni\u00e3o. Jaider estava cansado. Eu estou cansado. N\u00f3s estamos cansados.<\/p>\n O que \u00e9 postado nas redes sociais n\u00e3o representam o quanto de dor estamos passando diariamente. O Jaider Esbell fora do online n\u00e3o era o postado. O Denilson Baniwa fora do online n\u00e3o \u00e9 de longe o que voc\u00eas veem em lives. Quantas lives eu fiz for\u00e7ando estar bem para n\u00e3o deixar ningu\u00e9m preocupado. Quantas lives literalmente eu fiz doente, com febre, com dor. Mas isto n\u00e3o era postado. E eu, e com certeza Jaider n\u00e3o fazemos isso pra agradar branco ou pra ficar famoso, o motivo principalmente era pra construir um caminho para outros ind\u00edgenas, construir possibilidades para os nossos. \u00c9ramos o espelho para quem \u00e9 ind\u00edgena ainda sonha em ser artista ou ser qualquer coisa diferente da realidade horrorosa que jovens e crian\u00e7as ind\u00edgenas vivem hoje. Nos for\u00e7amos a estar dispon\u00edveis para um mundo que enquanto baniwa eu acredito: para aqueles que ainda ir\u00e3o nascer.<\/p>\n Mas isso pesa. Deste modo, pe\u00e7o com muito respeito ao Jaider e aos artistas ind\u00edgenas passados-presentes-futuros que cuidemos que esse caminho aberto por n\u00f3s nunca seja interditado, nunca deixe o mato cerrar. Que n\u00f3s, eu e voc\u00ea limpemos o caminho sempre e que num futuro pr\u00f3ximo seja mais f\u00e1cil de caminhar nele. Cuidemos da mem\u00f3ria de Jaider Esbell. E principalmente, cuidemos para que seja mais leve o caminhar, o nosso e de outras pessoas.<\/p>\n Pois entendendo que se o sucesso e topo a que tanto lutamos, tem como resultado a trag\u00e9dia, sinto que preciso pensar ainda mais sobre que tipo de arte ind\u00edgena eu tenho que construir. E se a recep\u00e7\u00e3o que o mundo da arte ocidental nos deu, levou um de n\u00f3s ao grave fim, preciso pensar ainda mais em que tipo de rela\u00e7\u00e3o quero manter com a arte ocidental.<\/p>\n Eu vou desacerelar ainda mais, at\u00e9 o ponto que seja um cooper e n\u00e3o um triathlon. Meu trabalho continuar\u00e1 em honra de Jaider Esbell, assim como era em mem\u00f3ria de tantos outros parentes ind\u00edgenas antes de mim. Se \u00e9 pela arte que resistiremos, vai ser pela arte. Mas da minha parte ela n\u00e3o ser\u00e1 para satisfazer a fome de nenhum glut\u00e3o da arte.<\/p>\n Com carinho e admira\u00e7\u00e3o.<\/p>\n Denilson Baniwa<\/strong><\/p>\n \u00a0<\/p>\n English version<\/strong><\/p>\n The art world and the Brazilian Indigenous movement were surprised last week by the news of the unexpected death of Macuxi artist Jaider Esbell<\/a>, aged 41. Jaider was a contributor to the CARLA project since its inception. Born in the city of Normandia, in Roraima, Jaider grew up in a Macuxi community, in the area that would later become the Raposa Serra do Sol Indigenous Territory. Jaider emerged into the art world a little over four years ago, and in that short period he managed to open spaces for his art and for Indigenous art in general in the best known museums and exhibitions in Brazil. His works for the last S\u00e3o Paulo Biennial (2021) were described as the \u201cbackbone\u201d of the exhibition, and his works were being acquired for important collections such as the Pinacoteca de S\u00e3o Paulo and the Centre Pompidou in Paris, among others. Jaider was a painter, sketch-artist, performer and writer. He was also a theorist, producing many important lectures and online and printed texts on Contemporary Indigenous Art, a label he adopted along with other artists and scholars to discuss the current of visual production in which he located himself. Under this label, Jaider described himself as \u201cthe grandson of Makunaima or Makunaim\u00ee\u201d, the Macuxi and Pemon cultural hero who was appropriated by M\u00e1rio de Andrade to write his homonymous novel (1928). As Makunaima\u2019s grandson, Jaider created a group dedicated to studying and creating that aimed to critically challenge S\u00e3o Paulo\u2019s modernism, re-appropriating or \u201cre-indigenizing\u201d theoretical concepts of modernism, such as anthropophagy and the idea of \u200b\u200bthe hero \u201cwithout any character\u201d.<\/p>\n Deeply restless and revolutionary, Jaider constantly questioned the premises of Western art, both in his works (such as the \u201cLetter to the Old World<\/a>\u201d, a brilliant intervention into a \u201cuniversal art encyclopaedia\u201d), as well as in his performances and interviews. Jaider insisted that he was not an artist, as what he was doing was politics, or cosmopolitics. Jaider saw Indigenous art as a political, anti-colonial practice, a practice that could offer avenues to escape from the environmental and cultural destruction promoted by mono-culture capitalism. Despite producing an impressive amount of individual works, Jaider was above all a collective artist, who sought collaborations with other Indigenous and non-Indigenous artists and artivists. In this sense, he also worked as a curator, having created, for example, the Jaider Esbell Contemporary Indigenous Art Gallery in Boa Vista, Roraima, where he exhibited local artists. He was a tireless promoter of Indigenous art – not only what he called contemporary art, but also what Western art would call handicraft: Macuxi pots, Indigenous jewellery, body painting – which are, as he insisted, art. In his collaboration with CARLA, Jaider, together with one of his collaborators, Paula Berbert, produced a video describing the works that make up his gallery, and the concepts behind their creation. This month, not only Brazil, but the whole world, lost a great artist, activist and thinker. Fortunately, his works remain, as a testament to his restlessness, his keen ability to think and rethink the world, and to make it more beautiful.<\/p>\n L\u00facia S\u00e1<\/strong><\/p>\n Below, we translate a recent text published online<\/a> by Indigenous artist Denilson Baniwa.\u00a0<\/p>\n Art in mourning<\/strong><\/p>\n Hello, I hope you are standing firm even in the difficult times we are going through.<\/p>\n As you may know, this week we were surprised by the death of Jaider Esbell.<\/p>\n From the time he and I met in this world, we lived and built paths together that I think have been important to the scene that we can see today.<\/p>\n He was a friend whom I called \u201clittle bro\u201d, an affectionate way of calling a brother in the region where I was born. As brothers, we loved each other, fought, argued, played, travelled together through the heat and cold of the world, laughed, cried, “messed up the place” as we say around here, stopped talking to each other, started talking to each other again, worked, dived into many rivers and seas, agreed on many things, disagreed on many others, but we were incorruptible in one thing: the desire to build an art scene where Indigenous people could have an active voice and a chance of maybe reaching the top, a place where we had never been before. Jaider reached this place, what for the whites is considered success (or \u201cthe best phase of his career,\u201d as I read in newspaper articles), but for both of us this fake-white-success was day by day becoming a burden. Unfortunately, the burden became too heavy for him, but it could have been for any one of us Indigenous artists. The demand for answers on how to save art; the pressure not to fail in our journey or in relation to our Indigenous relatives; the continuous hunger of those who see us as a devourable novelty in the market – all this, which is considerable success and the pinnacle of a career, create a wall that surrounds us and takes us away from what is most important: a healthy life.<\/p>\n The moment we felt the hands of the Western world pulling us, I stepped back to slow down and think about what was happening. First, it was the social networks, which I repeatedly came back to and rebelled against because they kept calling me, texting me with the demand to be online all the time, or worse, available all the time. Then I deleted my number and bought a new mobile\u00a0phone number just for friends or whoever I wanted to pay attention to. A few weeks ago I deleted my social networks again in order to get away from this pressure to be always available and being forced to answer how to \u201cdecolonise the world\u201d. As if that was our responsibility, to save the world on our own. As if it were not everyone\u2019s responsibility. Oh, no! We are obliged to save a world that never wanted us, but the moment they need us, they turn to us and demand that we are available. It took thirty-two years for the world to pay attention to me, and I know that many of the hugs and kisses today are only part of the social etiquette of white people. Before that, we only received contempt from this world. But, our Indigenous blood, which holds a grudge and at the same time wants to love the world, makes us accept this white etiquette.<\/p>\n I was with Jaider last week, we talked little because our e-mail in-boxes were full, our message boxes were full, our schedules were full. Even though we were together every day, from breakfast to bedtime, for a whole week, we talked little. And in the few conversations we had, our complaints were the same: the urge to punch in the face the next person who asked us for a virtual meeting. Jaider was tired. I am tired. We are tired.<\/p>\n What is posted on social media does not represent how much pain we are going through on a daily basis. The off-line Jaider Esbell was not the same person that people saw online. The off-line Denilson Baniwa is far from what you see in \u201clive-streamings\u201d. How many live-streamings have I done forcing myself to appear to be well so that no one would worry. In how many live-streamings have I literally been ill, feverish, achy. But these things are never posted online. And I, and certainly Jaider, didn\u2019t do this to please white people or to become famous. The main reason we did it was to build a path for other Indigenous people, to build possibilities for our own kind. We were a mirror for those Indigenous persons who still dream of becoming an artist or being in anything other than the horrific reality that Indigenous youth and children live in today. We forced ourselves to be available for a world that, as a Baniwa, I believe in: for those who are yet to be born.<\/p>\n But this is a burden. So, I ask, with much respect for Jaider and for the past-present-future Indigenous artists, that we make sure that this path opened by us is never blocked, that we never let the forest close over it. That we, you and I, always keep the path clear so that in the near future it will be easier to walk along. Let\u2019s take care of Jaider Esbell\u2019s memory. And above all, let\u2019s make sure that we and others can walk more lightly.\u00a0<\/p>\n Because if the success and the pinnacle that we strive so hard to reach result in tragedy, I feel that I need to think even more about what kind of Indigenous art world I have to build. And if the reception that the Western art world has given us has brought one of us to a tragic end, I need to think even more about what kind of relationship I want to have with Western art.<\/p>\n I will slow down even more, to the point that it is going to be a jog and not a triathlon. My work will continue in honour of Jaider Esbell, just as it was in memory of so many other Indigenous relatives before me. If it is through art that we will resist, so be it. But for my part it will not be to satisfy the hunger of any art glutton.<\/p>\n With affection and admiration.<\/p>\n Denilson Baniwa<\/strong><\/p>\n (Translation Felipe Milanez and L\u00facia S\u00e1)<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n [\/et_pb_text][et_pb_post_nav _builder_version=”3.0.106″ in_same_term=”off” show_prev=”on” show_next=”on” prev_text=”Previous” next_text=”Next” locked=”on” parent_locked=”off” \/][et_pb_comments _builder_version=”3.0.106″ show_avatar=”on” show_reply=”on” show_count=”on” background_layout=”light” header_font_size_tablet=”51″ header_line_height_tablet=”2″ custom_button=”on” button_icon_placement=”right” button_text_color=”#ffffff” button_use_icon=”off” locked=”on” parent_locked=”off” button_text_size__hover_enabled=”off” button_text_size__hover=”null” button_one_text_size__hover_enabled=”off” button_one_text_size__hover=”null” button_two_text_size__hover_enabled=”off” button_two_text_size__hover=”null” 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na semana passada pela noticia da morte inesperada do artista Macuxi Jaider Esbell, aos 41 anos.Related<\/h1>\n
Related posts:<\/h3>
Memories of the Past, Fear of the Present: Being Indigenous in the Face of the Pandemic<\/h2><\/div><\/div><\/a>
Eventos p\u00fablicos de CARLA 2023-24<\/h2><\/div><\/div><\/a>
Learning to Heal in an Amazonian Capital<\/h2><\/div><\/div><\/a><\/div>
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\nThe art world and the Brazilian Indigenous movement were surprised last week by the news of the unexpected death of Macuxi artist Jaider Esbell, aged 41. <\/p>\n","protected":false},"author":3124,"featured_media":2504,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_exactmetrics_skip_tracking":false,"footnotes":""},"categories":[43,11],"tags":[14,16,17],"class_list":["post-2797","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-brazil","category-indigenous-people","tag-brazil","tag-contemporary-art","tag-indigenous-people"],"_links":{"self":[{"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/posts\/2797","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/users\/3124"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/comments?post=2797"}],"version-history":[{"count":2,"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/posts\/2797\/revisions"}],"predecessor-version":[{"id":2799,"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/posts\/2797\/revisions\/2799"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/media\/2504"}],"wp:attachment":[{"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/media?parent=2797"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/categories?post=2797"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sites.manchester.ac.uk\/carla\/wp-json\/wp\/v2\/tags?post=2797"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}