10 — 12.05.2015
Having studied social sciences and visual arts, the São Paulo-based creator Leandro Nerefuh moves through the ambiguous territory between academic discourse and artistic creation. Through installations and exhibitions, workshops and performances, public sculptures and agitprop experiments often devised for specific contexts, he tackles the question of Brazil’s postcolonial identity using historical material that he translates into a variety of forms. At the Kunstenfestivaldesarts, Nerefuh presents a lecture-performance that is as well substantiated as it is creative, exploring the myth of the female continent and the (un)becoming of the new Amerykan man in Brazil. A singular approach to history and culture.
BIBLE BULL BULLIT:
Ci, mãe do mato and technologies of gender
The Earth spins at 1670 km/h along the equator. This decreases by the cosine of the latitude so that at a latitude of 45°, cos(45) equals .707 and the speed is .707 x 1670, which equals 1180 km/h. Despite these velocities, modernity’s interchanging hierarchies BIBLE BULL BULLIT spin on wheels. Still. Leandro Nerefuh’s artistic practice, it is safe to say, spins at 1670 km/h, at least.
Vei, a Sol
Iracema (1st economic index: Brazil is the largest exporter of coffee, consolidating its economy by depending on external capital. Iracema is the myth of the native woman who falls for the white man and is destitute of her indigenousness. The she American continent is penetrated by the crusader, technological Man. See José de Alencar’s Iracema of 1865. See also, Shakira La La La).
Erundina
Vôte vôte coandu!
Vôte vôte cuati!
Vôte vôte taiaçu!
Vôte vôte pacari!
Vôte vôte canguçu!
Êh!...
Norma Iracema (the aftermath of the Estate policy of ‘whitening’ the Brazilian population as a sign of economic and social progress. Iracema was, in fact, white, and had blue eyes! See O Cruzeiro 1951. See also Coca-Cola’s poster girl Gaby Amarantos).
Umbelina Valéria (artist Flavio de Carvalho discloses the fictionalization of Norma Iracema in a film from 1958. Angelical native woman Iracema/Umbelina was imprisoned by the savages (sic) and became a Goddess. See Monika Lewinsky and cyber bullying).
ENTRE PROSPERO AND CALIBAN
T’AS PERDU TA RAISON
Iracema (2nd economic index: Iracema is now a prostitute who sells her body at a cheap rate on the Transamazônica unfinished highway. Brazil is under a military dictatorship and the inflation rate is at 41% per year. See Jorge Bodanzky and Orlando Senna’s film Iracema, Uma Transa Amazônica of 1976. See also Britney Spears’ market phenomenon Hit Me Baby One More Time, made at age 17).
Linda pastorinha
Que fazeis aqui?
Vim buscar meu gado,
-- Maninha,
Que eu aqui perdi
BIBLE BULL BULLIT
Gisele Bündchen (3rd economic index: Speculations on the just white, barely Latin, heavily plasticised billionaire. Post – pre-salt Iracema. See Beyoncé, or the 21st century version of Robocop hatched from the 1980s: a programmed faux pas of an emancipated female with the heart of an emotionally disturbed young soldier, or a broken weapon that keeps the warlike capitalist system running. After 26482745721 tweets and likes, we claim: They made it!).
Meu boi bonito,
Boi alegria,
Dá um adeus
Pra toda família!
Ôh…é bumba,
Folga meu boi!
Ôh…é bumba,
Folga meu boi!
Ci, mãe do mato não queria brincar
Research & script
Libidiunga Cardoso
Presentation
Leandro Nerefuh
All images, props and sound by
Leandro Nerefuh
Presentation
Kunstenfestivaldesarts, Beursschouwburg
Production
Metropole Projetos (São Paulo)
