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Line of the Fools - Third Movement - Carnival's Flesh
11/02 - 27/02/16

Under the aegis of King Momo, the street invades Pivô’s institutional space once again, and its programme spreads to the streets. Line of the Fools is the second edition of Pivô’s exhibition “Pivô é a Rua” (Pivô is the Street), which first took place in 2013 at the then newly-opened space Pivô Arte e Pesquisa. In the first edition, the institutional space inside Copan was claimed by the streets, opening its doors to skaters, street artists and musicians and hosting an organic farmers’ market for the population of central são paulo. This new edition connects a private masquerade ball to a street parade, once again engaging with and inviting the residents of copan and the surrounding central areas to get together with artists and musicians to commandeer the public space that belongs to them.

Like Carnival in Salvador where the organisation sells abadás (colourful t-shirts that identify paid members) to raise funds to cover the event’s costs, the first stage of Line of the Fools includes the auction of exclusive capes (mortalhas) made by invited artists Adriano Costa, avaf, Erika Verzutti, Fancy Violence, Janaina Tschäpe and José Bento, Lenora de Barros, Lucas Arruda, Luiz Zerbini, Marcius Galan, Marina Rheingantz, Paulo Monteiro, Paulo Nimer Pjota and Patricia Leite.

The second stage, Baile de Máscaras e Fantasias Mentecaptas (The Masquerade Ball of Fools), was conceived by the duo avaf and acts as the exhibition’s departure point, with paintings, masks and flags. The ornamentation was made in collaboration with artists Adriano Costa, Alexandre da Cunha, Leda Catunda and Paloma Bosquê. Carnival tunes by Banda do Bastardo invite revellers out onto the streets, launching the parade. They carry a massive rope designed by Sonia Gomes, as well as all the flags and decorations created for the ball. Leading the march, Cibelle Cavalli Bastos’ carnival float “Ass – Nú de Ouro” pays homage to the celebrations around a Golden Ass in ancient Egypt, which some claim to be the origin of all Carnivals. The title’s play on words – Asno (ass, in portuguese) and ass-nú (Naked Ass) – is an irreverent reference to our most ‘democratic’ private part.

Amidst the pandemonium, infiltrated-plain-clothes-subversive-agent-colour-blocks circulate amongst the crowds, directing and digesting the action. They are the Commedia dell’Arte, Carnival’s subconscious, the Venetian Ball. They are Mariano Mattos Martins, Paloma Mecozzi, Isabel Wolfenson and Paulinho in Fluxus. In the end, the group A.B.R.A. Pré-Ca – the composers of the honourable “Hino dos Mentecaptos” (Hymn of the Fools) – launch into their sublime composition, as well as other Carnivalesque samba tunes.

By making the ball invade the streets, Pivô achieves one of the most important aspects of its mission: to take its programme’s content, without mediation, to the public space and bring the city inside the art institution. The exhibition “Cordão dos Mentecaptos” offers a free interpretation of Brazilian Carnival, a national tradition constantly going through ever more spectacular changes: from aspects that are seen as its real roots to market forces that transform, regulate and occupy every form of expression.

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