A Conversation between Anna Maria Maiolino and Helena Tatay

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the same work methodology in each series, the same materials and dimensions, so the series remainopen and unfinished. It is the same with the series of sculptures and the series of installations withmodelled earth. Each new piece already contains the morphological possibility of the next one, and soon. These series of drawings are defined by their methodology. They are structures that combinemultiple possibilities. This same structure of mutant combinations reappears in all the films andvideos I have made so far.I sometimes think that by working like this, keeping the series open, I have found a way of escapingthe tyranny of the new, since the ‘hands that make’ never repeat themselves, thanks to the vitaltensions of the gesture.59): I’d like you to talk about your last series of sculptures, Emanados (Emanations), which aretransparent organic forms that you produce by blowing glass.I’ve always thought of drawing as the product of a vital breath, for it is a very simple way of makingart. Perhaps this is because I relate drawing to the mythology of creation, when God created Adam outof clay, and gave him life by blowing on him. Beautiful, don’t you think? So I’ve always loveddrawing, it gives me an immense sense of freedom: to breathe and to draw, to draw and to breathe,like going from the lungs to the paper in a series of movements. I’ve always felt drawing was like apneumatic being, a product of breathing, immensely vital, on the border between life and death. Allthese ideas kept turning in my head until 2007, when I finally made works where the principal mediawas blowing: Emanados. I made some myself, but most of them are made by professionals whosebreath I guided like a conductor. The liquid balls of incandescent glass soon become simple ovalforms, fragile, like life itself. They are containers of vital breath.60): In one of your last videos, Um momento, por favor (One Moment, Please), you use your ownimage, something you had already done in the seventies when you made the Fotopoeamaçãos.You said earlier that in those pictures the political climate at that time was reflected through thebody. How do you see Um momento, por favor?The photos from the seventies are an emotional response to the political climate in Brazil at that time,but I think that Um momento, por favor also has political connotations. It is a visible and audibleportrait, a self-representation in movement, made in parts, a face. The parts are corporal cartographiesin movement, traces of worn flesh. It is an anti-erotic bodily space, where matter is revealed in all itstiredness. In this territory there is no room for mythification, or for lies, since the emotional galvanisesthe work with its own aesthetic. It has a great emotive and subjective charge that is shown to theaudience unashamedly. The audience are facing a non-aestheticised subjectivity. My voice, whichaccompanies the Neapolitan songs of Roberto Murolo, is an internal text of the body; these are theimprints of a journey of the being through its own being. This work doesn’t follow the social andconventional demands for corporal perfection. It is a self-portrait that turns its own skin into a map.Endnotes:1. Held at the Museum of Modern Art, Rio de Janeiro – MAM/RJ – in April 1967, and organised by agroup of artists and art critics, the exhibition Nova Objetividade Brasileira (New BrazilianObjectivity) brought together all the different national avant-garde movements –Concrete Art, Neo-Concretism, New Figurations – around the idea of a ‘new objectivity’. The creation of objects ofvarious types, as well as the defence of specifically Brazilian solutions that did not copy what wasbeing produced in international centres, defined the central spirit of the exhibition, which was a kindof summary of the different paths taken by Brazilian art. A compromise with political positions, therejection of easel painting, the bodily, tactile and visual participation of the viewer, these were thebasic ingredients of the new objectivity.
2. O Cordel is the popular literature typical of the northeast of Brazil. They are narrative poemsillustrated with woodcuts, printed in the form of small booklets and hung from a string to be sold. Thethemes may be traditional or based on current events. They can be humorous, too.3. The Anthropophagous Manifesto, written by Oswald de Andrade (1890–1954), was published inMay 1928 in the first issue of the recently founded magazine Revista de Antropofagia, a vehicle forthe diffusion of Brazilian anthropophagous culture. With its metaphorical language, full of poetic andhumorous aphorisms, the Manifesto became the theoretical basis for this movement, which questionedBrazil’s cultural dependence. The apex of early Modernism, the anthropophagous period wasofficially inaugurated during the Semana de Arte Moderno (Week of Modern Art), 1922. Ithighlighted the violent contradiction between two cultures – primitive culture (Amerindian andAfrican) and Latin culture (of European descent) – which form the basis of Brazilian culture, throughthe transformation of the savage element into an aggressive instrument. It is not a question ofharmonious, spontaneous assimilation between the two. On the contrary, primitivism now appears asa sign of critically devouring the other, the modern and civilised.4. The text Declaração de Principios Básicos da Nova Vanguarda (Declaration of the BasicPrinciples of the New Avant-garde) accompanied the exhibition New Brazilian Objectivity. It wassigned by Hélio Oiticica, Antonio Dias, Carlos Vergara, Rubens Gerchman, Lygia Pape, GlaucoRodrigues, Carlos Zilio, Mário Pedrosa, Maurício Nogueira Lima, among others.5. The Semana de Arte Moderno was part of the celebrations of the centenary of Brazilianindependence in 1922. It was presented as the first collective public manifestation in the history ofBrazilian culture, in favour of a new modern spirit and against the conservative art and culture thathad been prevalent in the country since the nineteenth century. From 13 to 18 February 1922, afestival was held at the Teatro Municipal, São Paulo, with an exhibition of over one hundred worksand three literary-musical evenings. Without a defined aesthetic programme, the Week can be seen, inthe context of the history of Brazilian art, more as a rejection of the current conservatism in literary,musical and visual production, than as a constructive event with specific proposals for the creation ofa new language. What united all the participants, according to the two principal ideologists Mário andOswald de Andrade, was the negation of all ‘devotion to the past’ and the rejection of imported artand literature.5. The Semana de Arte Moderno was part of the celebrations of the centenary of Brazilianindependence in 1922. It was presented as the first collective public manifestation in the history ofBrazilian culture, in favour of a new modern spirit and against the conservative art and culture thathad been prevalent in the country since the nineteenth century. From 13 to 18 February 1922, afestival was held at the Teatro Municipal, São Paulo, with an exhibition of over one hundred worksand three literary-musical evenings. Without a defined aesthetic programme, the Week can be seen, inthe context of the history of Brazilian art, more as a rejection of the current conservatism in literary,musical and visual production, than as a constructive event with specific proposals for the creation ofa new language. What united all the participants, according to the two principal ideologists Mário andOswald de Andrade, was the negation of all ‘devotion to the past’ and the rejection of imported artand literature.5. The Semana de Arte Moderno was part of the celebrations of the centenary of Brazilianindependence in 1922. It was presented as the first collective public manifestation in the history ofBrazilian culture, in favour of a new modern spirit and against the conservative art and culture thathad been prevalent in the country since the nineteenth century. From 13 to 18 February 1922, afestival was held at the Teatro Municipal, São Paulo, with an exhibition of over one hundred worksand three literary-musical evenings. Without a defined aesthetic programme, the Week can be seen, inthe context of the history of Brazilian art, more as a rejection of the current conservatism in literary,musical and visual production, than as a constructive event with specific proposals for the creation ofa new language. What united all the participants, according to the two principal ideologists Mário and
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A Conversation between Anna Maria Maiolino and Helena Tatay

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