New Emma Catalog

New Emma Catalog
Zwei Arts


State of Exception

Here lies an architecture. And all your strength comes from destruction. These walls, worn out were composed of a social group, which now has only memories. In them, the impressions of time remained. Patinated representative memories of a power, that the sequence of years frayed. It finds, however, vitality in the productive forces of contemporary works, which superposed, juxtaposed or simply, confronted in this monumental and hollow spatiality, figure as philosophical windows, crossings between worlds, transtemporality that cohabit without worrying about ruptures or coalitions. Here, they are more apt to raise awareness of a set so unequal, as we meet in life. The right place for a poetic guerrilla is not confined in a given geography. After all, it is proper for art to constitute shifting territories and streams of deterritorialization. In other words, it is the current situation of these times, a fulfilment that transfigures the territories of art and extends it on the surface of things, in degrees of intensity that only the skin can say / feel, because it is still the body that articulates the neural connections and makes us respond on the input that the mind seized and processed. If there is an output, it will certainly lead us to the place where a libertarian password is inscribed, which you are able to read: “Move forward!” : Art for Art’s Sake. Then, please! Do not seal it, do not disassemble it, do not throw false accusations against it. Just surrender.

The pain of the world. Remedy is art. Sublime compulsion, desire and shattering. The heart of life is the brain of art. And it burns and hurts, like an open wound. The relation of art to the one who does it establishes itself as the point of a pencil, that the more one grazes and the point is apprehended, the more it consumes the body of its materiality. On the other hand, the rigid structure of language is malleable to the artist’s touch; with it he creates repertoires, densifies his cultural level and composes convex dialogues, disruptive bubbles that explode here and there, provoking debates. Exercises of knowledge that can be an affirmation or negation of your operating system. Conflicting! Not always confrontational. The spaces in which the art is sheltered fleeting or ostentatious; those which it establishes in the provocations, that certain states of art are allowed, there are many kinds of incarnated bareness in them. However, not all of them offend the trifles of the voracious eaters of liberties, so do not bother it. Well they could, but they can not perceive them. It is nudity that we look, erotic nudes, but they slip between fingers, they and their libidinal contours of power. If an artpiece is made up from solution of all problems, which arose when it was formed, it could not possibly said that in the end, it is the solution to some problem, for you who see it, have it or touch it has inquired. You, alone, were captured by her. The surprising thing is that not even the artist who shaped it is free of this capture. Here what has to do and say refers to what is more expensive and challenging in the condition of being an artist and refers to the total inability of the creator to fully grasp the object / creation. A work, even when it is worth of order, never releases its full decipherment. This is the nudity that provokes rumors, it is in her that resides and resists the strength of art as non-resignation and is the artist’s nourishment; this doer and devourer of worlds, citizen “juridically nameless, unclassifiable” abject to categorizations and generalities. The annoyance of everything makes one think that this sampling / proposal is perverse, which mixes poetics of gentle people with a materative force of unruly bodies.

Thus, for all those who make up the gross mass of the “state of exception”, which we now live on a world scale, which becomes viralized in social and technological networks. To the broken, who do not see as appropriate the sacrilegious and Dionysian that there is also in art; to the amoral, aesthetic, non-ethical, crazy and savage, and more, for those who only perceive in Manichaean bipolarities in Art; for those who resist and insist, those who love and those who hate, without realizing that we are all in the same boat!

Therefore, for ourselves, I offer this bitter remedy; remembering that bitter is also a seasoning of existence. Bitter, thick and provocative flavor, which strips art and eviscerates in total carnage.


Lídia Souza
Master in Arts by the Institute of Art Sciences – UFPA (2012). Consultant of Cultural Management (2004). Researcher and Independent Curator (1996).