3. Scientific racism in history
In the 19th century, studies of “scientific” nature were used to justify the exploitation of the native populations of America and Africa. Scholars tried to determine levels of intellectual and cultural development in different “races” from measurements of the skull and body. This served the dehumanization of native and black populations in Brazil, which occurred during the colonial period. These artworks show, however, that there was always resistance and struggle against this process.
Topical Paradise (2017) by Rosana PaulinoFaculty of Arts and Humanities of University of Porto
The photograph appropriated by the artist is an example of the construction of the image of enslaved people in Brazil. The empty face represents the exclusion and oblivion felt in contemporary times, related to the lack of insertion of black people, especially women, in history.
Paulino uses images of skulls in her artworks, referring to the “scientific” studies of the 19th century - such as phrenology and craniometry -which sought to justify slavery and racism.
Brazilian geometry arrives in tropical paradise (2017/2018) by Rosana PaulinoFaculty of Arts and Humanities of University of Porto
The artist questions the idea of a Brazilian vocation to geometry, asking who would have this vocation: the Amerindian peoples, the black population, or if it would be a geometry imported from European culture along with colonization.
Paulino demonstrates with this artwork the cuts that are made, not only in the history of Brazilian art but in the history of Brazil itself, thinking about who authorizes and promotes these clippings and who benefits from them.
Amnesia (2015) by Flávio CerqueiraFaculty of Arts and Humanities of University of Porto
Amnesia criticizes the issue of miscegenation and whitening of the Brazilian population in the 19th century, promoted by scientists who sought to “purify” the population. The title It references the legend in which enslaved people walked around the tree of Oblivion, the Baobab.
Big Polvo Color Wheel V (2018) by Adriana VarejãoFaculty of Arts and Humanities of University of Porto
Adriana Varejão created a series of artworks that explore the concept of miscegenation and race in Brazil. Polvo addresses the floating concept of Brazilian interracial identity, which historically assumed social and cultural functions.
The title, Polvo, refers to the octopus. The animal uses ink, made of melanin, to defend itself. The same compound that gives pigmentation to the skin and hair of human beings. In Portuguese, the word is similar to “povo”, a group of inhabitants of a nation or locality.
4. Exploitation of the native population
Colonization has devastatingly affected native populations. Violence, disease, and destruction of territory and cultures are part of the movement that began with the Portuguese maritime expansion. Religion played a key role in this process. The selected artworks discuss the exploitation and abuse resulting from colonialism and evangelization, questioning the historical construction and cultural erasure that comes from colonization, whose marks last until today.
Mission/ Missions (How to build cathedrals) (1987) by Cildo MeirelesFaculty of Arts and Humanities of University of Porto
This artwork by Cildo Meireles references the Jesuit Missions in South America - that evolved during the 17th and 18th centuries - and had the objective of evangelizing and catechizing local indigenous populations.
The bones and communion wafers serve as allegories to the exploration that took place in those Missions, connecting references to material and religious power and the violence generated in this relationship.
It had to happen (Bandeirante's Head) (2016) by Flávio CerqueiraFaculty of Arts and Humanities of University of Porto
Flávio Cerqueira seeks to put an end to the figure of the Bandeirante as a hero, presenting their monumental-sized head lying on the ground in public space, questioning the presence of several monuments that exalt this historical figure in the city of São Paulo.
The title of the artwork, It had to happen, suggests that consequences were necessary given the violent actions of this controversial figure during the country's formative history.
Oblivion (1987/1989) by Cildo MeirelesFaculty of Arts and Humanities of University of Porto
The elements of the artwork carry clear references to religion, death, capitalism, exploitation, violence, deforestation, and the erasure of indigenous culture in Brazil.
Furthermore, the title of the artwork refers to
the Portuguese word “olvido”, which has now
fallen into disuse and means oblivion. The artist
draws attention to issues that, even with
movements for the preservation of indigenous
culture, still affect this part of the population.
CURATORSHIP: Maria Paula Magalhães Silva under the supervision of Maria Leonor Barbosa Soares, Joana Isabel Fernandes Duarte, and Diana Felícia.
TEXTS: Maria Paula Magalhães Silva with scientific review by Maria Leonor Barbosa Soares, Joana Isabel Fernandes Duarte, Inês de Carvalho Costa and Maria Leonor Botelho..
PRODUCTION: This work results from a project by Maria Paula Magalhães Silva for the master's Degree in Art History, Heritage and Visual Culture (MHAPCV) at the Faculty of Arts and Humanities of the University of Porto, developed at CITCEM/FLUP during 2020/2021 and approved by the scientific committee in office of the MHAPCV.
PROJECT REPORT: https://repositorio-aberto.up.pt/handle/10216/139724
SPONSORS: CITCEM/FLUP.
TRANSLATION: Maria Paula Magalhães Silva.
TRANSLATION REVIEW: Raquel Viúla (« Financed by FCT - National Foundation for Science and Technology, under the project UIDB/04059/2020»).
