Number fourteen
ZEROING THE 'PORTUGAL TELECOM'
DIGITAL MAGAZINE ABOUT LOVE, ART, CULTURE, TECHNOLOGY, FASHION & STYLE, TRENDS ETC
EX-EXAMPLE OF PRIVATIZATION THE COMPANY COST TODAY IS -99,81% THAN 2000
SINCE 60'S FAVELA RIO DAS PEDRAS CELEBRATES ASKING TO BE A NEIGHBORHOOD FROM RIO
ART BLOWS THE CANDLES PREPARED FOR YOUR 100TH BIRTHDAY, THE MODERN ART WEEK OF BRAZIL TESTS AN UPDATE IN THE OFFICIAL HISTORY
ITANHANGÁ RIO, BRAZIL
TEXT M.I.K.A. PHOTOS FÁBIO COSTA A VOZ DE RIO DAS PEDRAS M.I.K.A.
RIVER OF ROCK
THE WEST ZONE COMMUNITY FROM RIO IS ALREADY COMPLETE 50 YEARS, REQUESTING STATUTE OF NEIGHBORHOOD AND TURNS A SOCIOLOGICAL CASE
'RIO
das Pedras' is not a poetic license. It has germinated since a half century from a mangrove area in the West Zone from the city of Rio de Janeiro, Brazil, somewhere between Jacarepaguá, Itanhangá, Barra da Tijuca and the fluvial system of Marapendi – where once there was a single hovel to stay a security – and has become one of the largest precarious communities in the entire state. In the last years, that people struggles to get rid of all the collateral ills of its emergence and deregulated growth, while flaute some of your prowess throughout your own history and peculiarities like localism grimaces.
Most people from Rio don't know Rio das Pedras. Among those who knew the region, a large part only crossed it some day along Estrada de Jacarepaguå, which cuts off the community between the Barra da Tijuca and the Anil neighborhood, and was easily deceived as to its size and demography. There are two slices left: those who frequent this area and its inhabitants. There are all the litany of brazilian favelas: they demand better sanitary conditions, improvements of the streets, garbage collection, adequate public electrical installations ... But the 60's Rio das Pedras has some characteristics of its own. Other, not so... According to the official inquiry, 80% of the residents of the community come from Northeast Brazil. The explanation for this regional exodus and sub-real estate boom is so linear that it is ashamed, since the growth of Barra and Recreio dos Bandeirantes – middle-, upper- and upper-class districts – dates back to the same decade, existed and were only used as leisure areas for their wild beaches on an almost inhospitable coastline. However, the civil construction workers who erected them did not applying the same dedication to the development of the new neighborhood they're created by occupying what is now Rio das Pedras, and adding to this scenario the continuous neglect of the former rulers, the community has become a 'noman's land', where even the most basic public services aren't only slow to arrive but that's still operating precariously, as in the more distant regions without humanitarian aid. There are areas scattered around the area with accumulations of garbage, several points without proper drainage of rainwater and sewage causing constant flooding and thousands of irregular public power connections, which overload poles and transformersand cause blackouts. But if you, dear reader, do not know Rio das Pedras and is thinking that such description corresponds to a place where it is not possible to live, know that although the community survives all this, they also agree with you.
WHEN THEY GROW THEY WANT TO BE A NEIGHBORHOOD The happy face of Rio das Pedras is equally impressive. Their exploits go back to the early days of empty land with everything yet to be done, when pioneer merchants created the famous 'Rio militias', which are armed groups formed by unlawfully hired police officers to make private security, which prevented the area from attracting or was later taken over by gangs of dealers as it expanded the territory. Militia would soon become one of the most serious public security problems, but it was instrumental in securing possession of the region, and still today they proudly say that there haven't bad guys inside the community. Really, the commerce has indeed prospered. Certainly, in Rio das Pedras it pulsates one of the biggest commercial areas of the entire West Zone, being a frank majority of the gastronomic branch. This gave rising to another local hype in the late 90's and attracted a lot of people from around who walked behind different and nightly fun: the Funk Carioca parties. The soccer field is another appreciated leisure option point although there is no stadium and no bleachers around, but as they can even hold amateur teams championships thanks to their size and conditions, in addition to the usual matches. Recently, Rio das Pedras lived a period of agitation and social inclusion that renewed its forces and expectations, and that only softened when the distance between the voices in the streets and the sporadic promises of the authorities was again evident. The last Governor and now inmate #PezĂŁo was one of the most attentive to the community, but the contribution that he left was the implantation of a public health unit, necessary but palliative when faced with the other structural problems.
THE CASTELÃO FUNK PARTY IT WAS 25 YEARS AND STOPPED. IN THE PREVIOUS PAGES, THE DAILY CHAOS PHOTO: PROMO/FESTAS & SHOWS
ADMINISTRATOR, THE MARANHENSE FRANCISCO YET GETTING STARTED OF THE COMMUNITY HOW IT WAS FURTHER A CITY 'LEGEND' PHOTO: FACEBOOK PROFILE
Among the reasons for the optimism was the project @AVozdeRiodasPedras [https://issuu.com/avozderiodaspedras], one of the most professional community newspapers ever created in Rio. Founded in 2013 and edited by journalists, photographers, designers and cultural agents, free, full color, in standard format and with a personalized distribution through stands set up in the local commercial points, the publication lasted little more than two years, but it was enough to highlight the deficiencies of Rio das Pedras and connect the residents and associates with personalities interested in the development of the region and with those who could launch a more pragmatic look at them. @RicardoSouza [@JornaldoBrasil], was one of those responsible for the design project, an active participant in the contents and says “that's a step one agenda, such the number of approaches that could do into the favela. There are many problems, which are urgent, passing by people, which is the greatest wealth of the place. Rio das Pedras is fascinating, a unique favela with all contradictions”.
'I SAW THE BORN OF RIO DAS PEDRAS' @FranciscoMendes speaks of the subject with the dispersed nostalgia of those who saw much happening in the city since the 60's til here, when he arrived in Rio from São Luís do Maranhão and also chose it as a place to live too. Now, 80 years old, a resident of Copacabana during decades, he never surrounded himself with only compatriots - like many other Northeasterners. Rio das Pedras is a consequent formation of the demand of labor for the constructions specifically in the region, and not a cultural subject. “They put a shack there with a security guard and told him to take care of it so nobody would invade”, Francisco says with some irony about the events that followed. The 'there' is Rio das Pedras, 50 years ago. The initial plan was to arrange a place nearby so that a newly hired group in the area could live. Today, if he's still there, the security already counts more than 30,000 residents community.
sutil is a non-periodic digital magazine without any pre-format defined about Love, Art, Culture, Technology, Fashion & Style, Trends, published by Puri Productions #14
sutil é um magazine digital não-periódico e sem formato pré-definido sobre Amor, Arte, Cultura, Tecnologia, Moda & Estilo e Tendências, editado pela Puri Produções Número 14
TODOS OS DIREITOS RESERVADOS À PURI PRODUÇÕES 2019.
EDITION & DESIGN
M.I.K.A.
COVER
PORTRAIT OF TARSILA DO AMARAL
PUBLISHER
ISSUU [ h t t p s : / / i s s u u . c o m / s u t i l m a g a z i n e ]
DISTRIBUTION
FACEBOOK [ h t t p s : / / f a c e b o o k . c o m / s u t i l d i g i t a l m a g a z i n e ]
2ND EDITION
ENGLISH VERSION
e
w =
E P D S I A N T A T N T B P B A P T B D
editorial
wewillbe =30,000+
EDITING A NEW MAGAZINE IS NOT EASY. PUBLISHING A ONE-MAN-MAGAZINE IS A PRODUCTION WHICH MAY ONLY WORKERS OF THE EDITORIAL AREAS CAN BE DIMENSION. BUT, LAUNCHING A TITLE WITH SOME PERIODICITY AND SALES IN THIS SCHEME IS ANOTHER TALK: IT'S DESIRE THAT YOU LIKE TO READ @sutil. THEREFORE I TOOK THIS DECISION ONLY AFTER THAT THE INDICATORS OF @issuu SHOWED THAT ABOUT 30 THOUSAND READERS AND IMPRESSIONS WENT TO OUR VIRTUAL SHELF, NOT A MONETARY ISSUE. IT'S DARE EVEN MORE BY BETTING THAT IT WILL HAPPEN. THE PAINTER'S SELF-PORTRAIT CHOICED TO THE ARTCOVER IS AN EXAMPLE. THE ARTIST COULD BE ONE OF THE MOST RENEWED BETWEEN THE PARTICIPANTS OF THE CALLED 'WEEK OF THE 22', BUT IT IS NOT THE ONLY ONE - AND THAT WOULD NOT BE HER MOST REPRESENTATIVE SCREEN. THE TARSILA'S FACE IS TRANSVERSIZING ALL THE SUBJECTS OF THIS ISSUE 14, FROM THE MODERNIST BRAZILIAN STYLE TO THE CURRENTLY SITUATION OF THE PORTUGUESE COMPANY PHAROL, SGPS, SA [ EX-PORTUGAL TELECOM, FOUNDER AND EX-PARTNER OF THE BRAZILIAN VIVO AND CURRENTLY OF BRAZILIAN OI], WITHOUT IGNORE THE 50TH ANNIVERSARY OF A PRECARIOUS COMMUNITY THAT WAS ONLY AS A SITE FOR AN PROVISIONAL HOST OF SOME CIVIL CONSTRUCTION WORKERS IN A WIDESPREAD IN THE WEST ZONE FROM RIO, AND WHICH STILL SURVIVES BETWEEN THE WISHES TO BE RECOGNIZED AS A CARIOCA NEIGHBORHOOD AND THE RECEIPT TO BE DISTURBED BY THE AUTHORITIES AT ANY TIME. THE SUBJECT IS MODERNISM. ENJOY.
YEAR 2000
9,40 EUROS
(( )) THE PORTUGAL TELECOM, SGPS, S.A. WAS BORN A TELEPHONIC AND MULTIMÍDIA COMPANY
BREA KING BAD
PORTUGAL TELECOM CAME TO HAVE HIS SHARE NEAR THE DOUBLE COST THAN ONE TODAY OF PETROBRAS IS IN BRAZIL WHEN IT WAS PRIVATIZED IN 2000 AND BEING ACCUSED OF MONOPOLIZING THE INTERNAL TRADE TOO, BUT ALMOST 2 YEARS LATER THEN UNDER THE NAME 'PHAROL' IS A BIGGEST AND INTRIGANT CASE OF DECLINE ABOUT A TELECOMMUNICATION CIA WORLDWIDE
11,00 EUROS
YE A R O F THE HI ST OR IC MA XI M UMM
2010
8,74 EUROS 2011
6,77 EUROS
2012
3,80 EUROS
2013
3,48 EUROS
2014
2,30
EUROS
S
AVERAGE ANNUAL APPROPRIATIONS ALWAYS CLOSE IN DECEMBER, SINCE 2010, THE LAST YEAR IN WHICH THE COMPANY TOOK YOUR SHARE ABOVE 8€ AND OUTSIDE OF THE DESCENT IN THE STOCK EXCHANGE COMPARING THE YEAR IN WHICH IT WAS PRIVATIZED PHAROL SGPS S.A. / BLOOMBERG / EURONEXT
Y E AR O F THE S HI FT O F NA ME S FO R ' P HAR OL '
0
THE DECADE OF BREAKDOWN IN PHAROL
2015
0,46 EUROS
2016
0,19 EUROS
2017
0,33 EUROS
2018
0,22 EUROS
BY M.I.K.A.
A share. One single share that I hold in my bank account and that is from this Portuguese company was enough for this report to appear on the titles of this @sutil's edition. The bank receipt did not even have to be the most current one: in 2003 I acquired a allotment in an initiative of the company very similar to that of the Brazilian @Petrobras in partnership with the #FGTS, which allows @Caixa's account holders to buy the papers for lower values using the fund, thus offering a higher profitability projection. At that time, my cost of acquisition was 2€60. Five years later, the stock was worth 8€25, but that would be the last year that the company would shine on the stock exchange 10 years after the privatization… Since 2011, the so-called PT has suffered a vertiginous devaluation in the trade, which has now reduced it to less than 20 cents of the European currency. The subject is so serious that the administrative capital of the EEUU has been dealing directly with the case since 2005. However, #PortugalTelecom's history as a private company goes back another 10 years ago, since in 1995 it gave start in an elaborate privatization plan that would be completed in 2000 and which included five technical steps.
In each of them, the Government was relinquishing its holdings until all state shares were available for sale. In 2000, Portugal Telecom reached 100% in the trade, worth 9â‚Ź40 euros per share, and maintained this robustness until the fateful year 2011, ranging from 5 to 13â‚Ź. For the country the rebranded corporation has become much more than an exemplary model of privatization. PT was responsible for all the modernization of fixed telephony in Portugal that it inherited from the public company, the implantation of the mobile phone, the cable TV and the dissemination of the Internet. Helped to insert the Portuguese in the group of the emerging countries of the european community raising the social self-esteem; streamlining the economy with the creation of new business and subsidiaries; developed, produced and marketed technologies now used by other countries [including Brazil]; and contributed in a practical way to the training of portuguese citizens by betting and valuing the generation of content, buying and renewing medias, such as @Lusomundo and the provider @Sapo. With this profile, in just over four years, PT achieved success. The main focus of the company was reached at a
speed as stunning as that of digital navigation, and Portugal quickly became one of the countries with more carriers of mobile handsets the continent, Internet access and subscribers of cable TV channels. As a precaution of national interest, the State maintained only 500 shares of the company, but those classified as 'preferential rights' in the golden share, a non-profit measure that ensured some strategic decision-making power in the company to your area of expertise. However, as we mentioned, Brussels didn't like this position of Portugal into the financial system and in 2005 filed a lawsuit against the Portuguese state alleging interference of the Government in the free flux of capital, which would be a fatal decision for Portugal Telecom.
I HOPE THAT ALL THAT IT WAS ONLY 'FINANCIAL FIDDLE-FADDLE'‌ The internationalization of the problem began there. On the one hand, Portugal was trying to ensure that its telecommunications could end up under the majority control of some foreign group, but this was understood as a complete disrepair with the policies of the European Union and, two years after the complaint, Brussels won the dispute against Portugal that had gone to be judge in the
WITH EXPERIENCE IN RIGHT, MARCELO REBELO DE SOUSA 'CLOSED' THE DEMISSIBLE COMPANIES OF THE PORTUGUESE STATE AND GOTTA UNDER THE PRESS IN SHORTS PHOTO: FACEBOOK PROFILE
EEUU Court. And, in fact, he could scarcely breathe after the veredict by suffering a year later the first real threat that this was about to happen. Portugal Telecom already knew the Spanish company @Telefónica of other times. They were partners in Brazil since when they bought the state company #Telesp in 98 and founding the mobile operator @Vivo [2003], but the hermanos were who knocked at the door of PT wanting to buy your shares when they heard the sentence of the case EEUU vs Portugal, and with another Portuguese multinational company on their side: the @Sonaecom. It was the misshapter. Sonaecom put on the table of PT a project of very difficult digestion by all the parties involved: called "Public Offer of Acquisition" [OPA], the invesion sourced the concept of anonymous societies to being remove nationalistic fears regarding a foreign control of the telecommunications, but aimed at acquiring the company even though it was a competitor in several areas of activity ─ which aggravated even more the monopoly ─ and counting on hitherto allied Telefónica as a partner. The proposal generated almost endless debates in Portugal, but with the government tied by the court decisions, there
was no direct political interference and it was up to the shareholders to resolve the issue. During the process that occurred until 2006 CEOs fell, strategies was changed, sales of firms of the group… But interestingly the trade did not react negatively immediately and the OPA was rejected by the majority, on condition that the company turn exclusively to the areas of telephony and technology in detriment of your multimedia arm [cable TV, Internet provide, @DiáriodeNotícias, @JornaldeNotícias, @24Horas and @TSF radio] and the cinema business [movie theather circuit and distribution acquired by Sonaecom itself, in 2007]. It wasn't a mere restructuring. PT would only survive three years more in those conditions until the Stock Exchange accused that attack. With the most populous regions of Portugal covered by the remaining services, without the contents to offer their customers which added value to system, the trade regulated your importance by fulfilling the mission when carrying out infrastructure work.
THE LUSO BREXIT The 'Britain Exit' was experimented by PT before the Queen's land policy proposal to go to the British
Parliament. With the horizon shortened, in 2010 the Portuguese company decided to bet more heavily on the Brazilian telephone trade in a kind of 'Brazilian Exit', left the company with @Vivo and bought part of the competitor @Oi. This path was received internally with an unstoppable collapse of its actions in Lisbon, but the strategy remains. SGPS S / A changed its name to @Pharol, SGPS S.A in 2015, and continues to see the decline in the value of its shares, currently priced at 0,19€.
UNTIL THE PAST YEAR, THE BUILDINGHEADQUARTERS FROM PICOAS, LISBON, IS STILL THE LOGO OF 'PT PHOTO: PROMO
Meanwhile it all, the company returned to the news in last February, when controversies surrounding controvertial cases of Portuguese banks' debts with the state received a checkout from the president @MarceloRebelodeSouza [elected in 2016], who decreed that the list to be opened where the largest debtors of the country are subscribed. The measure immediately caught up with @Controlinveste and mr. JoaquimdeOliveira, one of the majority shareholders and manager of ex-PT Multimedia [currently @GlobalMediaGroup]. The businessman declared insolvency a few days later and explained that he owes @BCP and @NovoBanco twice as much as they contracted loans to buy companies by maintaining a stream of credit lines to capitalize - more than 1 billion euros. The embarrassment refers to the devaluation of Pharol and the dismantling of Portugal Telecom because Oliveira is also into the list of shareholders of Sonaecom too, where it holds almost 8% of the capital. In other words, the current owner of an important Portuguese press group bought it from PT with borrowed money, not only didn't paid the loan but continued to seek funds from the same banks, and now they are broken and forcing the state to collect the shards to pay-off debts, having direct shareholding in own competitors‌ A nationalization in the bank system and a reestablishment of medias in a unilateral and fraudulent forms without the endorsement of the state.
FINIS SHCO FFEE TO BRAZILIAN WEEK
OF THE MODERN ART
THE WEEK OF 22 RUNS TO HIS CENTENARY, BUT A DATA HAS ALREADY BEEN SUBJECT AND @sutil IS INTERVENTING UPDATING A HISTORY THAT ROUND THE MOVEMENT AND COLLABORATES IN ITS REPOSITIONING. AFTER ALL, WHAT HAPPENED IN SÃO PAULO WAS NOT A 'PETIT COMITÉ'. WITH THE END OF THE COLONIZATION TIMES AND THE REINVENTION OF BRAZIL, THE GROUP THAT COMPLIES WITH OUR FIRST UNIVERSITIES WITH PRODUCTIONS IN THE NEW FEDERATION CAME OUR CULTURE
BY M.I.K.A.
LAND.
Lands and more green and mountainous lands as our most eastern islands to date signal to lose sight of
was what the settlers found in the Americas when they landed here in the early sixteenth century. History dates back to 400 years ago for the time when the first American nations to emerge, but, at least in Brazil, more than 300 years of building a free press, the Art reported reality, subjectivity, analysis, testimony, and the images of what our New World was before the media.
' B R A Z I L I N I V P H A SE S , B Y D I C A V A L C A N T I ─ CONCLUDED IN 1965 ─, SHOWING THE DIVERSITY FROM RIO IN THE REPUBLIC IN TRACES AS COSMOPOLITAN AS TROPICAL. ON THE SIDE, THE IMPRESSIONIST 'SALETA DE REST', BY ANITA MALFATTI. ABOVE, THE 'PIETÀ' INTERPRETED BY VICENTE REGO MONTEIRO IN CUBISM STYLE WITH THE EFFECT THAT LATER WOULD BE CALLED 'EMBOSS'. ON THE PREVIOUS PAGE, 'THE URUTU EGG,' BY TARSILA DO AMARAL
The press crawled and the photograph was still beginning to be the 7th in 1922. However, Literature and Painting developed by the equally fresh Brazilian intelligentsia found not only echoes in the works of the greatest artists of that time as it brought all our trans-oceanic novelty. So that week it punctuated in the calendar of humanity a dispersed and diffuse movement to culminate what we would accept as the identity of the national culture, with some of its participants and organizers integrating the list of most renowned artists of the World.
WE AREN'T SO MODERN AS 'Speech...'. Of everything I read and of the restricted that I know or I have seen until today of Art I consider that this was the landmark that divided the Classical Era of Modern Era. Started by the Italian artist #Michelangelo in 1515 after finishing his sculpture of Moses ─ the prophet ─, facing the perfection of his newly finished work, from there the Renaissance would gradually become the universal reference with the emergence of less realistic and accurate It was not only a question of climax and natural decline... the world was changing with the arrival of the Europeans to the Americas and Europe itself and the Arab communities of the Middle East and Asia were undergoing transformations that inspired societies to walk each way more sensorial and diffuse, including in Italy, as ─ for example ─ we see in the work of #Caravaggio. It's easy: if in the Renaissance there was an admiration and adoration of creation, the Divine and an obsessive attempt to reproduce the real, from the XVI the supernatural and the intuitive were gaining space, as we can see in the productions already mentioned. Europe was overshadowed. Even before 1500, here, there and there began to appear artists with intriguing works and increasingly impregnated with mystery, after a long period of Renaissance affirmation about their fundamental influences - mainly the Byzantine of the Greek and Turkish regions, the Moorish in general and Indian. Examples more than renovators were those of the proto-surrealists #HieronymusBosch, #PieterBruegel and #VincentvanGogh, who came from the Netherlands.
Incidentally, it would be Surrealism along with Expressionism and Impressionism that would migrate the focus of Italian Art to France and Netherland and then to Iberia and would become the greatest influence of future national artists. There is a relevant aesthetic factor in this identification: if in Caravaggio and Bruegel the painting foreshadowed dark and terrible contours of America's post-discovery era and local decadence, with Bosch, #PabloPicasso and #SalvadorDalĂ there was a ransom through humor, making reading of works somewhat less repulsive, but never less disquieting as to the barely perceptible dimensions of existence.
Four centuries have passed since the arrival of the Portuguese to Brazil and for the continental jungle to the first metropolis. At the beginning of the twentieth century there was already an artistic class in the country, mostly formed by the literate bourgeoisie among the children of merchants and agrarian producers, but also with some intellectuals emerging from the new citizenship. There were press, universities, libraries, cafes, workshops ... and a more prominent crisis: the consequences of the liberation of the slave workers by the bankruptcy of the cycles of colonial agriculture.
It was more than that: the system was changing. The Republic had been proclaimed before the turn of the nineteenth to twentieth centuries and everything was in transformation. Thus, this class of national thought was building what would be the country in the future, but in the light of what it interpreted of more everyday facts than in the time of the colonial orders, as
the social reorganization composed by politicians and bureaucrats, by the economic elite, men free, and all the diversity triggered, mainly, by the decadence of the cultivation of the coffee in the Southeast.
This scenario would inevitably be promising, but what has caused the importance of Brazilian Modernism in the international context can be summarized in three topics: the obvious formation of an artistic identity of the country; the echoes of foreign movements [primarily European], when traces and aesthetic developments were detected with a lot of technique and creativity in our productions; and #MonteiroLobato.
About the first two topics we will not advance nothing more for now because there is still time and much to understand in this introduction to the Brazilian Week of Modern Art, but it's important to highlight the episode of the reaction of the critic Monteiro Lobato: when the movement concentrated forming a portfolio of the new Art made in Brazil, the collaborator of the newspaper @OEstadodeSPaulo wrote an inflamed text and violent personal attacks against some of the artists that, intentionally or not ─ because it's still not yet clarified ─, ended up by releasing the collective proposal and promoting the 'Week of 22 '. The doubt is that as it is known Monteiro Lobato himself was a writer and author of fictional literary pieces that worked with both the imaginary and the national modernists, and this was the negative emphasis of his criticism, because, contrary to what his work demonstrates, defended that Art must be careful to get closer to reality.
'RETIRANTES', BY PORTINARI. IN THE LASTPAGE, 'MOSES', BY MICHELANGELO PHOTO: WIKIPEDIA/ALVESGASPAR
HAZY THEME Slavery has been around for millennia. It is almost as old as society, so it is strange that in Brazil there is still an idea that it was a practice of only a few European colonizing monarchies and against an underdeveloped and subservient tribal Africa. Israelite peoples of antiquity were made slaves; the Egyptians were enslaved; the Europeans themselves made slaves to each other throughout history for forced services, including that of the fleet of caravels that made it possible to reach other continents. The navigation that brought the colonizers to the Americas is another invention that we can imagine. However, in fact, in developing its navy in the early 1000s, Portugal became one of the five great kingdoms that would reach the American coasts [like England, Spain, France and Netherland], generating technological advances and cartographies that are used until nowadays by navies and aeronautics, and that integrate the pride of those nations. But enough of the curiosity to know who planted, cultivated, cut and transported all the wood used in the construction of the caravels, who did the mining and the casting of the iron and who raised all the vessels before the expansion of the Portuguese slave market to the African continent and under what conditions to realize how misleading the theme is, because the work was heavy and the environment was inhuman.
After more than 500 years of the Discoveries, this insistence would reveal its real motives, and this is what is happening in this preamble of the centenary of the Brazilian Modernism, which in the first instance is something similar to a spiritual suicide ─ followed by the suicide of the individual, civilizational and cultural. It's evil; diabolical. The origin comes from a misleading historical disclosure or due to the lack of records in Brazilian literature for some insistent educational policy on the subject, but this would somehow even protect us from such an awful era that it was the pre-discovery period ─ with plagues, pest, hunger, generalized collective demonic possessions, monarchical decadences and witch hunts in Europe ─ if Art had not 'opened up' it in its contemporary pieces and better known to the public and if interest and contact with those countries had not intensified both from the 50's to here with the appearance and dissemination of the media. What this informed as well as uninformed layer that competes with this ideological line intends is indeed to isolate itself from all deceit and guilt victimizing itself through the whole process of construction of Brazil, but requesting from the pre-1500 phase the recognitions of royalty and the authority and power of the slavers as if they had been shipped to colonize and occupy the territories were only European principalities and forced labor circumscribed only to Africans. That is, an aberration without sustainability for any bias...
When I was living in Portugal, one of the things that caught more attention when I visited your many historical sites was the preservation of some equipment of torture and execution in public squares, and especially those near castles and fortresses. The information is accessible to visitors and tourists: some of the apparatuses were kept in memory of that past and preserved as historical patrimony as landmarks of times that one does not want to back, and that for this they must be understood. There are forks, ankle-type iron shackles and clamps, hooks stuck in stone walls to hold chains capable of holding even ships... On some of the walls along the banks of the river there are dungeons with heavily barred windows and stains on the inner walls and external of the rising water levels, where it is observed that those who were thrown in there suffered periodically with the rise of the tides being left with part of the bodies under water or even submerged during some floods. All this is only information, with one or more adjectivation or point-of-view. But what we want to do is enrich the discussion about certain aspects of slavery when they are debated in Brazil around the Brazilian Week of Modern Art in 1922 ─ if this is still will one of the subjects ─ and not merely dictated by a booklet biased by isolation with that such topics are usually addressed by common sense. For this we need to cross these other observations and propose more lines of reasoning and reflection, aiming that the artistic production itself may be better understood at the end of the celebration.
THE G-22
MALFATTI
DO AMARAL
TARSILA
DI
CÂNDIDO
ARGUED THE WEEK THANKS POLITICAL AROUND THE CRITICS OF MONTEIRO LOBATO AND BECAUSE THE QUALITY OF YOUR PAINTS
DESPITE TO BE IN PARIS DURING THE 3 DAYS EVENT HAS BEEN RECEIVED LIKE ONE OF THE NAMES MOST IMPORTANT OF BRAZILIAN MODERNISM
CARIOCA, HE WAS ONE OF THE ORGANIZERS AND THE GRAPHIC DESIGNER OF THE WEEK IS CONSIDERED ONE OF THE BIGGEST PAINTERS OF THE COUNTRY
WITH ONLY 21 YEARS OLD, THE PAINTER LEFT FROM EBA AND INVOLVES THE MODERNISTS, WHICH TAKEN YOU TO THE 1ST PRIZES AND A GREAT CAREER
RUBENS BORBA
GRAÇA
MÁRIO
OSWALD
EXPERT OF MODERNISM, RUBENS ORGANIZED THE WEEK OF 22. FROM THE BORBA GATO'S FAMILY PASSED PART OF YOUR CHILDHOODFOREIGN FOUNDED THE UN LIBRARY
A TOP MEMBER OF THE MO VEMENT. DIPLOMAT AND IMMORTAL OF ABL, HE BROKE UP WITH THE ACADEMY LATER DUE TO YOUR ARTISTIC PHILOSOPHY
THE ARTICULATOR. MARIO SUMMARY THE MOVEMENT IN YOUR BOOK 'PAULICEIA DESVAIRADA' AND DEDICATED YOUR CARRER TO RESEARCH OUR FOLKLORE AND MUSIC.
MAYBE THE MOST PRO MODERNISM, OSWALD INTRODUCED IT THROUGH 2 MANIFESTES AND YOUR ROMANCE 'PAUBRASIL'. AS ARANHA,HE WAS APLAUDED
ANITA
DE MORAES
ARANHA
CAVALCANTI
DE ANDRADE
PORTINARI
DE ANDRADE
VICENTE DO RÊGO
LASAR
SEGALL
BRECHERET
VÍCTOR
HEITOR
NATURAL FROM RECIFE, ARRIVED IN SÃO PAULO ONLY 2 YEARS BEFORE THE EVENT AND PARTICIPATED. HE WAS INSPIRED BY INDIAN CULTURE AND CUBISM
ADOPTED BY BRAZIL, SEGALL WAS A LITHUANIAN OF JEWISH ORIGINTHAT HELPED TO DEVELOP PAINTING HERE. TODAY IS INTRODUCED AS A PREMODERNIST
ITALOBRAZILIAN SCULPTOR WAS PARTICIPATING FAR, BUT MADE YOUR EXHIBITION IN THE EVENT. HE LIKED TO BE A SOLITARY WORKER AND WAS A INFLUENCER IN YOUR ART
A CLASSICAL AND POLEMIC COMPOSER THAT MADE A REVOLUTION IN MUSIC ADDING REGIONALISM. HE HAS ENTERED WITH FLIPFLOP IN THE MUNICIPAL THEATER
MENOTTI
GUIOMAR
MANUEL
RONALD
ALSO ITALOBRAZILIAN, DEL PICCHIA WAS DIRECTOR OF ''A NOITE' AND 'A CIGARRA' AND PARTICIPATED ACTIVELY OF THIS WEEK WITH POPULAR AND REGIONAL POEMS
CLASSIC PIANIST AND VERY DEDICATED TO CHOPIN AND SCHUMANN WORKS CAME TO BRAZIL TO THE OPENING EVENT. PASSED TO DIFFUSE VILLALOBOS IN THE USA
TEACHER AND IMMORTAL OF ABL THAT HAD THE POEM 'THE FROGS' PURCHASED DURING HIS RECITATION IN THE EVENT, BUT HE WAS SICK AND DIDN'T SEE THAT. EMBLEMATIC
READ THE BANDEIRA'S POEM. RONALD WAS POLITICAL, ACADEMIC OF LAW AND COLLABORATED WITH THE 'DIÁRIO DE NOTÍCIAS' AND THE LISBON MAGAZINE 'ORPHEU'
MONTEIRO
DEL PICCHIA
NOVAES
BANDEIRA
VILLA-LOBOS
CARVALHO
:
AFTER 2 MANDATES AS VICE, OF THE ROLE OF SECRETARY AND OF HAVING SURVIVED A LYMPHOMA, LUIZ FERNANDO PEZ ÃO WAS PRESENTED FOR CORRUPTION IN 2018. THE OPERATION HAS BEEN FOLLOWING THE PROCESSES THAT CONDEMNED THE GOVERNOR OF RIO SÉRGIO CABRAL FILHO AND THE LAWSUIT MOVED BY THE DEPUTY OF PSOL MARCELO FREIXO THAT MAKES HIM FIRSTLY INELIGIBLE. REGARDING COMMUNITIES, HE INTERVENE IN ALEM ÃO AND ROCINHA PHOTO: REPRODUÇÃO DO BLOG ÁLVARO NEVES