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Um monumento-nu aos Kaiowá e Guarani : «Fuuu… (Sopro) Tah! Marãny: Cemitério Indígena» e o Movimento ao Autoexílio na Arte de Portugal
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Resumo(s)
Esta tese teórico-prática desenvolve-se entre dois polos de atração: as cosmovisões originárias de Abya Yala e a mundivisão ocidental. Ela corrobora à decolonialidade, à R-Existência e à desestruturação do capitalismo. O principal conceito articulado para tanto é o movimento ao Autoexílio, viabilizado pelo desejo de consubstancialização com a realidade através da luta, da fuga, do risco e do contato com “outras” ou “outros”. Esse ímpeto à ultrapassagem da disciplina imposta a corpos-territórios na modernidade, gerou uma definição transcultural da arte e um parâmetro de análise de obras artísticas marcadas por um contexto de colonização. Para esse estudo foi realizado um mapeamento de trabalhos de arte de Portugal, que mencionam povos indígenas do território atualmente ocupado pelo Brasil. As culturas originárias sob especial enfoque são as Guarani-Kaiowá e Guarani-Nhandéva da região de Dourados no estado de Mato Grosso do Sul, Brasil, a qual é dominada pelo agronegócio. Com isso, este enredo também implica a colonialidade do poder brasileira. O corpo da investigação constituiu-se à elaboração de um monumento aos Kaiowá e Guarani para a zona de Belém em Lisboa, a problematizar o imaginário colonial-imperial português e a pertencer à história da arte luso-brasileira. Desse processo foi partícipe um trabalho de campo realizado principalmente na Reserva Indígena de Dourados (RID), sendo coautores do presente monumento-nu Kunhã Ysapy e o rezador Kaiowá Chipe. Esse último ofertou-me a fala sobre os perigosos seres marãny para eu levá-la ao meu povo. Para auferir a forma dessa peça “marãny” foram reflexionados elementos dessas culturas materiais que possuem alguma sintonia com a noção ocidental de monumento, nomeadamente, as cruzes (kurusu) tumulares, as casas de reza (óga pysy e óga guasu) e os tipos de “altar” (yvyra marãngatu e tata rendy henda’i). Emergiram, então, termos de agência crítica como “objetos-sujeitos” e “ato de produção do corpo ‘vivo’ ”.
This theoric-practical thesis is developed between two poles of attraction: the originary Abya Yala’s worldview and the Western worldview. It upholds the decoloniality, the R-Existance and de-structuring of capitalism. For this purpose, the main concept articulated is movement to Self-Exile, which becomes possible through the consustantialization with reality by means of the struggle, escape, risk and contact with the “Others”. This impulse to overcome the discipline imposed to body-territories in modernity created a transcultural definition of art and a parameter to analyse works of art related to contexts of colonization. For this study, a mapping of artworks from Portugal that mention indigenous peoples from the territory currently occupied by Brazil was conducted. This study specially focuses on the originary cultures Guarani-Kaiowá and Guarani-Nhandéva from the Dourados region in the state of Mato Grosso do Sul, Brazil, an area dominated by agribusiness. Besides, this scenario implies the Brazilian coloniality of power. The corpus of the research was the creation of a monument to the Kaiowá and Guarani peoples for Belem, Lisbon, with the aim of problematizing the Portuguese colonial-imperial imaginary and becoming part of Luso-Brazilian art history. For this process, I carried out most of my fieldwork in the Dourados Indigenous Reserve, where I met Kunhã Ysapy and the Kaiowá prayer Chipe, co-authors of this “mo(nude)ment”. Nhanderu Chipe gave me a speech about the dangerous entity marãny, to share it with my own people. To achieve the form of the marãny piece, I reflected on elements from these originary material cultures, which can be related to Western idea of monument, namely, burial crosses (kurusu), praying houses (óga pysy and óga guasu) and the types of “altars” (yvyra marãngatu and tata rendy henda’i). Terms of critical agency such as “objets-subjects” and “act of ‘living’ body production” then emerged.
This theoric-practical thesis is developed between two poles of attraction: the originary Abya Yala’s worldview and the Western worldview. It upholds the decoloniality, the R-Existance and de-structuring of capitalism. For this purpose, the main concept articulated is movement to Self-Exile, which becomes possible through the consustantialization with reality by means of the struggle, escape, risk and contact with the “Others”. This impulse to overcome the discipline imposed to body-territories in modernity created a transcultural definition of art and a parameter to analyse works of art related to contexts of colonization. For this study, a mapping of artworks from Portugal that mention indigenous peoples from the territory currently occupied by Brazil was conducted. This study specially focuses on the originary cultures Guarani-Kaiowá and Guarani-Nhandéva from the Dourados region in the state of Mato Grosso do Sul, Brazil, an area dominated by agribusiness. Besides, this scenario implies the Brazilian coloniality of power. The corpus of the research was the creation of a monument to the Kaiowá and Guarani peoples for Belem, Lisbon, with the aim of problematizing the Portuguese colonial-imperial imaginary and becoming part of Luso-Brazilian art history. For this process, I carried out most of my fieldwork in the Dourados Indigenous Reserve, where I met Kunhã Ysapy and the Kaiowá prayer Chipe, co-authors of this “mo(nude)ment”. Nhanderu Chipe gave me a speech about the dangerous entity marãny, to share it with my own people. To achieve the form of the marãny piece, I reflected on elements from these originary material cultures, which can be related to Western idea of monument, namely, burial crosses (kurusu), praying houses (óga pysy and óga guasu) and the types of “altars” (yvyra marãngatu and tata rendy henda’i). Terms of critical agency such as “objets-subjects” and “act of ‘living’ body production” then emerged.
Descrição
Tese de doutoramento, Belas-Artes, na especialidade de Escultura, 2026, Universidade de Lisboa, Faculdade de Belas-Artes
Palavras-chave
Self-Exile Indigenous in Portuguese Art Naked-Monument Kaiowá and Guarani Marãny Autoexílio Indígena na Arte de Portugal Monumento-Nu Kaiowá e Guarani Marãny