Poder e Sufocamento

Poder e Sufocamento
28 de July de 2017 Rafael Kamada

Poder e Sufocamento exhibition features contemporary photographs collection at MIS

For the first time, some items from Fundação Marcos Amaro’s (FMA) photo collection will be brought to the public, selected by Isabel Amado and some photographers such as Cássio Vasconcellos, Iatã Cannabrava, João Farkas, Julio Bittencourt, Luiz Garrido, Marcel Gautherot, Pedro David and Tuca Vieira

Since Marcos Amaro created his foundation, named after himself in 2012, he wanted to bring art to every kind of people, either producing art or exhibiting its art collection. Starting on August 15th, some of these photographs will be displayed for the first time during the Poder e Sufocamento exhibition, at Secretaria da Cultura do Estado São Paulo’s MIS – Museu da Imagem e do Som, with free admission.

Isabel Amado was the one responsible for selecting 22 out of more than 100 photos from this collection. “It’s really important to present these pictures because it represents a great part of contemporary production that makes you see the cities in a humane way”, she says.

Luiz Garrido’s photograph called Mundo Injusto, was the first one of Marcos Amaro’s collection and also one of the three photos that guides Isabel Amado’s curatorship. The other photos are made by Carlos Vergara and Pedro David, pieces that inspired the name of the exhibition. “The idea is to make people think of how one can deal with power and suffocation”, says Isabel. The photographers Armando Prado, Bruno Veiga, Cássio Vasconcellos, Claudio Edinger, Garapa Collective, Iatã Cannabrava, João Farkas, Julio Bittencourt, Marcel Gautherot, Marlene Bergamo, Nelson Kon and Tuca Vieira are also part of the visual narrative of this project.

Marcos Amaro begun to collect photographs in 2010 in Trecho 2.8, a project that tried to bring back homeless people’s self-esteem through art. “The misplaced look they had because of their social vulnerability called my attention, so I thought that photography could be a political instrument to show the oppression they were living in”, says the collector. From this experience, he got to know the work of contemporary artists that use this aesthetic and yet existential proposal.

Tuca Oliveira’s “Foto da Favela de Paraisópolis”, for instance, shows the contrast between two different realities: the pools and tennis courts of a high-class building and the favela, side by side. The photo was publicized worldwide and, most of the time, without its proper credits, as Tuca said: “this photo may make me achieve what every artist wants: to create an observation about the world and not about the work or the artist himself”. And maybe this is the best explanation to bring the collection “to get some air”. “My main goal is to show the power of this photography collection through places that try to oppress and diminish one’s liberty”, finishes Marcos.