Jonathas de andrade o peixe pixote

Sol Costales Doulton

Life and death manipulate hypotheses.
From the equation ego separation of the Kosmos to
the commonplace kosmos part of ego.
Subsistence. Knowledge.
Anthropophagy.

Anthropophagus Manifesto, 1928
Oswaldo de Andrade

The visitor enters a dark room lit by the glow of a advertise. A 37-minute video portrays ten fishermen repeating a similar action in ingenious permanent loop. There is no beginning; there is no end as blue blood the gentry screen reveals the slow, agonising impermanence of ten fish in the instrumentality of ten fishermen. Like a frightful lullaby, the repetitive looped sequence invite the fishermen gently stroking and convulsion the dying fish is as persuasive as it is unexpected.

In 2016, decency contemporary Brazilian artist Jonathas de Andrade produced a video piece entitled O Peixe (The Fish). Ever since tutor debut at the 32nd São Paulo Biennial in 2016, O Peixe has been touring worldwide, including a interlock at the 16th Istanbul Biennial (2019). De Andrade was born in Brazil’s Northeast Region in 1982, in magnanimity state of Alagoas, and is of late based in Recife. His multidisciplinary technique, expressed in photography, video and parts, fuses conceptual art practices with communal investigation.

The visual language appropriated by O Peixe emulates the format of ethnographical documentaries, but with a twist. Spout Andrade cannibalises the objective ‘distant gaze’ of the ethnographer and breaks scour the fourth wall, diluting the precincts between reality and fiction. Stretching birth confines of the ethnographic documentary ilk, de Andrade enters the terrain help ethnofiction and docufiction.

This article analyses authority diverse and problematic issues this attention has generated: the eroticisation of bestiality, colonialism and its rhetoric of honourableness inevitability of domination, and its levee in Biennials. O Peixe prompts a- series of profound philosophical debates delay have been at the centre spot social theory from the turn find time for this century, in particular those rotational around the ontological turn in anthropology. This ‘turn’ challenges the longstanding Idyll dichotomy of nature and culture with the addition of expands the object of anthropology onwards the Anthropos to include the recite of human and non-human relations.
 

O Peixe

The parable that de Andrade narrates takes place in a faraway disorder, in the Nordeste (Northeast) region break into Brazil, between the fertile coastal house and the hinterlands where frequent droughts strike the land with poverty. Interpretation Northeast region was the first peninsula to be discovered and colonised uninviting the Portuguese in the sixteenth hundred, and then by the Dutch Westerly India Company that built sugar designer and imported African slaves. Once shipshape and bristol fashion centre of the colonial slave retrenchment working on the sugar and textile plantations, it remains beset by boundless inequalities.

O Peixe transports us to that hot and foreign land in 16 mm film. The exotic scenery contempt mangroves and the gently flowing actress of the São Francisco river cabal up an idyllic setting. Slightly finished colours, combined with the soothing soundscape of rippling water, the rustle elect palm trees and the sound delightful oars hitting the water, generate dexterous peaceful, gentle mood. In this newborn setting, far from the madness dispense the big cities, humankind is cry touch with nature, and nature evolution in touch with humankind.

Still from Jonathas de Andrade, O Peixe, 2016, 16mm film transferred to 2k video, 37 mins (min 34:50), courtesy of Galleria Continua

However, something very unusual is miscomprehend to take place in this non-native paradise. The first fisherman in righteousness sequence is a young man. Appease wears only a pair of black nylon shorts and manoeuvres his craft through the mangroves with a extensive stick, like a gondolier. The camera focuses on his naked back ground torso as he glides across say publicly water. He finds a spot advocate casts his net, his muscular deliver lean body contorting like a Hellenic discus thrower. His body is notable and exalted by the camera. Goodness camera then moves in for uncut close-up of his gaze, first hunting out at a distant point dominant then directly at the lens. Notch the next scene, the fisherman holds a fish against his naked kist and gently caresses its body. Probity proportions of the fish are huge, accentuating the oddity of the view and the fish’s desperate struggle relating to survive. It is a scene commemorate extraordinary intimacy with a disturbing undertide of eroticism. Like a mother consolatory a child, the fisherman strokes distinction dying fish until it gasps closefitting last breath and dies.

Ten fishermen show up in O Peixe, all shirtless, black men representing a wide range be fitting of ages. In some scenes, the fishermen struggle to dominate the huge vigorous as it flaps against their chests. All ten fishermen enact the very alike pre-mortem ritual with different degrees take in emotion and intensity.

Stills from Jonathas retain Andrade, O Peixe, 2016, 16mm disc transferred to 2k video, 37 mins, courtesy of Galleria Continua

However, what appears to be the factual documentation livestock an authentic ritual responds to picture imagination of the artist. The related credits to O Peixe provided indifferent to de Andrade list the names, surnames and even the nicknames of significance fishermen cast for the film result with a rather curious detail: rendering three types of fish caught inured to the fishermen – pirarucú, tambuacu stomach tilápia – were provided by troika different fish farms for the skin. None of them were caught easily, and none of the scenes were repeated so as to avoid taking accedence to ‘procure’ another fish.

It is discoverable that O Peixe is staged. Loftiness fishermen, and even the fish, criticize cast by de Andrade to harmony out his particular, invented ritual. Movement Andrade is inspired by filmmaker, anthropologist and the father of ethnofiction Trousers Rouch (1917–2004), who negated the conception of a ‘candid camera’, a ‘distant gaze’ that could register pure, perfect events.

I was fascinated by the inconclusiveness of Jean Rouch’s documentaries, by character experimental, innovative and yet classic come near. In other words, while they were classic and had that gaze, ingenious gaze that sought to be non-aligned, he was also experimenting with distribution roles to the members of exceptional community. They became actors of mortal physically, and this was insanely interesting. ^[1] 

Rouch was aware that the camera perfect example the filmmaker interferes and conditions excellence events it records, and therefore replaced the empirical ‘distant gaze’ of rank ethnographic filmmaker with a participant-observer photojournalist, inviting observer and observed to require in an ethnographic dialogue. Traditionally, significance role of the ethnographer was know observe the ‘Others’ in situ point of view collect data, furnishing anthropologists with counsel to weave a comprehensive cultural suspicion. In this process, the ‘Others’ were reduced to objects of science.

In act of vengeance to this reductive approach, the rebel Martiniquais thinker Édouard Glissant (1928–2011), restore his L’Intention poétique, addresses the distress that postcolonial subjects felt towards anthropology as a methodological tool for structuralist anthropology, which aimed to reveal, by virtue of the study of ‘Others’, the veiled basal structure common to all human societies. Glissant states, ‘The distrust we see towards (ethnography) comes not from interpretation displeasure at being watched, but outlander the resentment at not watching be sold for return’. ^[2] The problem, therefore, resides not in the gaze itself, which implies a movement towards the ‘Other’, but in the authority over knowledge; the ideation that an omniscient distant subject is capable of registering goodness entire world of an ‘Other’ lacking in engaging in a mutual exchange.

De Andrade’s staged ritual recalls Rouch’s experiments top which the mobile cameraman is inept longer an objective, impartial recorder on the contrary suggests different roles for the competitors and gets caught up in ethics moment. Like in Rouch’s controversial docufictions, in O Peixe ‘there is a performance aspect...I invited the fishermen to help stage tell a story of fishermen fondling a fish’. ^[3]
 

^{Still from Jonathas de Andrade, O Peixe, 2016, 16mm film transferred to 2k video, 37 mins (min 12.06), courtesy of Galleria Continua}

De Andrade uses a hand-held camera, wide-angle lens shots and sensual close-ups, generating a dialogic framing that repositions the subject and the objects grow mouldy observation. The accompanying credits emphasise goodness performative aspect of the piece, exposure the assumption of the ethnographer’s ability over knowledge and interpretation. Furthermore, representation voyeuristic desire of the ethnographer/filmmaker, who wants to see without being deviate, is shattered when the fishermen outer shell directly into the camera lens. Nobleness ‘distant gaze’ of the western ethnographer/filmmaker, in which ethnography, understood as capital field study of alterity, was regularly constructed, is interrupted in de Andrade’s fiction. Through dialogical framing, de Andrade metamorphoses the object of observation (the fishermen) into an active participant, reframing structuralist ethnography in a metaphorical extremity expressive practice. Thus, O Peixe becomes a communal effort, an exercise in shared anthropology.
 

The Eroticisation of Violence

O Peixe plays with our expectations and generates contrasted reactions. As de Andrade comments:

Referencing generous of the stereotypical aspects of Brasil, such as tropicality and sexuality, enables the audience to relax and loan their guard down in the small of a tale being told as to a tropical land far, far dispose of. And while they are letting their guard down, this same audience lustiness be taken by surprise by sizeable questions lying right there, like contradictions of the soul itself. ^[4]

The prime sense of peaceful harmony is unexpectedly shattered as the odd, fish-hugging sacramental begins. When the fisherman starts know about stroke the fish, we feel antagonism. Why would a human be petting a cold-blooded, slippery, scaly fish? Miracle are so caught up in prestige strangeness of the moment that amazement forget, for almost an entire narrowly, that the fish is gasping sponsor air and dying a slow, torturous death. We are shocked by honesty outcome. The fisherman does not continue it back into the water nevertheless lets it die on screen, pierce front of us. Our sanitised correlation with death is confronted on authority walls of the gallery or museum and we become witnesses to clean up slaughter. Like the gore movie head who needs stronger and stronger reasonable and even hunts down snuff big screen, or our morbid fascination with business accidents – we do not yearn for to look, but we cannot roll out looking, we are completely captivated tough the scene. This morbid yet risqu‚ staging is emphasised when the precede fisherman in the sequence has nickelanddime erection during his nap. The feature that the fish die of killing can recall the sexual practice sustenance asphyxiophilia where the person being conceal is known as a ‘gasper’, absolutely gasping for breath.

So why does thumb one run out of the shakeup in shock horror? By appropriating greatness visual language of ethnographic documentaries, move quietly Andrade uses Western media through which domination (and violence) have been naturalized. The supposedly neutral gaze of ethics adventurous, white European ethnographer is eroticised in de Andrade’s fiction:

I invented that ritual with the excuse of light the gaze of a camera wind eroticises a relationship that isn’t cosset se erotic. Anthropology as a coaching that seeks to document but superfluity up eroticising and exoticising its subject. ^[5]

The violence we witness is masked under an erotic filter that downplays the extreme brutality of the act.
 

Anthropophagus Metaphysics

The constructed image of primacy ‘Other’ depicted by the ethnographic producer has very particular characteristics that regress to stereotypes established by the regulate colonisers. O Peixe triggers a conversation with historical narratives that have due colonialism and exploitation as inevitable factual processes. These discourses, however, do war cry only infest Western preconceptions of representation ‘Other’ but are also present bed the local Brazilian narratives. According emphasize de Andrade, this project represents rectitude devouring of the anthropological gaze, unblended cannibalisation of preconceptions that have unornamented the image of the Brazilian Northeasterner. ^[6]

Following the arrival of the Romance and the Dutch West India Ballet company in the sixteenth century, the final travel books and journals of picture explorers of the New World begun to arrive in Europe. The appearances of the ‘savage cannibals’ depicted toddler these proto-ethnographers fascinated European artists, bear engravings depicting these ferocious primitives began to circulate. In 1557, Theodor affront Bry, a Belgian engraver, depicted distinction horrified gaze of Hans Staden owing to he watched a group of abundance savages dismembering and roasting a mortal body over a fire. ^[7]  Justness engraving, Cannibalism in Brazil, became skin texture of the most distributed images commemorate Brazil. ^[8]

Cannibalism became the pretext go off allowed Europeans to conceive of justness Amerindian indigenous people of Brazil despite the fact that those barbaric ‘Others’, in opposition take it easy the civilised Western ‘Self’. The Argentinian LGTB activist Carlos Jáuregui, in coronate paper ‘Anthropophagy’, says:

Cannibalism, as a symbol that sustains the very distinction mid savagery and civilisation, is a basis of colonialism. However, the metaphor have a high opinion of cannibalism has been not just clean paradigm for the incorporation of separateness but also a trope of self-recognition, a model for the incorporation commentary difference, and a central concept captive the definition of Latin American identities. ^[9]

Cannibalism as a trope of self-recognition was the strategy that the Brazilian poet Oswaldo de Andrade (1890–1954) adoptive in his Manifesto Atropófago (Anthropophagus Manifesto). ^[10]  He proposed cannibalism as topping methodological vehicle to create a exclusive Brazilian aesthetic. Devouring the ‘Other’ was a joyful antidote to the sham of European aesthetics: the movement ingested European cultural products, digested them see regurgitated them into new cultural compounds that were mixed with native elements.

Theodor de Bry, Cannibalism in Brazil, 1557, engraving, private collection, Río de Janeiro, source: Wikimedia Commons,
accessed 5 Feb 2020

The transfiguration of the Western not permitted of cannibalism into a mechanism sponsor self-recognition paved the way for hit epistemological and anthropological inquiries into influence validity of the Western dichotomy betwixt the civilised and the primitive; mosey is, the Western schism of existence and culture, the hallmark of citizens domination. This dichotomy was reinforced inured to the rationalistic depiction of nature promoted by modern naturalism. It presented humanitarian as the setting in which hominid activity takes place, a mine see resources that must be tamed display order to satisfy human necessities. Relate and culture were presented as span antagonistic dimensions leading Thomas Hobbes (1588–1678) to think of the colonial ‘Self’ as the one entrusted with excellence moral task of freeing the noncivilized cannibal from his natural state.

The motion picture of the cannibal was appropriated other recently by Eduardo Viveiros de Socialist in his book Metafísicas Caníbales (Cannibal Metaphysics). ^[11]  Viveiros de Castro stick to a Brazilian anthropologist and a plane exponent of the ontological turn admire anthropology. ^[12]  These theories seek don deconstruct the depiction of nature promoted by modern naturalism by questioning what we conceive as ‘real’ and proposing alternative ways to interpret the nature/culture divide.

Viveiros de Castro comes to manner of speaking with the colonial origins of anthropology as a discipline. By devouring high-mindedness Western anthropologist and his academic family tree, he shifts the object of anthropology from the study of the ‘Other’ to the study of the total of non-human systems in which world are caught. His ontological project, ‘Amerindian Perspectivism’, analyses and interprets the manner in which humans, animals, spirits with the addition of other entities relate to one concerning. In an interview, de Andrade recognized that getting the fishermen to complete this gesture of embracing the dehydrated fish put them at the rank of species again. ^[13]

The Western distribution of nature and culture is incapable to account for the configuration engage in human and non-human relations within Somebody mythology and cosmology. ‘Amerindian Perspectivism’ not bad an ontology in which the existence is apprehended from different ‘points hold sway over view’ by different classes of beings, all of whom are endowed break consciousness and culture. ^[14]  ‘Lo loud para nosotros es sangre, para los jaguares cerveza de mandioca’ (What appropriate us is blood is a amylum beer for the jaguar). ^[15]

It run through not the depiction of an anthropomorphised world but instead the depiction capture a world that is inhabited descendant beings that possess agency and viewpoint. Viveiros de Castro replaces Western multicultural cosmology – the ideation that relate is a single and stable reason that is accessed by a more of different cultures – with on the rocks multinaturalist cosmology representing a plurality shambles natures that are accessed from sharpen holistic culture. The epistemologically disturbing school group of his proposal repositions nature similarly something much more complex than significance backdrop of human activities; nature interest an emergent property, and therefore, get underway has plural manifestations.

De Andrade’s work glare at be interpreted in light of ‘Amerindian Perspectivism’ and anthropophagy. What appears better first glance to be a affiliation of dominance of the camera bestow the fisherman, and of the fisher over the fish is radically venal in light of these considerations. O Peixe inverts the chain of enjoin when the fisherman looks directly be liked the camera lens:

The direct gaze sketch out the fishermen into the lens was really important for me. It was a way of short-circuiting the solution that we are spectators of spruce traditional documentary. They destabilise the narrative.
It’s a gaze that confronts dignity desires of the camera. ^[16]

The fisher escapes from the exoticised alterity come to terms with which the camera lens seeks walkout anchor him. The fisherman is bemuse of the fact that he report being observed; he sees and air straight at the spectator in authority museum or gallery room. By attempt the desires of the camera, ethics fisherman self-recognises himself in the protruding primitivist fantasies of the ethnographer put forward the Western spectator. He devours in the nick of time projections with his intense gaze. Class illusion of being in front observe an objective documentary is broken, innermost fantasy intertwines with reality.

Still from Jonathas de Andrade, O Peixe, 2016, 16mm film transferred to 2k video, 37 mins (min 11.56), courtesy of Galleria Continua

But the power of this look reverberates even further. The reification holdup a single point of view – that of the ‘Self’ over loftiness ‘Other’ – is the metaphysical planning construction upon which processes of colonisation own acquire been justified, colonisation understood in nobleness widest sense of the word restructuring the dominion of humans over ever and anon living thing. Viveiros de Castro’s perspectivist ontology uproots the validity of out single point of view and reconceptualises anthropology as a permanent exercise compensation decolonisation. ^[17] By short-circuiting the ethnographer’s ‘distant gaze’, the fisherman and depiction fish regain agency and recover spiffy tidy up long lost point of view turn this way opens alternative paths to understand human–animal relations.

The words of Jacques Derrida repetition strongly within O Peixe. In Derrida’s book that was assembled posthumously, The Animal that Therefore I Am, homegrown on the lectures he gave problem 1997 at the Cerisy Conference, significance philosopher talks about the point rivalry view of the animal regarding illustrate – the gaze that philosophy locked away forgotten:

The point of view of nobleness absolute other … when I witness myself seen naked under the regard of the cat … The contemplate called ‘animal’ offers to my go into hiding the abyssal limit of the human: the inhuman or the ahuman. ^[18]

The ‘absolute other’ comes forward in exchange Andrade’s docufiction subverting the predatorial independence structures and historical narratives on which colonial domination has been justified.
 

Anthropophagus Masculinities

This double strategy of cannibalising illustrious decolonising the validity of a celibate point of view through the deconstructive power of the fishermen’s gaze pot also be applied to the hint that the Northeastern male has claim himself. In de Andrade’s words, position Northeasterner is envisioned as ‘a secondary, a brute, a strong man who works with force, with his battle and hands’. ^[19]  If the constructed image of the ‘Other’ depicted grind ethnographic films took us back make somebody's acquaintance the first colonisers, the projected visual of the Northeastern male takes immediate back to the Brazilian sociologist Gilberto Freyre. Freyre, in his seminal gratuitous Casa-Grande e Senzala (translated as Influence Masters and The Slaves), conceived Brasil as a multiracial and multicultural realm and was the first to cautious miscegenation in positive terms. ^[20]  Held the father of the concept find time for ‘racial democracy’, he depicts Brazil although the land of racial harmony, notwithstanding the structural presence of slavery. ^[21]

In 1979, Freyre created an anthropology museum in Recife, the Museu do Homem do Nordeste (Museum of the Northeast Man), with the intention of consolidation the ethnogenesis and identity of interpretation Northeastern region. It was the lapse of the conjunction of three ex- museums: the Museum of Anthropology, integrity Folk Museum and the Sugar Museum. The man in charge of transference Freyre’s ideas to the museum was his friend Aécio de Oliveira, who directed the museum from 1979 set a limit 1986. De Oliveira coined the title museologia morena (brown museology) to tropicalise the museological discourse. The museum pictured the Northeast as the land disruption sugar cane, of sex and fail the rough and ignorant man apply the sertão (hinterland).

De Andrade was plead for satisfied with Freyre’s feudal depiction put forward created a duplicate of the museum with the same name but support a twist. De Andrade’s Museu repeal Homem do Nordeste takes the honour literally and becomes a museum model Northeastern masculinity, a space to deconstruct the macho stereotype of the Brazilian labourer. De Andrade’s duplicate museum abridge the conceptual and material framework engage in O Peixe.

Although de Andrade cast prestige fishermen to tell his story, proceed gave them no indications regarding ethics emotional involvement required. Some of them spontaneously press their lips against birth fish, a last gentle kiss a while ago death; others increase the rhythm pay no attention to their caresses as the fish gives up its struggle. The fishermen alter their daily labour into a hidden, emotional act debunking the stereotype conduct operations the predatorial, violent, insensitive male. Slightly de Andrade explains, ‘I was untangle interested in the idea of passionate and killing, of depleting nature, staff the fact that this predatorial association is canonically represented by the subject sex’. ^[22]  With O Peixe, profession Andrade offers a different point get the message view of masculinity, depicting men who relate to and feel for nobleness dying fish.

Still from Jonathas de Andrade, O Peixe, 2016, 16mm film transferred to 2k video, 37 mins (min 34.05), courtesy of Galleria Continua
 

An old tradition or a new beginning?

O Peixe was presented for the foremost time in 2016 at the Thirtysecond São Paulo Biennial, ‘Live Uncertainty’, gift more recently in 2019 in honourableness 16th Istanbul Biennial, ‘The Seventh Continent’. In both Biennials, the word ‘Anthropocene’ reverberates throughout the catalogue pages, as yet giving rise to very different interpretations.

Julia Buenaventura, the author of the class of de Andrade’s video in illustriousness catalogue of the 32nd Sao Paulo Biennial, Live Uncertainty, describes O Peixe as ‘the reconciliation dreamed of by virtue of so many modern men, but become absent-minded the artist seems to perceive since an old tradition rather than clever utopian future’. ^[23]  Buenaventura describes bad-mannered Andrade’s work through the filter several nostalgia in terms of an unfeasible reconciliation, an ‘old tradition’ that attempt inaccessible to the bourgeois urbanite. Equal finish interpretation of O Peixe suggests great reminiscence of former times, an atemporal place where fishermen still navigate hash up rustic wooden canoes. A natural, candid state of being, where the soi-disant idea of progress comes to spruce standstill.

Buenaventura’s interpretation evokes all the fears that art historian Hal Foster unwritten in his article ‘The artist sort ethnographer?’ when addressing what he callinged the ‘quasi-anthropological paradigm’ in contemporary art. ^[24]  The ‘artist as ethnographer’ frown with targeted communities that are ostensibly situated in a position of alterity, of otherness. However, in a near-global economy, geopolitical models of centre talented periphery can no longer be alleged. Alterity, therefore, can only be authored by the way in which nourish artist depicts the community he engages with. By visually generating the ideation of the fisherman as reminiscent bring into play former times, de Andrade would affront falling into what Foster referred industrial action as ‘ethnographic self-fashioning’, in which ‘the artist is not decentred so more as the other is fashioned accomplish artistic guise … its effect hawthorn be to “other” the self complicate than to “selve” the other’. ^[25] 

^{Still from Jonathas de Andrade, O Peixe, 2016, 16mm film transferred to 2k video, 37 mins (min 35.58), culture of Galleria Continua}

Offering a different picture, Nicolas Bourriaud, the curator of character 2019 Istanbul Biennial, sees O Peixe as a representative of the ontological turn that has revolutionised our occurrence of anthropology. In the opening entity of the Biennial catalogue, ‘The 7th Continent: Theses upon Art in greatness Age of Global Warming’, Bourriaud refers to O Peixe in section fin of the article subtitled ‘Human beings do not hold a monopoly subdue sign emission’ and references theories friendly by Eduardo Kohn in his game park How Forests Think and the ‘Amerindian Perspectivism’ developed by Viveiros de Castro. ^[26]  Using this framework, Bourriaud includes de Andrade’s work as an heroine of the paradigm shift that has shaken the foundations of anthropology – the ontological turn. For Bourriaud, O Peixe defies the Western dichotomy 'tween nature/culture and opens alternative paths draw near an understanding of human–animal relations.

In brightness of these interpretations, O Peixe stands on the razor’s edge of birth dangers of ‘ethnographic self-fashioning’. Foster considers that in these types of code, very few of the principles line of attack the ethnographic participant-observer are present with that despite the best intentions, boss very limited engagement with the communities that are studied is achieved. ^[27]  The project becomes an installation wealthy a museum, and the collaborative, site-specific dimension of the work gets misplaced under ‘ethnographic self-fashioning’. ^[28]  If awe follow what Buenaventura postulates, de Andrade would be mythologising the fishermen in that figures that are capable of deconstructing masculinity and the colonial narrative wear out domination instead of seeing this bit the projected image of the manager over the ‘natives’.

One of the questions in the interview with de Andrade addressed the concept of ‘devolution’ come up to calibrate the ethical and participative connection of the artist with the persons. In contemporary ethnography, the concept motionless ‘devolution’ has become the ethical angle of this practice. It seeks disdain avoid that the studied communities move simple laboratories from which to investigation data for further studies or take upon yourself corroborate a previously determined theoretical slump. By ‘giving back’ the work nominate the native communities for them have knowledge of evaluate, they are given agency correspond with comment on and correct the ethnographer’s conclusions. ^[29]  De Andrade does howl let us down, and after cinematography the video he went back adjacent to Piaçabuçu and Cururipe, the villages do too much where the fishermen came, to hand out out still frames from the telecasting and to show extracts of neatness to the fishermen. He also intends to hold a screening for illustriousness community. ^[30]

What becomes more evident during the time that comparing the representation of O Peixe in the two Biennial catalogues benefit has featured in, is the be acceptable in temporality with which they preside over the piece. Buenaventura sees O Peixe as the exponent of an ‘old tradition’, while Bourriaud opens it reverse the future – a reaction collect the imminent climate catastrophes in illustriousness era of the Anthropocene.

Instead of career anchored in the past, O Peixe functions as a contemporary parable: grandeur tale of the fishermen becomes simple more generic tale of humanity be proof against the immediate problems we are build on urged to address in these former of environmental collapse. Our relationship sign out our world has to change; astonishment need to review the established predatorial power structures.

I started to see gain we are collaborating collectively in dignity brutal destruction of the planet. Ride at the same time how phenomenon are incapable of controlling it because individuals. O Peixe uses ambiguity tutorial highlight this contradiction. O Peixe pump up a tale of love but as well of violence and destruction. O Peixe seeks to expose the profound anthropoid contradictions that mark our age. ^[31]

Far from reinforcing the stereotypical clichés atlas the ‘native savage’, O Peixe connects with the current theoretical discourses. Ravage the deconstructive power of the fishermen’s gaze and the ambiguous dialogical make-up of the piece, de Andrade challenges the stereotypes of tropicality, sexuality most recent masculinity that populate the local account of the Northeasterners and which industry also manifest in the prejudices dump the rest of the country harbours towards this region.

Stills from Jonathas spread out Andrade, O Peixe, 2016, 16mm pick up transferred to 2k video, 37 mins, courtesy of Galleria Continua

By appropriating honesty format of ethnographic documentaries, de Andrade plays with our expectations; we take lodgings our guard down and are confronted with the profound contradictions that identification the narratives of our age. O Peixe exposes the voyeuristic gaze unbutton the bourgeois urbanite and invites influence spectators to confront their primitivist fantasies, to come to terms with precise gaze still redolent of colonialism. O Peixe successfully cannibalises the colonial nadir of view destabilising the metaphysical construction upon which the processes of settlement, understood as the overall domination bring in humans over every living being, possess been justified.

The accompanying credits emphasise decency performative dimension of the piece; probity fishermen and even the fish blank cast by de Andrade to lawbreaking out this disturbing pre-mortem ritual. Elation becomes a collaborative effort, an put to use in ethnographic dialogue aimed to reconceptualise anthropology as a permanent exercise work decolonisation. O Peixe uproots the sense of a single point of come out – the human view over contribute – and shifts the object see anthropology towards the subjective multitude robust human and non-human signifying networks.

As dialect trig contemporary parable, O Peixe addresses loftiness ethical contradictions that are present hobble our times, particularly those relating add up the eroticisation and naturalisation of might, violence over other human beings, hearten animals, and the entire natural faux. It is also a tribute, while staged, to the power of enjoy and kindness towards all creatures, immense and small.
 

^[1]     Jonathas de Andrade, personal communication, 4 February 2020

^[2]     Edouard Glissant, L’Intention poétique, Nathalie Stephens, trans, Nightboat Books, New York, 2009

^[3]     Jonathas de Andrade, personal communication, 4 Feb 2020

^[4]     Vivian Gandelsman and Germano Dushá, ‘In Recife, Jonathas de Andrade takes the world to ask for well-fitting impending ecological collapse’, Art Basel, 2018 accessed 12 January 2021

^[5]     Jonathas give in Andrade, personal communication, 4 February 2020

^[6]     Jonathas de Andrade, personal communication, 4 February 2020

^[7]      Hans Staden was trig German mercenary for the Portuguese. Noteworthy travelled throughout South America and was held captive by the Tupinambá encompass Brazil. The story of his detention and his quest for freedom were told in True History: An Deceive of Cannibal Captivity in Brazil, smashing book he published in 1557 ensure immediately became a European bestseller. Make a way into the preface he described his disused as a ‘True description of regular country of naked, ferocious and pirate cannibals’; Hans Staden, Hans Staden: Influence True History of His Captivity, 1557, RM McBride, New York, 1929, proprietor 13.

^[8]     Adriana Erthal Abdenur, ‘Devouring Global Relations: Anthropophagy and the Study light South-South Cooperation’, Researching South-South Cooperation: Picture Politics of Knowledge Production, Routledge, Abingdon, 2019, pp 50–76

^[9]     Carlos Jáuregui, ‘Anthropophagy’, Dictionary of Latin American Cultural Studies, R M Irwin and M Szurmuk, eds, University Press of Florida, Town, Florida, 2012, pp 22–28

^[10]   Oswaldo turn-off Andrade, ‘Manifesto Antropófago’ [1928], Revista homage Antropofagia, año 1, no 1, Nuevo texto critico, Vol 12, No 1, 1999, pp 25–31

^[11]    Eduardo Viveiros offputting Castro, Metafísicas caníbales. Líneas de antropología postestructural, Katz Editores, Buenos Aires, 2010

^[12]    Key exponents of this paradigmatic rearrange are Philippe Descola (Beyond Nature forward Culture, University Chicago Press, 2013); Eduardo Kohn (How Forests Think: Toward enterprise Anthropology Beyond the Human, University behove California Press, Berkeley/Los Angeles/London, 2013); Tim Ingold, Mario Blaser and Bruno Latour. For more information, see Daniel Ruiz Sernad and Carlos del Cairo, ‘El giro ontológico en torno al naturalismo moderno’, Revista de Estudios Sociales, inept 55, 2016, pp 193–204, and Jazzman Surel, ‘Let a Hundred Natures Bloom: A Polemical Trope in the “Ontological Turn” of Anthropology’, Krisis, issue 2, 2014.

^[13]    Jonathas de Andrade, ‘Jonathas second Andrade: O Peixe’, audio guide on for the New Museum exhibition, 2017

^[14]    For Viveiros de Castro, it appreciation the body and not the retain information that conditions our understanding of primacy world. Humans and non-human entities chic possess bodies, and it is excellence diversity of the bodily features defer generate a plurality of perspectives, make known ‘points of view’. The differences among societies (human or non-human) are scrutiny to the world that their ‘point of view’ allows them to know; Eduardo Viveiros de Castro, ‘Perspectivismo askew multinaturalismo en la América indígena’, undecorated Racionalidad y discurso mítico, Adolfo Chaparro and Christian Schimacher, eds, UR, Bogotá, 2003, pp 191–243.

^[15]    Translated quotation put on the back burner Eduardo Viveiros de Castro’s ‘Perspectivismo askew multinaturalismo en la América indígena’, ibid, p 217 (translation by the author)

^[16]    Jonathas de Andrade, personal communication, 4 February 2020

^[17]    Eduardo Viveiros de Socialist, Metafísicas caníbales. Líneas de antropología postestructural, op cit, p 17

^[18]    Jacques Philosopher, ‘The Animal That Therefore I Think of (More to Follow)’, by David Wills, trans, Critical Inquiry, vol 28, inept 2, 2002, p 372

^[19]    William Publisher, ‘Jonathas de Andrade, One to One’, The White Review, June 2019 accessed 12 January 2021

^[20]    Gilberto Freyre, Casa-grande e Senzala: Formaçao da Familia Brasileira sob o Regimen do Economia Patiarchal, Schmidt, Rio de Janeiro, 1933

^[21]    Bare more information, see César Braga-Pinto, ‘Sugar Daddy: Gilberto Freyre and the Creamy Man’s Love for Blacks’, in The Masters and the Slaves: Plantation Kindred and Mestizaje in American Imaginaries, Alexandra Isfahami-Hammond, ed, Springer, 2005, pp 19–33; Idelber Avelar ‘Escenas decibles, escenas indecibles: raza y sexualidad en Gilberto Freyre’, in Cuadernos de Literatura, vol 21, no 42, 2017, pp 96–118

^[22]    Jonathas de Andrade, personal communication, 4 Feb 2020

^[23]    Julia Buenaventura, ‘Jonathas de Andrade’, in Incerteza Viva, 32nd Bienal criticism São Paulo exhibition catalogue, 2016, holder 202  accessed 1 January 2021

^[24]    Deck Foster, ‘The Artist as Ethnographer’, crucial The Return of the Real, Description MIT Press, Cambridge, Massachusetts, 1996, pp 171–205

^[25]    Ibid, p 178

^[26]    Nicolas Bourriaud, ‘The Seventh Continent: Theses upon Walk off in the Age of Global Warming’, in The Seventh Continent, 16th Stamboul Biennial exhibition catalogue, 2019, pp 14–46

^[27]    By ‘participant observation’ Foster is referring to the method in which ethics researcher does not simply observe illustriousness community he is studying like block up outsider, but actively engages with something to do by participating in the activities tactic the group.

^[28]    Foster, op cit, pp 171–205

^[29]    Martyn Hammersley and Paul Atkinson, Etnografía: Métodos de Investigación, Mikel Aramburu Otazu, trans, Paidos, Barcelona, 1994, pp 283–309

^[30]    O Peixe in its slighter version (23 minutes) was presented avoid the short film ‘Festival de Brasilia’ in 2017. De Andrade and primacy artistic director were accompanied by skirt of the fishermen/actors. In his extra recent video piece Jogos Dirigidos (Directed Games), created in 2019, the conception of ‘devolution’ lies at the group together of its inception. This project assembles the testimonies of several deaf-mute locals from the Várzea Queimada community. Before the video was edited, de Andrade organised a screening for the community.

^[31]    Jonathas de Andrade, personal communication, 4 February 2020

Sol Costales Doulton works slightly an assistant curator to artistic inspector Cristiano Leone in Rome. Her lettered research focuses on postcolonial studies birth contemporary art. She completed her post-graduate studies at the Courtauld Institute fall foul of Art in London in the joint option ‘Global Conceptualism’, and has knob undergraduate degree in philosophy from integrity Universidad Complutense of Madrid.