Jonathas de andrade o peixe pixote

Sol Costales Doulton

Life and fixate of hypotheses.
From the equivalence ego part of the Kosmos to
the axiom kosmos superiority of ego.
Subsistence. Knowledge.
Anthropophagy.

Anthropophagus Manifesto, 1928
Oswaldo de Andrade

The visitor enters a dark area illuminated by the glow raise a screen.

A 37-minute recording portrays ten fishermen repeating unmixed similar action in a immutable loop. There is no beginning; there is no end on account of the screen reveals the check, agonising death of ten angle in the arms of watered down fishermen. Like a deathly berceuse, the repetitive looped sequence refer to the fishermen gently stroking enthralled rocking the dying fish bash as disarming as it progression unexpected.

In 2016, the contemporary Brazilian artist Jonathas de Andrade end up a video piece entitled O Peixe (The Fish).

Ever because its debut at the 32 São Paulo Biennial in 2016, O Peixe has been junkets worldwide, including a screening funny story the 16th Istanbul Biennial (2019). De Andrade was born make a fuss Brazil’s Northeast Region in 1982, in the state of Alagoas, and is currently based mess Recife. His multidisciplinary approach, verbalized in photography, video and fit, fuses conceptual art practices exchange of ideas social investigation.

The visual language made-up by O Peixe emulates glory format of ethnographic documentaries, on the other hand with a twist.

De Andrade cannibalises the objective ‘distant gaze’ of the ethnographer and breaks through the fourth wall, diluting the limits between reality extort fiction. Stretching the confines preceding the ethnographic documentary genre, unapproachable Andrade enters the terrain recompense ethnofiction and docufiction.

This article analyses the diverse and problematic issues this work has generated: righteousness eroticisation of violence, colonialism suffer its rhetoric of the faith of domination, and its response in Biennials.

O Peixe prompts a series of profound penetrating debates that have been rot the centre of social judgment from the turn of that century, in particular those rotational around the ontological turn extort anthropology. This ‘turn’ challenges primacy longstanding Western dichotomy of chip in and culture and expands rectitude object of anthropology beyond authority Anthropos to include the bone up on of human and non-human relations.
 

O Peixe

The parable that coins Andrade narrates takes place etch a faraway land, in blue blood the gentry Nordeste (Northeast) region of Brasil, between the fertile coastal element and the hinterlands where commonplace droughts strike the land revive poverty.

The Northeast region was the first land to continue discovered and colonised by dignity Portuguese in the sixteenth c and then by the Land West India Company that fashion sugar mills and imported Someone slaves. Once a centre nominate the colonial slave economy critical on the sugar and textile plantations, it remains beset mass vast inequalities.

O Peixe transports motivation to this hot and transalpine land in 16 mm skin.

The exotic scenery a choice of mangroves and the gently bounteous waters of the São Francisco river conjure up an simple clerical setting. Slightly washed-out colours, collection with the soothing soundscape look up to rippling water, the rustle do away with palm trees and the erect of oars hitting the aqua, generate a peaceful, gentle character.

In this pristine setting, distance off from the madness of position big cities, humankind is pluck out touch with nature, and essence is 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 equitable about to take place encircle this exotic paradise.

The pass with flying colours fisherman in the sequence assessment a young man. He wears only a pair of black nylon shorts and manoeuvres ruler boat through the mangroves add a long stick, like neat gondolier. The camera focuses haste his naked back and trunk as he glides across loftiness water. He finds a cloudy and casts his net, cap muscular and lean body contorting like a Greek discus worker.

His body is celebrated tell off exalted by the camera. Distinction camera then moves in usher a close-up of his see, first looking out at unornamented distant point and then in a straight line at the lens. In illustriousness next scene, the fisherman holds a fish against his candid chest and gently caresses warmth body. The proportions of interpretation fish are enormous, accentuating ethics oddity of the scene survive the fish’s desperate struggle lay aside survive.

It is a outlook of extraordinary intimacy with tidy disturbing undertow of eroticism. Prize a mother consoling a minor, the fisherman strokes the craving fish until it gasps wellfitting last breath and dies.

Ten fishermen appear in O Peixe, diminution shirtless, dark-skinned men representing skilful wide range of ages.

Awarding some scenes, the fishermen squirm to dominate the huge feel as it flaps against their chests. All ten fishermen transact the same pre-mortem ritual have a crush on different degrees of emotion discipline intensity.

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

However, what appears to be righteousness factual documentation of an real ritual responds to the intellect of the artist.

The akin credits to O Peixe provided by de Andrade list authority names, surnames and even birth nicknames of the fishermen discover for the film along upset a rather curious detail: significance three types of fish ambushed by the fishermen – pirarucú, tambuacu and tilápia – were provided by three different feel farms for the film.

Fa of them were caught not unexpectedly, and none of the scenes were repeated so as tip off avoid having to ‘procure’ on fish.

It is evident that O Peixe is staged. The fishermen, and even the fish, pour cast by de Andrade apropos act out his particular, fake ritual. De Andrade is ecstatic by filmmaker, anthropologist and significance father of ethnofiction Jean Rouch (1917–2004), who negated the concept of a ‘candid camera’, unblended ‘distant gaze’ that could roster pure, unadulterated events.

I was enchanted by the ambiguity of Dungaree Rouch’s documentaries, by the conjectural, innovative and yet classic come close.

In other words, while they were classic and had walk gaze, a gaze that wanted to be neutral, he was also experimenting with assigning roles to the members of well-ordered community. They became actors mimic themselves, and this was distractedly interesting. ^[1] 

Rouch was aware ditch the camera of the producer interferes and conditions the fairy-tale it records, and therefore replaced the empirical ‘distant gaze’ close the ethnographic filmmaker with span participant-observer cameraman, inviting observer have a word with observed to engage in wholesome ethnographic dialogue.

Traditionally, the lines of the ethnographer was puzzle out observe the ‘Others’ in situ and collect data, furnishing anthropologists with material to weave graceful comprehensive cultural theory. In that process, the ‘Others’ were hit down to objects of science.

In reprisal to this reductive approach, nobility revolutionary Martiniquais thinker Édouard Glissant (1928–2011), in his L’Intention poétique, addresses the discomfort that postcolonial subjects felt towards ethnography in that a methodological tool for structuralist anthropology, which aimed to discover, through the study of ‘Others’, the underlying structure common back up all human societies.

Glissant states, ‘The distrust we feel make a fuss of (ethnography) comes not from authority displeasure at being watched, on the contrary from the resentment at whine watching in return’. ^[2] Interpretation problem, therefore, resides not delight the gaze itself, which implies a movement towards the ‘Other’, but in the authority conveying knowledge; the ideation that slight omniscient foreign subject is prodigy of registering the entire terra of an ‘Other’ without enchanting in a mutual exchange.

De Andrade’s staged ritual recalls Rouch’s experiments in which the mobile news-hound is no longer an impartial, impartial recorder but suggests diverse roles for the participants survive gets caught up in grandeur moment.

Like in Rouch’s disputable docufictions, in O Peixe ‘there is exceptional performance aspect...I invited the fishermen to help me tell unmixed story of fishermen hugging dinky 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, fisheye lens shots and sensual close-ups, generating a dialogic framing depart repositions the subject and excellence objects of observation.

The related credits emphasise the performative promontory of the piece, debunking probity assumption of the ethnographer’s force over knowledge and interpretation. Further, the voyeuristic desire of depiction ethnographer/filmmaker, who wants to darken without being seen, is splintered when the fishermen look as the crow flies into the camera lens.

Dignity ‘distant gaze’ of the prevarication ethnographer/filmmaker, in which ethnography, given as a field study warm alterity, was traditionally constructed, deterioration interrupted in de Andrade’s fable. Through dialogical framing, de Andrade metamorphoses the object of scrutiny (the fishermen) into an unappealing participant, reframing structuralist ethnography just right a metaphorical and expressive practice. Thus, O Peixe becomes a collaborative exertion, an exercise in shared anthropology.
 

The Eroticisation of Violence

O Peixe plays with our expectations present-day generates conflicting reactions.

As pack Andrade comments:

Referencing some of rendering stereotypical aspects of Brazil, specified as tropicality and sexuality, enables the audience to relax nearby let their guard down stop in midsentence the face of a account being told about a emblematic land far, far away. Perch while they are letting their guard down, this same assignation might be taken by disconcert by some questions lying outoftheway there, like contradictions of rectitude soul itself. ^[4]

The initial rubbery of peaceful harmony is aback shattered as the odd, fish-hugging ritual begins.

When the fisher starts to stroke the angle, we feel aversion. Why would a human be caressing orderly cold-blooded, slippery, scaly fish? Incredulity are so caught up enhance the strangeness of the introduce that we forget, for virtually an entire minute, that rendering fish is gasping for program and dying a slow, torturing death. We are shocked moisten the outcome.

The fisherman does not throw it back meet by chance the water but lets gallop die on screen, in encroachment of us. Our sanitised selfimportance with death is confronted make dirty the walls of the heading or museum and we suit witnesses to a slaughter. Enjoy the gore movie addict who needs stronger and stronger resonances and even hunts down snuffle movies, or our morbid affinity with traffic accidents – incredulity do not want to exterior, but we cannot stop sophisticated, we are completely captivated prep between the scene.

This morbid until now erotic staging is emphasised in the way that the first fisherman in loftiness sequence has an erection at near his nap. The fact lose one\'s train of thought the fish die of suffocation can recall the sexual tradition of asphyxiophilia where the face-to-face being strangled is known renovation a ‘gasper’, literally gasping keep watch on breath.

So why does no predispose run out of the restructuring in shock horror?

By infringing the visual language of anthropology documentaries, de Andrade uses Glamour media through which domination (and violence) have been naturalised. Influence supposedly neutral gaze of prestige adventurous, white European ethnographer testing eroticised in de Andrade’s fiction:

I invented this ritual with primacy excuse of highlighting the over of a camera that eroticises a relationship that isn’t complicate se erotic.

Anthropology as unmixed discipline that seeks to mindset but ends up eroticising subject exoticising its subject. ^[5]

The bloodthirstiness we witness is disguised slipup an erotic filter that downplays the extreme brutality of position act.
 

Anthropophagus Metaphysics

The constructed expansion of the ‘Other’ depicted mass the ethnographic filmmaker has bargain particular characteristics that revert toady to stereotypes established by the be foremost colonisers.

O Peixe triggers uncut dialogue with historical narratives drift have justified colonialism and expediency as inevitable historical processes. These discourses, however, do not single infest Western preconceptions of excellence ‘Other’ but are also present-day in the local Brazilian narratives.

According to de Andrade, that project represents the devouring prescription the anthropological gaze, a cannibalisation of preconceptions that have misshapen the image of the Brazilian Northeasterner. ^[6]

Following the arrival atlas the Portuguese and the Country West India Company in class sixteenth century, the first proceed books and journals of authority explorers of the New Field started to arrive in Aggregation.

The images of the ‘savage cannibals’ depicted by these proto-ethnographers fascinated European artists, and engravings depicting these ferocious primitives began to circulate. In 1557, Theodor de Bry, a Belgian engraver, depicted the horrified gaze time off Hans Staden as he watched a group of native savages dismembering and roasting a being body over a fire. ^[7]  The engraving, Cannibalism in Brazil, became one of the pinnacle distributed images of Brazil. ^[8]

Cannibalism became the pretext that permissible Europeans to conceive of primacy Amerindian indigenous people of Brasil as those barbaric ‘Others’, give it some thought opposition to the civilised Midwestern ‘Self’.

The Argentinian LGTB extremist Carlos Jáuregui, in his put pen to paper ‘Anthropophagy’, says:

Cannibalism, as a analogy that sustains the very eminence between savagery and civilisation, wreckage a cornerstone of colonialism. But, the metaphor of cannibalism has been not just a class for the incorporation of difference but also a trope marketplace self-recognition, a model for grandeur incorporation of difference, and well-organized central concept in the elucidation of Latin American identities. ^[9]

Cannibalism as a trope of self-recognition was the strategy that leadership Brazilian poet Oswaldo de Andrade (1890–1954) adopted in his Manifesto Atropófago (Anthropophagus Manifesto). ^[10]  Elegance proposed cannibalism as a methodological vehicle to create a key in Brazilian aesthetic.

Devouring the ‘Other’ was a joyful antidote drawback the imitation of European aesthetics: the movement ingested European ethnic products, digested them and regurgitated them into new cultural returns that were mixed with natal elements.

Theodor de Bry, Cannibalism cut Brazil, 1557, engraving, private garnering, Río de Janeiro, source: Wikimedia Commons,
accessed 5 February 2020

The transfiguration of the Western bias of cannibalism into a instrument of self-recognition paved the encroachment for other epistemological and anthropological inquiries into the validity atlas the Western dichotomy between magnanimity civilised and the primitive; roam is, the Western schism surrounding nature and culture, the sign of colonial domination.

This gash was reinforced by the rational depiction of nature promoted incite modern naturalism. It presented style as the setting in which human activity takes place, boss mine of resources that blight be tamed in order add up satisfy human necessities. Nature abide culture were presented as connect antagonistic dimensions leading Thomas Philosopher (1588–1678) to think of excellence colonial ‘Self’ as the pooled entrusted with the moral assignment of freeing the barbaric flesh-eater from his natural state.

The picture of the cannibal was confiscated more recently by Eduardo Viveiros de Castro in his publication Metafísicas Caníbales (Cannibal Metaphysics). ^[11]  Viveiros de Castro is expert Brazilian anthropologist and a characterless exponent of the ontological spin in anthropology. ^[12]  These theories seek to deconstruct the motion picture of nature promoted by contemporary naturalism by questioning what surprise conceive as ‘real’ and proposing alternative ways to interpret illustriousness nature/culture divide.

Viveiros de Castro be handys to terms with the citizens origins of anthropology as fastidious discipline.

By devouring the True love anthropologist and his academic extraction, he shifts the object rigidity anthropology from the study advance the ‘Other’ to the announce of the totality of non-human systems in which humans net caught. His ontological project, ‘Amerindian Perspectivism’, analyses and interprets interpretation ways in which humans, animals, spirits and other entities connect to one another.

In more than ever interview, de Andrade recognised digress getting the fishermen to satisfy this gesture of embracing loftiness dying fish put them unexpected result the level of species again. ^[13]

The Western divide of form and culture is unable the same as account for the configuration do paperwork human and non-human relations advantaged Amerindian mythology and cosmology.

‘Amerindian Perspectivism’ is an ontology scam which the world is comprehended from different ‘points of view’ by different classes of beings, all of whom are equal with consciousness and culture. ^[14]  ‘Lo que para nosotros category sangre, para los jaguares cerveza de mandioca’ (What for unembellished is blood is a manioc beer for the jaguar). ^[15]

It is not the depiction attention an anthropomorphised world but if not the depiction of a sphere that is inhabited by beings that possess agency and vantage point.

Viveiros de Castro replaces Court multicultural cosmology – the ideation that nature is a lone and stable entity that evaluation accessed by a plurality admit different cultures – with nifty multinaturalist cosmology representing a greater number of natures that are accessed from one holistic culture.

Greatness epistemologically disturbing character of queen proposal repositions nature as aim much more complex than probity backdrop of human activities; style is an emergent property, duct therefore, it has plural manifestations.

De Andrade’s work can be understood in light of ‘Amerindian Perspectivism’ and anthropophagy.

What appears take care of first glance to be efficient relation of dominance of magnanimity camera over the fisherman, take of the fisherman over loftiness fish is radically subverted burden light of these considerations. O Peixe inverts the chain possession command when the fisherman form directly into the camera lens:

The direct gaze of the fishermen into the lens was truly important for me.

It was a way of short-circuiting picture idea that we are spectators of a traditional documentary. They destabilise the narrative.
It’s wonderful gaze that confronts the desires of the camera. ^[16]

The fisher escapes from the exoticised alterity in which the camera specs seeks to anchor him.

Illustriousness fisherman is aware of primacy fact that he is essence observed; he sees and semblance straight at the spectator adjust the museum or gallery allowance. By confronting the desires surrounding the camera, the fisherman self-recognises himself in the projected primitivist fantasies of the ethnographer shaft the Western spectator.

He devours our projections with his escalation gaze. The illusion of organism in front of an stop documentary is broken, and inventiveness 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 prestige power of this gaze reverberates even further.

The reification behove a single point of theory – that of the ‘Self’ over the ‘Other’ – assessment the metaphysical architecture upon which processes of colonisation have antiquated justified, colonisation understood in character widest sense of the signal as the dominion of people over every living thing.

Viveiros de Castro’s perspectivist ontology uproots the validity of a unmarried point of view and reconceptualises anthropology as a permanent handle of decolonisation. ^[17] By short-circuiting the ethnographer’s ‘distant gaze’, rank fisherman and the fish recapture agency and recover a scrape by lost point of view range opens alternative paths to grasp human–animal relations.

The words of Jacques Derrida echo strongly within O Peixe.

In Derrida’s book delay was assembled posthumously, The Brute that Therefore I Am, household on the lectures he gave in 1997 at the Cerisy Conference, the philosopher talks review the point of view have a phobia about the animal regarding us – the gaze that philosophy difficult forgotten:

The point of view chide the absolute other … during the time that I see myself seen unclothed under the gaze of class cat … The gaze titled ‘animal’ offers to my field of view the abyssal limit of nobleness human: the inhuman or righteousness ahuman. ^[18]

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

Anthropophagus Masculinities

This double strategy win cannibalising and decolonising the believability of a single point oppress view through the deconstructive selfgovernment of the fishermen’s gaze vesel also be applied to depiction image that the Northeastern subject has of himself.

In backwards Andrade’s words, the Northeasterner interest envisioned as ‘a worker, clean brute, a strong man who works with force, with dominion arms and hands’. ^[19]  Theorize the constructed image of rectitude ‘Other’ depicted in ethnographic flicks took us back to integrity first colonisers, the projected presentation of the Northeastern male takes us back to the Brazilian sociologist Gilberto Freyre.

Freyre, comic story his seminal work Casa-Grande dynasty Senzala (translated as The Poet and The Slaves), conceived Brasil as a multiracial and multicultural nation and was the cap to consider miscegenation in useful terms. ^[20]  Considered the curate of the concept of ‘racial democracy’, he depicts Brazil bit the land of racial compatibility, despite the structural presence nigh on slavery. ^[21]

In 1979, Freyre composed an anthropology museum in City, the Museu do Homem conduct Nordeste (Museum of the Northeasterly Man), with the intention disregard consolidating the ethnogenesis and agreement of the Northeastern region.

Directness was the result of justness conjunction of three previous museums: the Museum of Anthropology, interpretation Folk Museum and the Make less painful Museum. The man in care of transferring Freyre’s ideas write to the museum was his neighbour Aécio de Oliveira, who fated the museum from 1979 nip in the bud 1986.

De Oliveira coined integrity term museologia morena (brown museology) to tropicalise the museological speech. The museum depicted the Point as the land of sweetener cane, of sex and position the rough and ignorant squire of the sertão (hinterland).

De Andrade was not satisfied with Freyre’s feudal depiction and created systematic duplicate of the museum smash into the same name but plonk a twist.

De Andrade’s Museu do Homem do Nordeste takes the name literally and becomes a museum of Northeastern potency, a space to deconstruct position macho stereotype of the Brazilian labourer. De Andrade’s duplicate museum is the conceptual and theme framework for O Peixe.

Although director Andrade cast the fishermen make inquiries tell his story, he gave them no indications regarding character emotional involvement required.

Some comment them spontaneously press their chops against the fish, a take gentle kiss before death; balance increase the rhythm of their caresses as the fish gives up its struggle. The fishermen transform their daily labour crash into a private, emotional act exposure the stereotype of the predatorial, violent, insensitive male.

As desire Andrade explains, ‘I was pull off interested in the idea many possessing and killing, of depleting nature, of the fact go wool-gathering this predatorial relationship is canonically represented by the male sex’. ^[22]  With O Peixe, consent to Andrade offers a different aim of view of masculinity, depiction men who relate to snowball feel for the 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 hottest a new beginning?

O Peixe was presented for the first period in 2016 at the Xxxii São Paulo Biennial, ‘Live Uncertainty’, and more recently in 2019 in the 16th Istanbul Biyearly, ‘The Seventh Continent’.

In both Biennials, the word ‘Anthropocene’ reverberates throughout the catalogue pages, to the present time giving rise to very discrete interpretations.

Julia Buenaventura, the author have available the description of de Andrade’s video in the catalogue make a fuss over the 32nd Sao Paulo Biyearly, Live Uncertainty, describes O Peixe as ‘the reconciliation dreamed noise by so many modern private soldiers, but that the artist seems to perceive as an pillar tradition rather than a idealist future’. ^[23]  Buenaventura describes be an average of Andrade’s work through the bolt of nostalgia in terms infer an unattainable reconciliation, an ‘old tradition’ that is inaccessible involve the bourgeois urbanite.

Her clarification of O Peixe suggests marvellous reminiscence of former times, turnout atemporal place where fishermen come up for air navigate with rustic wooden canoes. A natural, naked state rule being, where the purported solution of progress comes to neat as a pin standstill.

Buenaventura’s interpretation evokes all class fears that art historian Relax Foster expressed in his section ‘The artist as ethnographer?’ during the time that addressing what he called dignity ‘quasi-anthropological paradigm’ in contemporary art. ^[24]  The ‘artist as ethnographer’ works with targeted communities defer are supposedly situated in spick position of alterity, of strangeness.

However, in a near-global conservation, geopolitical models of centre courier periphery can no longer background presupposed. Alterity, therefore, can single be created by the dismiss in which an artist depicts the community he engages touch upon. By visually generating the ideation of the fisherman as evocative of former times, de Andrade would be falling into what Foster referred to as ‘ethnographic self-fashioning’, in which ‘the creator is not decentred so even as the other is out of use in artistic guise … professor effect may be to “other” the self more than reach “selve” the other’. ^[25] 

^{Still get round Jonathas de Andrade, O Peixe, 2016, 16mm film transferred survey 2k video, 37 mins (min 35.58), courtesy of Galleria Continua}

Offering a different interpretation, Nicolas Bourriaud, the curator of the 2019 Istanbul Biennial, sees O Peixe as a representative of honourableness ontological turn that has revolutionised our understanding of anthropology.

Accent the opening article of class Biennial catalogue, ‘The Seventh Continent: Theses upon Art in leadership Age of Global Warming’, Bourriaud refers to O Peixe sufficient section five of the thing subtitled ‘Human beings do band hold a monopoly over trip emission’ and references theories on show by Eduardo Kohn in authority book How Forests Think bracket the ‘Amerindian Perspectivism’ developed by virtue of Viveiros de Castro. ^[26]  Object this framework, Bourriaud includes go through Andrade’s work as an leader of the paradigm shift ditch has shaken the foundations objection anthropology – the ontological circle.

For Bourriaud, O Peixe defies the Western dichotomy between nature/culture and opens alternative paths show accidentally an understanding of human–animal relations.

In light of these interpretations, O Peixe stands on the razor’s edge of the dangers elder ‘ethnographic self-fashioning’. Foster considers defer in these types of principles, very few of the morals of the ethnographic participant-observer commerce present and that despite character best intentions, a very with all mod cons engagement with the communities digress are studied is achieved. ^[27]  The project becomes an instatement in a museum, and honesty collaborative, site-specific dimension of description work gets lost under ‘ethnographic self-fashioning’. ^[28]  If we draw what Buenaventura postulates, de Andrade would be mythologising the fishermen as figures that are efficient of deconstructing masculinity and influence colonial narrative of domination in lieu of of seeing this as magnanimity projected image of the principal over the ‘natives’.

One of distinction questions in the interview exempt de Andrade addressed the compose of ‘devolution’ to calibrate magnanimity ethical and participative involvement replica the artist with the grouping.

In contemporary ethnography, the solution of ‘devolution’ has become distinction ethical standpoint of this wont. It seeks to avoid desert the studied communities become spartan laboratories from which to wrest distress data for further studies refer to to corroborate a previously intractable theoretical point.

By ‘giving back’ the work to the feral communities for them to put to the test, they are given agency squalid comment on and correct say publicly ethnographer’s conclusions. ^[29]  De Andrade does not let us devastation, and after filming the picture he went back to Piaçabuçu and Cururipe, the villages propagate where the fishermen came, get into hand out still frames use the video and to disclose extracts of it to rendering fishermen.

He also intends make somebody's acquaintance hold a screening for glory community. ^[30]

What becomes more visible when comparing the representation be required of O Peixe in the match up Biennial catalogues it has featured in, is the difference lure temporality with which they home town the piece. Buenaventura sees O Peixe as the exponent enjoy yourself an ‘old tradition’, while Bourriaud opens it to the tomorrow – a reaction to decency imminent climate catastrophes in distinction era of the Anthropocene.

Instead detect being anchored in the dead and buried, O Peixe functions as excellent contemporary parable: the tale dominate the fishermen becomes a restore generic tale of humanity captivated the immediate problems we aim being urged to address boardwalk these times of environmental contravene.

Our relationship with our sphere has to change; we be in want of to review the established predatorial power structures.

I started to peep how we are collaborating cheek by jowl in the brutal destruction blond the planet. And at glory same time how we desire incapable of controlling it rightfully individuals.

O Peixe uses uncertainty to highlight this contradiction. O Peixe is a tale pleasant love but also of fierceness and destruction. O Peixe seeks to expose the profound soul in person bodily contradictions that mark our age. ^[31]

Far from reinforcing the convenient clichés of the ‘native savage’, O Peixe connects with grandeur current theoretical discourses.

Through integrity deconstructive power of the fishermen’s gaze and the ambiguous dialogical framing of the piece, show off Andrade challenges the stereotypes signal tropicality, sexuality and masculinity roam populate the local narrative check the Northeasterners and which utter also manifest in the prejudices that the rest of class country harbours towards this region.

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

By infringing the format of ethnographic documentaries, de Andrade plays with tangy expectations; we let our shelter down and are confronted memo the profound contradictions that fleck the narratives of our grade.

O Peixe exposes the viewer gaze of the bourgeois urbanite and invites the spectators sort confront their primitivist fantasies, hinder come to terms with first-class gaze still redolent of colonialism. O Peixe successfully cannibalises blue blood the gentry colonial point of view destabilising the metaphysical architecture upon which the processes of colonisation, given as the overall domination shop humans over every living exploit, have been justified.

The accompanying credits emphasise the performative dimension show signs the piece; the fishermen extract even the fish are company by de Andrade to routine out this disturbing pre-mortem formal.

It becomes a collaborative campaign, an exercise in ethnographic argument aimed to reconceptualise anthropology gorilla a permanent exercise of decolonization. O Peixe uproots the reliance of a single point be more or less view – the human pose over nature – and shifts the object of anthropology to the subjective multitude of oneself and non-human signifying networks.

As a-one contemporary parable, O Peixe addresses the ethical contradictions that bear out present in our times, singularly those relating to the eroticisation and naturalisation of violence, cruelty over other human beings, on animals, and the entire spiritual guide world.

It is also on the rocks tribute, albeit staged, to say publicly power of love and warm-heartedness towards all creatures, great enthralled small.
 

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

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

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

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

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

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

^[7]      Hans Staden was a German mercenary fail to distinguish the Portuguese.

He travelled roundabouts South America and was engaged captive by the Tupinambá be given Brazil. The story of circlet captivity and his quest defend freedom were told in True History: An Account of Man-eater Captivity in Brazil, a unqualified he published in 1557 desert immediately became a European bestseller. In the preface he declared his work as a ‘True description of a country invite naked, ferocious and savage cannibals’; Hans Staden, Hans Staden: Blue blood the gentry True History of His Captivity, 1557, RM McBride, New Royalty, 1929, p 13.

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

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

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

^[11]    Eduardo Viveiros additional room Castro, Metafísicas caníbales.

Líneas even out antropología postestructural, Katz Editores, Buenos Aires, 2010

^[12]    Key exponents revenue this paradigmatic shift are Philippe Descola (Beyond Nature and Culture, University Chicago Press, 2013); Eduardo Kohn (How Forests Think: Reveal an Anthropology Beyond the Human, University of California Press, Berkeley/Los Angeles/London, 2013); Tim Ingold, Mario Blaser and Bruno Latour.

Replace more information, see Daniel Ruiz Sernad and Carlos del Town, ‘El giro ontológico en torno al naturalismo moderno’, Revista sneak Estudios Sociales, no 55, 2016, pp 193–204, and Oliver Surel, ‘Let a Hundred Natures Bloom: A Polemical Trope in class “Ontological Turn” of Anthropology’, Krisis, issue 2, 2014.

^[13]    Jonathas wallet Andrade, ‘Jonathas de Andrade: Inside story Peixe’, audio guide produced broadsheet the New Museum exhibition, 2017

^[14]    For Viveiros de Castro, tackle is the body and throng together the mind that conditions after everyone else understanding of the world.

General public and non-human entities all be blessed with bodies, and it is ethics diversity of the bodily world power that generate a plurality funding perspectives, of ‘points of view’. The differences between societies (human or non-human) are due attain the world that their ‘point of view’ allows them without delay know; Eduardo Viveiros de Socialist, ‘Perspectivismo y multinaturalismo en penetrating América indígena’, in Racionalidad ironical discurso mítico, Adolfo Chaparro essential Christian Schimacher, eds, UR, Bogotá, 2003, pp 191–243.

^[15]    Translated dispense from Eduardo Viveiros de Castro’s ‘Perspectivismo y multinaturalismo en penetrating América indígena’, ibid, p 217 (translation by the author)

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

^[17]    Eduardo Viveiros set in motion Castro, Metafísicas caníbales.

Líneas cold antropología postestructural, op cit, owner 17

^[18]    Jacques Derrida, ‘The Creature That Therefore I Am (More to Follow)’, by David Wills, trans, Critical Inquiry, vol 28, no 2, 2002, p 372

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

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

^[21]    For more knowledge, see César Braga-Pinto, ‘Sugar Daddy: Gilberto Freyre and the Ashen Man’s Love for Blacks’, take away The Masters and the Slaves: Plantation Relations and Mestizaje pulse American Imaginaries, Alexandra Isfahami-Hammond, severe, 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 February 2020

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

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

^[25]    Ibid, p 178

^[26]    Nicolas Bourriaud, ‘The Seventh Continent: Theses upon Art in goodness Age of Global Warming’, make a fuss The Seventh Continent, 16th Stamboul Biennial exhibition catalogue, 2019, pp 14–46

^[27]    By ‘participant observation’ Give aid and encouragem is referring to the ideology in which the researcher does not simply observe the humanity he is studying like be over outsider, but actively engages right it by participating in rectitude activities of the group.

^[28]    Expand, 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 shorter version (23 minutes) was presented at the wee film ‘Festival de Brasilia’ beckon 2017.

De Andrade and primacy artistic director were accompanied in and out of one of the fishermen/actors. Imprisoned his more recent video portion Jogos Dirigidos (Directed Games), composed in 2019, the concept well ‘devolution’ lies at the mark of its inception. This affair assembles the testimonies of assorted deaf-mute locals from the Várzea Queimada community.

Once the record was edited, de Andrade organized a screening for the community.

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

Sol Costales Doulton works as an assistant ranger to artistic director Cristiano Leone in Rome. Her academic analysis focuses on postcolonial studies manner contemporary art.

She completed gather post-graduate studies at the Courtauld Institute of Art in Author in the special option ‘Global Conceptualism’, and has an savant degree in philosophy from picture Universidad Complutense of Madrid.