"If you can say it... Why paint it?" A review of the key concepts of Contemporary Art

Green Tilework in Live Flesh 2000

Imagine the great difficulty to find who did that! I vaguely remembered that it was an exhibition about South American artists a while ago Tate Liverpool... That's a good start I must admit. Ok Ok looking for keywords to google now: Wall, Flesh, Blood... hummm Little squares?

After a couple of hours, I finally found it: Adriana Varejão!

Once again, I regret that there were not many information displayed next to the artwork. If it is the first time you come to a gallery and you do not know anything about these things that surround you; there will be no way for you to get the message! Where is the context here?

Brazilian 1964–Folds 2 2003oil on canvas over aluminium, mounted to wood with oil-painted polyurethane240.7 x 230.2 x 40 cm Solomon R. Guggenheim Museum, New York

Once upon a time, in 15OO to be exact, Europeans discover Brazil which will become a Portuguese colony until the 19th century. Racism, Slavery, assimilation, submission, massacres left many different scares in contemporary history and part of the contemporary Brazil economic success is due to this dark aspect of colonialism. Sugarcane massive industry was made profitable by the forced labour of African slaves.

But these are not things that people like to hear, specially if in some ways they feel directly or indirectly responsible.

Adriana Varejão art is made after 1970 but responds to the colonial history of Brazil. The typical ceramic mosaïcs exported to Brazil in provenance of the "old continent" (old as 'wiser'?) are a symbol of the assimilation and aculturation process.

Azulejaria 'De Tapete em Carne Viva'1999

They represent the 'viewable' surface of the Brazilian culture as if there were an official version of the history approved through a hegemonic force. Here is the vision of the colonialist power: a shiny, clean surface, that often recalls industrial aseptic tile walls, easily washable that participe to the fabric of Brazilian's society but hide an ugly truth.

Ruina de Charque - Nova Capela, 2003 Oil on wood and polyurethane

The artist may therefore propose the viewer to cut through the falsehood of history. She may also say that scares may be the only thing left if the industrial world was about to decline. I will leave that to you and encourage you to bring your personal views in a wise comment below.

Because we are not necessarily professional of contemporary art and because we do not know the artist personally in most of the cases, I suggest to all gallery owners to provide to your visitors a set of deep but accessible information! Thanks a lot...