{"id":8222,"date":"2026-11-04T14:52:10","date_gmt":"2026-11-04T14:52:10","guid":{"rendered":"https:\/\/bethmoyses.com.br\/site\/mario-gioia-alem-da-linha-vermelha-2\/"},"modified":"2026-11-07T10:13:26","modified_gmt":"2026-11-07T10:13:26","slug":"mario-gioia-beyond-the-red-line","status":"publish","type":"post","link":"https:\/\/bethmoyses.com.br\/site\/mario-gioia-beyond-the-red-line\/","title":{"rendered":"Mario Gioia – Beyond the red line"},"content":{"rendered":"

[vc_row][vc_column el_class=\u00bbtexto-curatorial\u00bb][vc_column_text css=\u00bb\u00bb]<\/p>\n

Beyond the red line<\/h1>\n

Critical text<\/p>\n

Mario Gioia<\/strong> Maio de 2013<\/p>\n

Index<\/a> \/ Mario Gioia<\/p>\n

Through the wandering of the protagonists in her performances, with torn clothing and hollowed-out symbols, Beth Moys\u00e9s is gradually building a very particular political oeuvre in Brazil, drawing on the stridently charged palette of her paintings and the ironic gaze embodied in her three-dimensional works. Despite being recognised and represented in major collections in Spain, and having been invited to participate in exhibitions and biennials on several continents \u2014 thus helping to compose powerful female landscapes of diversity, from the pale faces of Irish and Spanish women to dark-skinned women from Panama and Brazil, for example \u2014 this S\u00e3o Paulo native seems to find little resonance in her home territory. This neglect is understandable in a country that has coined a term as contradictory as \u201ccordial racism\u201d. \u201cBrazil is refractory to the discussion of differences in the field of art: women, men, Black people, Indigenous people, white people, Japanese people, Jews, Muslims, homosexuals, internal colonialism, cultural plurality, class structure. Rejecting them out of hand is seen as cool. In this respect, the Brazilian art system is not \u2018politically incorrect\u2019, but anti-democratic,\u201d\u00b9 notes Paulo Herkenhoff in relation to the group exhibition Manobras Radicais (2006), which he curated as one of his rare incursions into this discussion of gender in the visual arts in Brazil.<\/p>\n

Moys\u00e9s\u2019 approach moves between almost Baroque excess \u2014 the soundtracks in many of her videos; the use of strident colours, especially red, across different media; and the repeated use, in many forms, of symbols drawn from an overly sweetened vision of reconciliation between men and women, such as the bridal dress \u2014 and a quieter development, evident in the hushed, orderly wanderings of the somewhat phantasmagorical participants in her performances and in the dissolved, incomplete and permeable formalisation of elements from these actions. These include written fragments that fade away after washing, or the clothing worn by the women in Dilu\u00eddas em \u00c1gua [Diluted in Water], for example. In this latter work, presented in Mi Pueblito, Panama, in 2013, one of the most interesting versions of her oeuvre unfolds through a performance centred on a public fountain, originally intended to adorn a folkloric site for tourists in this Central American country.<\/p>\n

Between dissonance and whispering, the specific situation of women who are victims of violence remains a disturbing phenomenon at the national level. Protective legislation has been introduced, such as the Maria da Penha Law (2006), and institutions advocate for women\u2019s rights. There are shelters, women\u2019s houses and other places serving similar purposes, yet many victims still fail to report the violence they experience. \u201cWhat is worse than suffering in silence is going to a police station and hearing the chief officer say: \u2018I\u2019ll apply for a protective order. You can go home now.\u2019 She goes home, and the order is never issued,\u201d\u00b2 says Eleonora Menicucci, head of a federal agency for Women\u2019s Policies.<\/p>\n

Beth Moys\u00e9s recorded this agonising wait in a series of drawings titled Mulheres Divididas [Women Divided] (2004), in which slippers and flat shoes overlap in lines and volumes, as if bringing into focus the zone of discomfort being depicted. She returns to this technique in a series produced for the exhibition Hilo Conductor (2013) in Seville, Spain. In this latest group of works, the artist initially appears more placid, using graphite, with seams, stitches, darns, tears, holes, thimbles, needles and similar images dominating the surface. However, this calm is deceptive. It soon seems that something is about to be hurt and that this apparently stable structure is on the verge of collapsing.<\/p>\n

The video and photographs that make up Coral Celestial (2013) also convey this tense stillness. By collecting statements from priests who regularly hear confidential accounts from women suffering domestic violence, Moys\u00e9s combines images of the victims\u2019 lips, the wooden screen separating priest from penitent in the confessional, and the priest\u2019s off-screen voice, which constantly encourages them to seek official assistance to put an end to their distressing situation. Even if members of the Catholic Church have become more progressive \u2014 one cannot help recalling the Inquisition\u2019s vigorous persecution of women in the Iberian countries \u2014 the persistent sense of discomfort remains as we finish viewing her works.<\/p>\n

\u201cOne must take into account that issues related to the body and female sexuality are still very sensitive subjects in the politics of international relations. Why? Because gender inequality persists. The body and female sexuality are constantly polemicised as the main battlefields for conservatives and progressives worldwide,\u201d\u00b3 argued Canadian-born Fran\u00e7oise Girard, president of the International Women\u2019s Health Coalition.<\/p>\n

If the facts corroborate the unease felt by the most attentive observers \u2014 as does the uninterrupted sound of hospital equipment in the performance Huecos del Alma (2008), perhaps one of her most successful incursions into this language \u2014 it is a pleasure to see a new generation of artists, pursuing very different lines of enquiry, engaging in dialogue with Beth Moys\u00e9s\u2019 work. The battlefield remains open to sensitivity, even if there is still a long way to go before reaching the final outcome \u2014 hopefully a positive one for women.<\/p>\n

Mario Gioia, May 2013<\/p>\n

Mario Gioia holds a bachelor\u2019s degree from the School of Communications and Arts at the University of S\u00e3o Paulo (ECA-USP). In 2013, he coordinated the event Zip\u2019Up for the third time. Organised at Zipper Galeria, it showcases works by emerging artists and new curatorial projects. In 2012, he curated Ela Caminha em Dire\u00e7\u00e3o \u00e0 Fronteira [She Walked Towards the Border], featuring works by Ana Mazzei and marking the first solo exhibition in the Zip\u2019Up series. Other exhibitions held that year included Lugar do Outro [The Other\u2019s Place], by Julia Kater; Transmission, by Geraldo Marcolini; \u00cdntima A\u00e7\u00e3o [Intimate Action], by Carolina Paz; Planisf\u00e9rio [Planisphere], by Marina Camargo; Requadros [Re-frames], by Mariana Tassinari; and the group exhibition Imagem Mi(g)rante [Migrating Image].<\/p>\n

In 2012, he also curated Incerto Limite [Uncertain Limit], by Shirley Paes Leme (Bolsa de Arte, Porto Alegre); Miragem [Mirage], by Romy Pocztaruk; and Distante Presente [Distant Present], by Gordana Manic (both at Galeria \u00cdmpar). In 2011, he launched Zip\u2019Up with the group exhibition Presen\u00e7as [Presences], followed by J\u00e1 Vou [I\u2019m Coming], by Alessandra Duarte; A\u00e9reos [Lofty], by Fabio Flaks; Perto Longe [Close\/Far], by Aline van Langendonck; Paragem [Stopover], by Laura Gorski; Hotel Tropical, by Jo\u00e3o Castilho; and the group exhibition Territ\u00f3rio de Ca\u00e7a [Hunting Ground], all accompanied by his curatorial design.<\/p>\n

In 2010, he curated Incompletudes [Incompleteness] at Galeria Virgilio; Media\u00e7\u00f5es [Mediations] at Galeria Motor; and Espacialidades [Spatialities] at Galeria Central. He also reviewed works produced at Ateli\u00ea Fidalga, presented at Pa\u00e7o das Artes. In 2009, Gioia curated Obra Menor [Minor Work] at Ateli\u00ea 397 and Lugar Sim e N\u00e3o [Yes and No Place] at Galeria Eduardo Fernandes.<\/p>\n

From 2005 to 2009, he worked as a reporter and writer covering arts and architecture for the Ilustrada section of the daily newspaper Folha de S.Paulo. He currently contributes articles to various media outlets, including the magazines Bravo and Bamboo, the UOL internet portal, and the Spanish magazine Dardo and Italian magazine Interni. He co-authored the book Roberto M\u00edcoli (Bei Editora) and is a member of the critics\u2019 group at Pa\u00e7o das Artes, where he provided critical accompaniment for Black Market (2012), by Paulo Almeida, and A Riscar (2011), by Daniela Seixas. Mario Gioia was also a guest critic for the 2012\u20132013 Photography Programme at Centro Cultural S\u00e3o Paulo (CCSP).<\/p>\n

\u00b9 BUARQUE DE HOLLANDA, Heloisa and HERKENHOFF, Paulo (eds.). Manobras Radicais. S\u00e3o Paulo: Centro Cultural Banco do Brasil, 2006, p. 17.<\/p>\n

\u00b2 ARBEX, Thais. \u201cO crime contra a mulher est\u00e1 mais cruel.\u201d O Estado de S.Paulo, Caderno 2, 25 March 2013, p. D2.<\/p>\n

\u00b3 SAYURI, Juliana. \u201cN\u00e3o ande sozinha?\u201d O Estado de S.Paulo, Ali\u00e1s, 10 March 2013, p. J5.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

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