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<nettime> CULTURAL SCAM - E-mail 1 to 2 - Without Enclosures
Fernando Zornitta on Wed, 8 Dec 2004 13:41:50 +0100 (CET)

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<nettime> CULTURAL SCAM - E-mail 1 to 2 - Without Enclosures

  [orig To: "Universes in Universe - Forum" <universes-arts {AT} kbx.de> etc]

absolutearts.com Arts News: November 08: 2004 


Of Before Caves to the Modern Age

By Paulo & Fernando Zornitta

It seems that we are still at the period before caves...  

Yes, because in the caves.... 

Our ancestral ones already respected the manifestation  

And the magic that is contained in the arts. 

Paulo & Fernando Zornitta 


 (This text contains spelling mistakes, to the which we apologized, 
because English is not our official language, but as our intention it is 
so only to publish an aggression to the arts and the humanity for 
consequence, the understanding of the text believed to be possible)

This text has the intention to share with the artistic community of this 
ship called Earth and of extravasating the indignation feeling to the 
aggression promoted by contemporary troglodytes against the arts, 
against the most fundamental and basic human rights, that it's 
reflected against all the humanity.

It is regarding the blockade of the process and of the possibility of 
artistic expression that we suffered - two assumed plastic artists in 
career beginning, Paulo & Fernando Zornitta, facts that happened soon in 
the second and third years of the beginning of the exhibitions of our 
work (in 1996 and in 1997) and, until today, for 7 long years that we 
were without could have our works, of our work tools and like this 
impeded of showing through our sculptures and of exposing them. 

The text was written in the week of opening of the Art exhibition of 
Sao Paulo 2004 (but only now published). On this odd year, in that 
this traditional event of the arts in Brazil opened the doors for all of 
the tendencies and proposals; and us with an odd artistic proposal and 
dismayed by terms been impeded of the continuity of the manifestation of 
our creative process - that could have given us access the participation 
in this Biennial one and of we be taking with the art the message of the 
main theme of our manifestation: THE NATURE IN WAVES OF LIGHT.

This communication comes after the long period of unavailability of our 
works, of the tools and of the own work material, usurped by EMSETUR - 
Empresa Sergipana of Tourism, that invited us to expose in Aracaju in 
1996, in an exhibition that lasted until January of 1997, without until 
today they have been returned the works that were part of a display, 24 
sculptures of great load (totaling more than 20 tons in a composition 
with several materials and bringing new elements for the sculpture, as 
the light, the eletro-electronics, the computer science - among other 
elements); leaving impeded us of other displays and of we run for office 
us the participation of events of the level of the Art exhibition of 
Sao Paulo (that on this year he/she opens up the new ones proposed 
artistic - that is one of the characteristics of our work);

It is for that that we saw turn public this fact, for the indignation 
and for the negligence of this Company of mixed economy Company and of 
their employees that invited us and they washed the hands - without 
until today they have returned our works, we decided to saw public,  to 
expose it happened.

The facts had beginning in July of 1996, when we were exposing to 
invitation of the Cultural Foundation of Fortaleza, 14 sculptures of our 
entitled display the NATURE IN WAVES OF LIGHT, in the external gardens 
of the Cultural Center of the Beach in the traditional space of Estoril 
and in the walks of the Beach of Iracema (that was then the main tourist 
corridor of that capital the time), when we were invited by Clara 
Angelica Porto, that was accompanied by Jurandir Conrado 
(respectively, her Manager of Operations and him, President of EMSETUR - 
Empresa Sergipana of Tourism), for our expormos sculptures in the city 
of Aracaju - invitation formalized by own EMSETUR, of which they were 
entitled and they were representatives.

For us, in the sequence of the fast artistic path - 10 displays in 2 
years and in 4 States of Brazil, beginning to receive recognition prizes 
and, for the great receptivity of the work, our goal (after the 
exhibition of Fortaleza where we found exposing us and when we received 
the invitation of EMSETUR), it was to expose in Miami or Paris and in 
several other cities, starting from the invitations that appeared, but 
we ended in Aracaju, assisting the insistent and intermittent 

However, until today (after the display that happened from December of 
1996 to January of 1997) they were not returned us more than 20 tons of 
sculptures in 24 works of extraordinary plastic beauty (to see in the 
pictures in enclosures), centered in a proposal that besides artistic is 
conceptual intends to throw new experimental hypotheses for the art and 
for a life more "echo-logic" in the century XXI, if translating in a 
proposal that back new paradigms for the sculpture, leaving of an 
ecological theme - the nature and the flora - incorporating new element 
- as the interativity through the eletro-electronics, of the computer 
science and of the light design; of the proposal of the "art-useful" - 
work with utilitarian function - and of the art-multisensorial 
(perception of the work for the widest spectrum of the human senses) - 
innovative in the date of the facts, whose anticipation to the world 
context in this work - mainly the innovation proposals were the key and 
the image for the artistic development and, never have been stanch, for 
causing damages to the community and the humanity, for the lack of the 
understanding that the own art and the artistic proposal back.

We fits to also point out that the innovative proposals integrated in 
that opportunity in the work and the isolated aspects of the artistic 
proposal, that other artists started to incorporate in their works, 
today they are boasted by the international media as innovation - when 9 
years ago already composed our works and our artistic proposal.

Our proposal presented besides to be the icon of EXPO 2000 in Hanover, 
entitled TREE OF the LIFE, it would count with 1500 lamps strobe in the 
periphery of this gigantic tree recomposed with parts of the destruction 
of a tree killed of the Amazonian Forest - with the same resources used 
in this display that we did in Aracaju, entitled the NATURE IN WAVES OF 
LIGHT, today already it sees himself incorporate in several works and of 
other authors, as for instance this resource of hundreds of lamps 
strobe, it was used in the Torre Eiffel - in the first semester of 2003 
and boasted by the international media as great innovation - besides in 
Brazil. Very similar works the one of the authors was exposed in the 
German city of Vostock in June of 2003 and in the subway exits in Paris.

The display that was in Fortaleza and that it was taken to Aracaju did 
part of the project BORDERS LIGHT, created by EMSETUR (until the title 
of the project it was mirrored in the theme of our work), that it 
counted on several partners of this company - among these SEBRAE, Bank 
of Brazil and BB TUR, the Hotel of the Island, the Estaleiro H. Dantas, 
Amorim Transportes (that was the responsible for the transport of the 
works of Fortaleza to Aracaju) - among other, but that didn't have as 
final objective the exhibition, but a great FAIR.

Ten of the 14 sculptures that were in Fortaleza were transported for the 
display in Aracaju, where it was visited for more than 100.000 (this was 
already the tenth exhibition in only 2 years of the beginning of our 
artistic path - from the first display to the public, that it happened 
to invitation of the State Legislature of Rio Grande do Sul in the main 
hall and in the internal gardens of that house).

After insistent attempts during the whole year of 1997 in recovering the 
works, tends the same ones directed reports, made hundreds of phone 
calls, sent faxes to EMSETUR, to the General office of Industry and 
Trade (Ivan Leite then Secretary), to the Governor (then Albano Franco), 
the artists inputted with a judicial citation with the end that it was 
certain the whereabouts of the works, of the tools and of the work 
material, which they were not returned them, were not given us any 
justification, impeding the continuity of other displays and of the 
work, that it is, accordingly for the humanity.

It didn't only go the fact of the usurpation of our work and of the 
impediment of the continuity of the same (until the tools and work 
machines were not returned us). Other fact of frightening was promoted 
in the transport of the sculptures, under responsibility of EMSETUR for 
the exhibition and done by the company AMORIM TRANSPORTES: the works 
were completely destroyed in the transport between Fortaleza and 
Aracaju, being unloaded as if they went scrap (as they show the pictures 
done by us, when we arrived at Aracaju one week after the disembarkation 
of the works, for then to verify and to register the damages already 
caused in the transport).

Even so and as guests, for 15 exhausting days we recovered 8 of the 10 
sculptures that came from Fortaleza (2 were completely destroyed without 
any subsequent compensation - entitled Iracema of the Beach and Olympic 
Movement - this rewarded in Fortaleza in the Contest OLYMPIC ART, 
promoted by the  Ignes Fi=FAza Galery, with medal of the popular jury's 
gold and medal of the official jury's silver) and we did other 14 in the 
Estaleiro H. Dantas, to compose the display that happened at the Square 
of Events of EMSETUR in Aracaju.

The art cannot change the world, but it can change the man, that can 
change the world, as we affirmed in the site that publishes our 
sculptures (www.greenwave.com.br/waves), mentioning Herbert Marcuse and, 
in this sense, it is inadmissible that the public power, that it is who 
should defend, to motivate, to promote and to value the Brazilian 
artists' cultural heritage, make the opposite exactly, in other words, 
promote the barbarism and impede the culture and the artistic 
manifestations of they happen.

Besides a disrespect to the artists, that cannot wait and nor to pay for 
a process through the slow, face and the men's inaccessible justice in 
Brazil for us to retake our work, they decided to turn public this 
affront and to denounce it happened and for the public opinion to take 
knowledge of the barbarism and of the cultural scam the one that was 
submitted and it is impeded pseudo-managers' of the public thing other 
and new scams, that without technical knowledge and nor ethics, they put 
an end to promising careers, impeding the art of manifesting and the 
world of getting better.

We waited and we counted with the collaboration in the popularization - 
on the part of all of the artists of the Earth, of the media and of the 
men, to publish this barbarism; what can help it a repairing of the 
material damages and moral that suffered, making possible the retaking 
of the work.

We are the aware that the inspiration - that drives the artistic 
creation - it is of superior order; that that inspiration is a channel 
open of communication with the universe, with the life, with God and, 
for that, us joint authors of the great work and demonstrators of that 
superior will, that its intends to improve the humanity, we are, 
accomplishing a pressing need through this communication, of we leave 
not the man to return to pre-caves and to lose the sensibility, the 
respect to the manifestation and the magic that is contained in the 

Porto Alegre/Fortaleza - Brazil 


Paulo & Fernando Zornitta

pzornitta {AT} ig.com.br  /  fzornitta {AT} ig.com.br 

pzornitta {AT} greenwave.com.br  / fzornitta {AT} greenwave.com.br

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