Blog - Rio de Janeiro - Brazil

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«ZIL ZIL ZIL» exhibition at Centro Municipal de Artes Hélio Oiticica, Brazil

From May 14 to 18 June at Centro Municipal de Artes Hélio Oiticica, Rio de Janeiro

Since when Brazil is Brazil or Zil, Zil, Zil? A meme representing the embryonic stage of this “ZIL” mantra appears to be revolutionary. Does it free and confines more and more in a limbo? It permeates under the control of a small group of families that monopolizes the main national mass communication networks using contemporary Machiavellian techniques. Libertarians and constant revolts, our rebellious colorism saturated with football anthems of sweet corporations that politicized and consoled us “MAOWEEEE”, “PLIM-PLIM”, “BRRRAAAA ZIIIILLL, ZILLLL, ZILLL!!!”, “RAAA-TIIIIIII-NHOOOOOOOOOOOOO”1, in a cultural essence in which the gestural caricature of all generations dance (“…Dança, gatinho, dança!”) in the midst of kitsch existentialism; We live together in the living room to watch TV, at the moment, the channels are from the ZAPZAPZAP2 global network of intimate virtual rooms, Instagram, Facebook, Egobook, Dumbook, School of Conspiracy of the Good,… ZapZUP-ZEP groups are the grannies’ paradise Zil , Zil, Zil.

There is a portrait of the singer Anitta called Zil, Zil, Zil – it is a renowned work that has already
been exhibited at Anita Gallery. There is a lot of ZIL work and action here and elsewhere. There is ZIL anime. ZIL meme. ZIL idea. Flags and hymns resignify simple forms of ritualization whose political-magical project is to eradicate all TRETA, all dirty money, all dirty art, all Bolso-©(n)-aro > all barbaric pockets5. Claim all the dirty art, all the righteous bullshit, all the people’s money except the barbarians’ pocket. This is a new trauma for our currency that we don’t know how to deal with – in fact, a global trauma that we don’t know how to change. And will it change?

A party needs to be created.

Two and a hald Years of Project, a pandemic in the Middle, changes and mainentences. Behing the initial proposal of update the notions of pop in Brazil dialoguing with present tense, many things emerged and was necessary to speak. Everything growed up and we let it to, the exhibition exploded, we did the maximium on our smallness. Other question emerged since then: the inescapable presence of Hélio Oiticica’s work6. The urgence of the big exhibition and the dialogue with some of our artists made us to spread all over the Building, “contaminating” the non-exhibition of Oiticica. More than an exhibition, we understand it as a cultural happening: artists, institutions and works articulates this precarious dance7 to understand and produce tension around of what the hell anyway is this idea of Brazil. Between delirium and joke, the rational and affection, we are here, producing something that produces a kind of changing – because, as it is, it cannot be.

Collective actions, dialogue with the streets, shopping chão8, memes, Saara popular market, crafts, politics, new representativeness. “Museum is the world”9 and if we can bring some of it to the exhibition space, this inside-out of topology will put us in motion more than confines us. As Thelma Vilas Boas10 says, we need more “life spaces” more than art spaces. We thank artists that accepted to get on this cahotic and powerful happening. Zil zil zil opens in a moment that we expect the end of everything we already hoped to break in 201911. Let’s go together.

Felipe Carnaúba, Antonio Tebiryçá and Bruna Costa


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