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Catalog:

Tropical Meridional Fiction - Henrique Montagne

Opened March 25th, 2021 View 3D Gallery
Poster image for Tropical Meridional Fiction - Henrique Montagne

Statement:

Henrique Montagne, visual multimedia artist, curator and cultural producer. Born in Bel√©m, Par√°. Amaz√īnia. He holds a BA in Visual Arts from the Federal University of Par√° (UFPA). He builds his artistic and poetic production line, having an interest in the affective, sexual and auto-fictional relationships of the body in contemporary times. Reflecting on masculinity, love, loneliness, power games. He exhibited in several salons and exhibitions in the Brazilian Amazon, with highlights: III Xumucu√≠s Digital Art Salon, Casa das Onze Janelas Contemporary Art Museum and Banco da Amaz√īnia Gallery, 2014 (Bel√©m, PA); 3rd Corpus Urbis Festival, 2017 (Macap√°, AP); S / T√≠tulo, Casa das Onze Janelas Museum of Contemporary Art, 2018 (Bel√©m, PA) and 11th Contemporary Daily Photography Award, Par√° State Museum, 2020 (Bel√©m, PA). He was curator of the exhibition "Desova" (2017) and of the collective exhibition "Inundada" (2021).

Henrique Montagne, artista visual multim√≠dia, curador e produtor cultural. Nascido em Bel√©m, Par√°. Amaz√īnia. Possui Bacharelado em Artes Visuais pela Universidade Federal do Par√° (UFPA). Constr√≥i sua linha de produ√ß√£o art√≠stica e po√©tica possuindo interesse nas rela√ß√Ķes afetivas, sexuais e auto ficcionais do corpo na contemporaneidade. Refletindo sobre masculinidade, amor, solid√£o, jogos de poder. Exp√īs em diversos Sal√Ķes e Exposi√ß√Ķes na Amaz√īnia Brasileira, tendo como destaques: III Sal√£o de Arte Digital Xumucu√≠s, Museu de Arte Contempor√Ęnea Casa das Onze Janelas e Galeria do Banco da Amaz√īnia, 2014 (Bel√©m, PA); 3¬ļ Festival Corpus Urbis, 2017 (Macap√°, AP); S/T√≠tulo, Museu de Arte Contempor√Ęnea Casa das Onze Janelas, 2018 (Bel√©m, PA) e 11¬ļ Pr√™mio Di√°rio Contempor√Ęneo de Fotografia, Museu do Estado do Par√°, 2020 (Bel√©m, PA). Foi curador da mostra "Desova" (2017) e da exposi√ß√£o coletiva "Inundada" (2021).

Artworks in this space:

From the Sahara Desert to the Amazon Forest, a fig tree will be born

Henrique Montagne

"In this work I return to my family ancestry, showing in the installation and in the title ethnic contrasts from two distant cultures, but which were found in the Amazon. I talk about the persistence of memory and the fight against the erasure of family memory by the process of colonization and Christianity in Brazil and in the Amazon. There was a diaspora process by the Arabs, Jews and Moroccan Muslims who converted to Christianity forcibly to come to Brazil, at different times in the history of the Amazon. Called "new Christians", they came to the interiors and had direct contact with indigenous and native peoples of the region, "In this work I return to my family ancestry, showing in an installation and in the title ethnic contrasts from two distant cultures, but which were found in the Amazon. I talk about the persistence of memory and the fight against the erasure of family memory by the process of colonization and Christianity in Brazil and in the Amazon. There was a diaspora process by the Arabs, Jews and Moroccan Muslims who converted to Christianity forcibly to come to Brazil, at different times in the history of the Amazon. Called "new Christians", they came to the interiors and had direct contact with indigenous and native peoples of the region, who also were forced converted to Christianity and were already with their ancestral memory in the process of being erased and no longer living together with their ethnic groups. This led to a flow of miscegenation and inter-ethnic relations in the Amazon. My paternal surname "Figueira" is that of a new Christian, they gave names of trees to new Christians to become Brazilian "citizens". These being Arabs, Jews or Indians. And in a way, the past reverberates in my own life, as I am the son of an "interethnic" couple. My father is an indigenous man of indigenous descent by my two grandparents (his parents), the family ‚ÄúFigueira‚ÄĚ (from my paternal grandfather) comes from the Tapaj√≥s region (Western state of Par√°), where many peoples were being erased by miscegenation and urbanization. And my mother is white, but of Italian and Arab descent It is interesting to think of the contrast between these two landscapes in the title and in the installation, I chose these two men, an indigenous and a Moroccan Arab with their proper weapons as a reading that each one establishes himself as a protector of his history, despite the process of erasing cultural and ethnic-racial in Brazil by Christianity and the idea of ‚Äč‚Äč‚Äúnation‚ÄĚ. The ancestral tree present in various cultures and in the history of the world grows there in between, in the arid desert and in the forest that is being decimated more and more by agribusiness or ore, by European and North American companies. These men with their weapons are there to protect history. There is also a natural and meteorological correlation between the Amazon rainforest and the Sahara desert. The Sahara is located in North Africa and its sand crosses the Atlantic and feeds the Amazon rainforest. The Amazon is in the north of South America, but a little below the desert, forming a flow of migration through the air. One needs the other to exist." Instala√ß√£o Virtual / Web Art 2021 "Nessa obra retorno a minha ancestralidade familiar, evidencio em uma instala√ß√£o e no t√≠tulo contrastes √©tnicos de duas culturas distantes, mas que se encontraram na Amaz√īnia. Neste trabalho falo sobre a persist√™ncia da mem√≥ria e da luta contra o apagamento da mem√≥ria familiar pelo processo de coloniza√ß√£o e crist√£o no Brasil e na Amaz√īnia. Houve um processo de di√°spora dos √°rabes, judeus e mul√ßumanos marroquinos que se converteram ao cristianismo a for√ßa para vir ao Brasil, em diferentes momentos da hist√≥ria da Amaz√īnia. Chamados de "crist√£os novos", eles vieram para os interiores e tiveram contato direto com povos ind√≠genas e origin√°rios da regi√£o que tamb√©m muitos estavam convertidos ao cristianismo e j√° estavam com sua mem√≥ria ancestral em processo de apagamento e n√£o mais aldeados junto as suas etnias. Nisto iniciou-se um fluxo de miscigena√ß√£o e de rela√ß√Ķes inter√©tnicas na Amaz√īnia. Meu sobrenome paterno ‚ÄúFigueira‚ÄĚ √© de crist√£o novo, eles davam nomes de √°rvores para os crist√£os novos para se tornarem ‚Äúcidad√£os‚ÄĚ brasileiros. Sendo estes √°rabes, judeus ou ind√≠genas. E de certa forma o passado se reverbera na minha pr√≥pria vida, pois sou filho de um casal "inter√©tnico". Meu pai √© ind√≠gena de descend√™ncia ind√≠gena pelos meus dois av√≥s (seus pais), a fam√≠lia ‚ÄúFigueira‚ÄĚ (de meu av√ī paterno) vem da regi√£o do Tapaj√≥s (Oeste do estado do Par√°), onde muitos povos foram sendo apagados pela miscigena√ß√£o e urbaniza√ß√£o. E minha m√£e √© branca, mas de descend√™ncia italiana e √°rabe. √Č interessante pensar o contraste entre essas duas paisagens no t√≠tulo e na instala√ß√£o, escolhi esses dois homens, um ind√≠gena e um √°rabe marroquino com suas devidas armas como uma leitura de que cada um se estabelece como protetor de sua hist√≥ria, apesar do processo de apagamento cultural e √©tnico-racial no Brasil pelo cristianismo e pela ideia de ‚Äúna√ß√£o‚ÄĚ. A √°rvore ancestral presente em v√°rias culturas e na hist√≥ria do mundo cresce ali no entre, no deserto √°rido e na floresta que est√° sendo dizimada cada vez mais pelo agroneg√≥cio ou pelo min√©rio, por empresas europeias e norte-americanas. Estes homens com suas armas est√£o ali para proteger uma hist√≥ria, existe tamb√©m uma correla√ß√£o natural e meteorol√≥gica entre a floresta amaz√īnica e o deserto do Saara. O Saara fica no norte de √Āfrica e sua areia cruza o atl√Ęntico e retroalimenta a floresta Amaz√īnica. A Amaz√īnia fica no norte da Am√©rica do sul, mas um pouco abaixo do deserto, formando um fluxo de migra√ß√£o pelo ar. Uma precisa da outra para existir."