Encontros Artísticos E Ayahuasqueiros: Reflexões Sobre A Colaboração Entre Ernesto Neto E Os Huni Kuin
Arquivos
Data
2017-12
Autores
Goldstein, Ilana Seltzer |Labate, Beatriz [UNIFESP] 
Tipo
Artigo
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Resumo
Recentemente, trabalhos de Ernesto Neto ganharam destaque em museus de arte em Bilbao, São Paulo e Viena. Tiravam parte de sua força do fato de remeterem a rituais de cura com ayahuasca dos Huni Kuin (Kaxinawa). Observa-se certo paralelismo entre essa conquista de espaço para a presença indígena no sistema das artes e a chegada dos índios ao circuito urbano da ayahuasca. A circulação de novas formas de xamanismo, de consumo da ayahuasca, de objetos artísticos e performances, em redes nacionais e internacionais, atesta o vigor e a capacidade de adaptação das práticas culturais indígenas, além de representar possibilidades para diálogos transculturais. Ao mesmo tempo, esbarra em desafios espinhosos, como as proibições legais relativas ao uso da ayahuasca, a dificuldade de proteger a propriedade intelectual tradicional e a potencial reificação de identidades. O presente texto partirá da colaboração de Neto com os Huni Kuin para refletir sobre estas e outras questões.
This article addresses the installations of the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin people, exhibited in Brazil, Spain and Austria. It draws a parallel between the arrival of Brazilian Indians in the urban circuit of ayahuasca and their presence in art institutions. These new forms of shamanism and ayahuasca circulate through national and international urban networks, attesting to the great vigour and adaptability of indigenous contemporary traditions. On the other hand, they raise controversial issues, linked to the respect for collective and ancient intellectual property and to stereotyped representation of “Others”. Furthermore, the consumption of ayahuasca in Brazil is limited to certain settings and abroad it is often illegal. It will be argued that both the expansion of ayahuasca use and the insertion of indigenous arts in museums and galleries, point to a creative and fertile intercultural dialogue, but also raise issues about cultural “authenticity”, appropriation, and commodification.
This article addresses the installations of the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin people, exhibited in Brazil, Spain and Austria. It draws a parallel between the arrival of Brazilian Indians in the urban circuit of ayahuasca and their presence in art institutions. These new forms of shamanism and ayahuasca circulate through national and international urban networks, attesting to the great vigour and adaptability of indigenous contemporary traditions. On the other hand, they raise controversial issues, linked to the respect for collective and ancient intellectual property and to stereotyped representation of “Others”. Furthermore, the consumption of ayahuasca in Brazil is limited to certain settings and abroad it is often illegal. It will be argued that both the expansion of ayahuasca use and the insertion of indigenous arts in museums and galleries, point to a creative and fertile intercultural dialogue, but also raise issues about cultural “authenticity”, appropriation, and commodification.
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Citação
Mana, v. 23, n. 3, p. 437-471. 2017.