The modern project of self-dissolution of modern art in the world, even if
not realized, or exactly because of it, it provided at least two achievements,
making possible the convertibility of any and all common, everyday objects into artistic objects
into an artistic object, and put into permanent discussion the very place of art.
To this heritage, contemporary art adds the emphasis, in the
one of the axes of this series, whose constant intersection between art and the
between art and the fabric of social life, as constitutive parts of the Brazilian
Brazilian symbolic universe. This experience of the landscape is resorted to,
landscape, aware of the permanent circumstantiality of its condition as a form of political
political resistance. In this zone of intersection, a capacity for poetic improvisation
of poetic improvisation based on the mythological figure of Polyphemus, a giant with a single eye in
with a single eye in the middle of his forehead, a barbarian who does not participate in the idea of
hospitality, civility. In this troubled creature, this work evokes a reflection
reflection about the current politics of the Brazilian federal government. In this government
is legitimized to swallow everything that passes in front of it. As said by the
mythological monster in the ancient Greek poem, nothing deserves your respect, blacks
Indians, LGBT, slum dwellers will be devoured by its depredatory and savage policies.
savage policies. The tragedy of Polyphemus is to deny that which is denied to no one, hospitality
hospitality, which for Derrida is the acceptance of the other. The Brazilian
The Brazilian government, in the person of President Jair Bolsonaro, does not respect anything
different from him, he denies hospitality.


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