Before leaving for my summer holidays I visited a last exhibit in Milan: Brazil. Knife in the Flesh at PAC in Milan. At my biggest surprise it was a great exhibit and I enjoyed it a lot, especially the live performance by Maurício Ianês that I found emotional at the point that I couldn’t stop thinking of his work for the following days.
I don’t go often to PAC exhibits but when I do they turn out as great events: I think about the one on CUBA or on Nelson Mandela, two of my favorites ever! This one on Brazil was not less. The name of the exhibit (Navalha na Carne) is the title of a play by the Brazilian writer Plínio Marcos, particularly active during the years of the Brazilian military regime. Not a surprise then that the exhibition is based on this never-ending conflict inside the Brazilian society; it is expressed through installations, photographs, videos and performances of the artists invited and it is often interpreted with hope for the future or with complete disillusion and disappointment.
Anyway, the Brazilian cultural environment is still alive and prosperous and it represents a sort of revolutionary act in front of this perennial conflict.
I was lucky enough to visit the expo in July, during the live performance of Maurício Ianês, in front of whom I spent a lot of time, sitting on the floor and trying to connect with the artist and with his incredible powerful message. He arrived at the exhibit beginning of July completely naked (like he did 10 years ago at the San Paolo Biennale) waiting for the visitors to offer him food, clothes, drinks or whatever they want to offer. Since then he has been living in the Museum for two weeks exposing what he received during his performance (that he calls “action”) “Untitled (Dispossession)“.
For the event I wore different shades of blue: from the electric blue of the thrifted Topshop silk shirt, to the teal of Zara culottes, to the aqua of Madame Ilary handmade turban. I added a vintage 80s flamingo brooch from La Vespa Roja in Valencia and mud caged boots from Jeffrey Campbell.
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