Ama a tu prójimo como a ti mismo.
En mi país
el que ama a su prójimo
se juega la vida.
~ Gioconda Belli
I have finished the text for Jornal de Borda 03 in April. In January I started the layout, invited the collaborators. This edition deals with three center lines: feminisms, queer theory and Afrocentrism – an attempt to relocate the center and propose other sets and tensions.
I have finished the text for Jornal de Borda 03 in a turbulent April. An April in which you should, minute after minute, support democracy and the democratic constitutional State. An April that basic social achievements should not be forgotten. An April that calls for reflection and change, and no step back.
I have finished the text for Jornal de Borda 03 in a turbulent April on a Fall day in Barão Geraldo.
Many voices take over and linger.
Voices of poets who I have already read and read again with you.
Voices of artists.
Voices of publishers.
Voices of black feminist women, wise intellectuals.
Voices of feminists.
Voices of Latin America.
strange, pleasant, necessary voices.
Voices of interviewees, artists, researchers, activists.
Voices in letters between Mexico and Brazil.
Voices of people who do research on books.
Voices of curators, researchers, contributors who continue in Borda.
I have finished the text for Jornal de Borda 03 in a turbulent April on a Fall day in Barão Geraldo. In January, the first draft of the editorial text began like this:
Feminism and art have been related since the 1960s.
It was down to one line, it disappeared.
I have finished the text for Jornal de Borda 03 in a turbulent April on a Fall day in Barão Geraldo. In February, the second draft of the editorial text had this part:
The magazine Heresies, published for more than twenty years in the United States, Is one of the pioneers in uniting art, feminism and politics.
Two lines out of the blue.
I have finished the text for Jornal de Borda 03 in a turbulent April on a Fall day in Barão Geraldo. In March, the third draft of the editorial text had the following loose excerpts:
In Brazil and in many countries in Latin America, dictatorships have run over people’s everyday life and prevented them from exercising their citizenship. Many people have died, others are still missing.
At that time no type of freedom was possible, and human dignity was non-existent.
The mimeograph was used as a weapon by poetry (with the movement Alissara), by mail artists and by guerrilla fighters in their illegal newspapers.
It was only at the end of the 1970s that the alternative press resumes newspapers of various natures. There are also initiatives undertaken by the feminist press in Brazil.
In the 1980s, Latin American feminist meetings started to take place. Brazil
has already hosted these meetings twice. Feminism is plural, black, young, transgenerational, transnational.
In the 1990s, I recognized myself as a feminist. I was 19 years old.
In the 2000s, I first heard the word queer in a conversation with Marcella Althaus-Reid. One of the most powerful intellectuals and activists I’ve ever
Now, in 2016, the feminist debate is trendy in art, in Brazil. The Magazine Select of February/March brings research, stories and articles on the subject. I peruse
page 31, Ventos Feministas (“Feminist Winds”) by Luana Saturnino Tvardovskas. After that, I go to pages 34 and 35. They show a study on the correlation between
women and men are represented in the collections of the world’s main museums.
Twenty-five lines I surrender.
I have finished the text for Jornal de Borda 03 in a turbulent April on a Fall day in Barão Geraldo. The voices take over the pages of the Jornal.
About Jornal de Borda:
Jornal de Borda (Border Newspaper) is a biannual publication of art, idealized and edited by Fernanda Grigolin. Graphic design is done by Lila Botter. Borda has the collaboration of artists, publishers, curators and researchers. Each edition is centered around a theme: on the first one, the theme was the act of editing; the second deals with circulation of art, and the third touches upon the axis feminism, queer movement and Afrocentrism. Jornal de Borda is at the limit of what would be a newspaper. It has the typical format, speed and short texts, but without the character news. It is edited by Ediciones Costeñas and distributed by Tenda de Livros.
Tenda de Livros:
Tenda de Livros is a book circulation project which organizes meetings, exhibitions, chats, exchange of books and sales. For one year, Tenda was a proposal for book circulation in the public space, in a conventional craft fair, rather than an art space per se.
The original idea was to propose a place of tension, a space of publications, inside the routine of people’s leisure activities. Tenda was a noise between the shacks.
Tenda arises from a thought whereby it is believed that art and culture are tools to be used in the creation of political platforms and new types of audience.
It was set up in the park Parque da Independência (São Paulo, Brazil) over a year (June 2014- June 2015), every Sunday from 8 in the morning (assembly time) to 5 p.m. (disassembly time).
Tenda in Parque da Independência ended with the launch of the exhibition recôncavo and the exhibition TENDA ABERTA in June 2015, organized by Fernanda Grigolin and Paula Borghi, curator and mentor of the project Projecto Multiplo. More than sixty books were donated to Oficina Oswald de Andrade Cultural, and the exhibition that was going to last for two months turned into a fixed place at Oficina Oswald de Andrade, a cultural space, and it is now supplied by books from other courses offered by it.
After Tenda became itinerant, it was taken to Mexico (Aeromoto Library), Portugal (ESAD) and Belém, Brazil (Diário Contemporâneo Award). It also proposed debates, such as O Livro: um lugar para a Fotografia (The Book: a place for Photography), at Sesc Consolação, São Paulo, Brazil, and will launch a publishing label for essays, Pretexto, in September.
This story was translated from Portuguese by Raphael Daibert.
Fernanda Grigolin (Curitiba, 1980) É artista visual, editora, pesquisadora doutoranda em Artes Visuais na Unicamp. Por dez anos foi ativista de movimentos sociais no Brasil e na América Latina. Possui especialização em Direitos Humanos (USP) e é mestra em artes visuais na UNICAMP. Vive e trabalha entre Campinas e São Paulo.
Fernanda Grigolin (Curitiba, 1980) is a visual artist, editor, researcher, and PhD student in Visual Arts at Unicamp. For ten years, she was an activist in social movements in Brazil and Latin America, specializing in Human Rights (USP). She lives and works between Campinas and São Paulo.