Rosa Barba examines the everyday chaos of Sao Paulo’s ‘giant earthworm’ freeway

Shes explored cities around the world, and now the Italian artist has cast her eye on the Minhoco, a controversial badge of a splendidly untidy megalopolis

In the center of the largest city in Latin America, amid a woodland of closely packed towers, snakes an elevated road of more than three kilometers, slicing from east to west. During the week the traffic rumbles past apartment blocks, and automobiles swing by the upper floors so closely that residents can almost touch them as they whip past or, more frequently, as they idle in So Paulos notorious traffic. In the evenings and on Sundays, when its closed to vehicles, paulistanos descend on the elevated road for cycling, walking, or partying. What was once a liability for the citys development has now been reclaimed; what was once a scar is now almost beautiful.

This is the Minhoco, or giant earthworm: an ungainly, controversial, but sometimes treasured insignium of this splendidly untidy megalopolis of 11 million. And the highway growl in the shadows of this years So Paulo Biennial, the regions most important contemporary art exhibition, which opened last week amid political protests. The short movie Disseminate and Hold, by the artist Rosa Barba, introduces into Oscar Niemeyers serene white pavilion the everyday disorder of the elevated highway, backed by a charging, drum-heavy rating by the German-Brazilian group Black Manual. Its one of the finest works in the exhibition, and it subtly connects Brazils ambitious architectural past to its troubled political present.

Im always attracted by these non-pretty, functional places, the Italian artist tells me when we gratify for a drinking at a rooftop hotel bar whose privileged view of the sprawling city offers an apt backdrop. And Brazil was always a rich place of history for me. The encounter with Brazil came through readings, through Vilm Flussers history here, but also through the architecture. When I came here last year for research, I strolled over the Minhoco after visiting the Copan house a worn, serpentine tower designed by Niemeyer in 1966, closely hemmed in by the road and the surround houses. I was so impressed how, in one second, when the traffic wasnt allowed to enter anymore, the people instantly took it over.

The Minhoco was completed in 1969, at the height of Brazils military totalitarianism.( This past June, it was officially renamed the Elevado Presidente Joo Goulart, in tribute to the Brazilian chairman who was ousted by a military junta in 1964.) If your visions of Brazil tend more to the beaches of Rio or the moonscapes of Braslia, Barbas film will introduce you to a rougher, more delirious urbanism. Shooting on foot or from the back of a vehicle, Barba pans across Brutalist towers, filthy ribbon windows, demotic apartments festooned with graffiti. And yet its messy, unpredictable character is what builds So Paulo so intoxicating: this is a city where spaces fold into one another and lives collide.

Barba
Barba pans across Brutalist towers, filthy ribbon windows, demotic apartments festooned with graffiti. Photo: Courtesy of Rosa Barba

Overlaying these shootings of So Paulo in Disseminate and Hold is a text by the artist Cildo Meireles, a Brazilian conceptualist and a key figure of culture opposition to the tyranny. As Barba pans up from the Minhoco to Niemeyers tower, a narrator reads Meireless terms: I remember that in 68, 69, 70, as we were on a tangent away from that which mattered by that which mattered , he entails republic already we no longer worked with metaphors We were working with the situation itself, the real.

The narration helps to draw an imperfect but fascinating analogy between the public interventions of the Brazilian avant garde during the totalitarianism and the contemporary reuse of the Minhoco: a top-down imposition now rethought from the bottom up. Somehow I thought that this voice of Cildo, the text excerpts, could be a strong voice from the street itself, Barba explains. Its genuinely part of his thinking of the public body. My favorite excerpt is when Cildo says that art can only exist if other people perform it. I was find myself perform such voice, and bringing it back to the public.

The So Paulo biennial has always had a strong political focus, and Meireles was one of numerous Brazilian artists to boycott the exhibition of 1969 the year of the Minhocos completion. The artists, some of whom had already gone into exile, bided away in protest of the military governments infamous Institutional Act No 5, which suspended habeas corpus, permitted censorship, and soon opened the way to torture. Barbas film looks at this history too. We insure Meireless file from the biennial repositories, as well as a telegram from Lygia Clark, exiled in Paris, and a postcard from Hlio Oiticica, whod gone to London. All of them refuse to participate. Suddenly, against the roll of a snare drum, Barba cuts back to the Minhoco: were looking at traffic from an overpass, on which someone has spray painted TEMER JAMAIS( Never Temer ), a rebuke to the new Brazilian chairwoman whose ascending has been described by many artists here as a coup.

The current upheaval in Brazil had outcomes for Barbas production, but Disseminate and Hold wears its political sentences lightly. I tried to get material from the Cinemateca, and that week people were fired, Barba tells. It was quite impossible to pay people: for rental equipment, tell. Fund was transferred would get stuck, frozen for months, and then youd have to negotiate what the exchange rate should be Things were changing each week, and even people in the biennial didnt know how to handle it.

The
The highway is known locally as the giant earthworm. Photo: Politenes of Rosa Barba

I was thinking: oh, should I connect it much more to what is happening now? But except for that one shot of TEMER JAMAIS, I actually felt it would be so much stronger if I didnt close the circle. You are in it anyway. I felt that if I would go there I would close the bottle somehow.

Barba was born in Sicily in 1972. She analyzed both film-making and fine arts, and you can see that double trained in the attention given to her cinemas showing: rattling projectors sit in the gallery, and film strips are treated as both records and physical objects. She now lives in Berlin, and uses the increasingly obsolete medium of celluloid to examine how technological change, political events, or economic transformations are manifest in cities and landscapes. Bending to Earth, which was considered at the last Venice Biennale, orbits around desert sites for radioactive waste storage that, seen from above, appear as serene, monochrome squares. Her omnibus film Subconscious Society passes from Manchesters abandoned Albert Hall to the Thames estuary, which Barba filmed from the air as an uncanny collection of outdated industrial sites and abandoned funfairs. She shot it on the very last shipment ever made of Fuji 35 mm film.

Subconscious Society netted Barba a major prize from the Fondation Prince Pierre de Monaco, which also money this new Brazilian work. But in comparison to the languorous, often sublime cinemas of the last few years, Disseminate and Hold is a more human-scaled work of art. Inhabitants of the apartments bordering the Minhoco speak of the freeways place in “peoples lives”; they sit and kibitz on a highway divider, and by the films aim they are dancing across the giant earthworm. Geography bears the scars of politics, but people can make an impact too.

Barba, at one point, struts down the Minhoco on a Sunday morning, camera in hand. The sunshine glistens down, and the tangle of roads and houses seems almost pastoral: with no cars, the road has become an unexpected place of relaxation in a very jittery city. It becomes this public body, the street, Barba attests. Its a performative show all the time. You can expand the publics voice maybe in a much more powerful style if you take over architecture in the city.

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