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ARDE SAO PAULO: Comunicado en apoyo de la obra censurada por el tribunal electoral del Brasil
La Bienal de San Paulo se erige otra vez en plataforma privilegiada para la controversia política. En varias instancias, pero me detendré aquí tan sólo en la intervención censurada por orden del tribunal brasileño "que consideró el episodio como violatorio de la ley electoral, dada la prohibición de proselitismo en lugares de bien común", según las informaciones de la agencia ANSA vinculadas a las elecciones presidenciales del próximo domingo 3 de octubre. Todo ello sin tomar demasiado en cuenta que el tema convocante de la bienal entera era, precisamente, "arte y política". De la adversidad vivimos, decía el artífice carioca Helio Oiticica. También de la contradicción.
Ese dictamen determinó que se cubriera –mediante connotativos papeles de embalaje– el gran díptico infográfico que exhibía sesgadamente las efigies de los dos principales candidatos en la contienda: la oficialista Dilma Rousseff (del Partido de los Trabajadores) y el opositor José Serra (del Partido Social Demócrata). Parte, en realidad, de una obra más compleja que se desplegaba también mediante conferencias, discusiones, etc., así como acciones varias de proselitismo abierto en favor de la candidata del gobierno. Y ahora a través de la polémica que se proyecta interminable en incontables mensajes electrónicos donde no faltan el pleito anecdótico y la querella personal.
Con el ánimo de no prolongar esa agonía (agon también significa lucha en griego) me limito por el momento a reproducir –y suscribir– el comunicado emitido por los principales afectados: el artífice argentino Roberto Jacoby y los miembros de la Brigada Argentina por Dilma, cuyos nombres aparecen más abajo. Ojalá me fuera concedido el tiempo vital necesario para desconstruir la obra no en sus apariencias (ya ampliamente discutidas) sino en sus efectos mediáticos. Que son, claro, parte constitutiva y programática y crucial de ella.
Otro tema a ponderar son lo que a veces llamo las estrategias de la literalidad en el arte político de América Latina. Pero atención además a la paradoja (contradicción aparente) y la ironía de que la censura sea ejercida sobre una postura que favorece al partido en el poder. También allí hay que re-flexionar la teoría de la contradicción.
Gustavo Buntinx
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