Rio de Janeiro (RJ),, Violence in Rio / Morto – Residents of Caixa D’água Hill, arriving at Hospital Getúlio Vargas, in the Penha district, north of the city, with a dead person. Well, I had been dedicated recent years to gaining a better understanding of the context of violence perpetuated in Brazil and Latin America, and how global trade flows and the money to be made around death contribute to the maintenance of this barbaric scenario. Your solo show in summer 2018 at your gallery in Sao Paulo forced you ultimately to leave the country?
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Rio de Janeiro – Army teams early mornings in the Nova Holanda favela, in Complexo da Maré, looking for weapons and ammunition that would have been buried by traffickers (Tomaz Silva / Agência Brasil) Flesh and Agony These factors drove me to radically deepen my research in this direction. I lived for a while in a community where we dealt directly with the day-to-day afflictions of conflicts between cartels and the police. State violence is also intrinsic to the lives of the many friends I made in Rio. It was through MAR that I met many people and was able to build important relationships, reminding me of contexts lived in childhood. Museu de Arte do Rio MAR, photo credit: Alexandre Macieira This is clearly an act of censorship in the sense that the museum does not meet the narrative interests of the current government.
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It is curious that this same museum is about to close its doors for lack of funds, since the mayor of Rio no longer allocates resources. I arrived in Rio in 2012 to work on a bold project involved in getting the Museum of Art of Rio (MAR) going. Rio de Janeiro and the many situations I witnessed there opened my mind to rediscover my own history. Unfortunately I have nine friends who were murdered by the São Paulo military police. But in the ‘90s, living with the possibility of getting killed seemed normal, something that we accepted as an inherent part of life. I came to understand my privileges and why I am still alive. Only after I got older did I understand why my childhood friends no longer lived. I lost friends to violence, especially police violence but we thought all that was normal. Many of my friends were raised in this context of amateur sports. In those days football was a way out of poverty for many families, a way to keep children out of trouble.
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My father still is a truck driver and my mother raised her children and took in washing. I come from a lower-middle-class family that lived in a poor working-class neighbourhood on the outskirts of Sao Paulo.
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Paint us a picture, so to speak, of your life in Sao Paulo and Rio de Janeiro. Igor, tell us little about your reality and circumstances as a very outspoken artist. Special Police Operations Battalion (BOPE) officer takes position while residents run for cover during an operation in the Mare slum complex, ahead of its “pacification,” in Rio de Janeiro, Brazil, Wednesday, March 26, 2014.
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So we are dedicating a series of interviews to Igor Vigor’s story as well as Brazilian art projects that we want to support by speaking to respective artists and curators and spreading their work. While the artist scene in Rio and Sao Paulo is exceptional, what is happening to the cultural sector under the new president Jair Bolsonaro leaves us speechless. We have visited to Rio de Janeiro quite often since 2012 but for obvious reasons haven’t been again since 2016. After his controversial solo show HEROES NEVER CELEBRATE VILLAINS – HEROES ONLY CELEBRATE VILLAINS at his Gallery in Sao Paulo in which he highlighted the complex layers concerning violence, notions of security and the global scale of the security business, he received so many death threats that he ultimately had to leave his home country with his family – all the more so since his show also focussed on how global trade flows and the money made around death contribute to the daily barbaric scenario in cities like Rio de Janeiro and Sao Paulo caused by military police, gun violence and militias – illegal paramilitary forces – that now dominate large state and country territories. The Brazilian artist Igor Vidor, currently an artist-in-residence at Künstlerhaus Bethanien, has a somewhat special status at the Berlin Institution.