Jonathas de Andrade is occupying sala antonio – Galeria Vermelho’s cinema – with the short film O Caseiro [The Housekeeper] (2016) which proposes a dialogue with the 1959 film, O Mestre de Apipucos, by Joaquim Pedro de Andrade.
The split screen film is constructed symmetrically in two narratives. On the left, the 1959 film, kindly ceded by the producer, Filmes do Serro, shows the daily life of Gilberto Freyre in his house in the district of Apipucos, in Recife. On the right, Jonathas de Andrade creates a simultaneous mirroring of the scenes of O Mestre de Apipucos, substituting Freyre by a supposed caretaker of the sociologist’s opulent residence. The parallel between the two characters – the historical one of the documentary, and the anonymous one of the fiction – establishes a tension that underlines aspects of class and race, two of the main subjects that Freyre dealt with in his work, as the sociologist appears in the film by Pedro de Andrade living an aristocratic life.
Outside the cinema, Jonathas is showing the installation Suar a Camisa [Sweat it out] (2014), seen for the first time in São Paulo. In direct contact with the workers in the streets of Recife, Andrade negotiated, traded and bought about 120 sweaty shirts from the city’s workers at the end of a workday. The mounting of the shirts in a large line, each on a wooden stand, alludes to a sort of waiting line: an unemployment line, a line to enter a bus, or even a line of striking workers.
Jonathas de Andrade is occupying sala antonio – Galeria Vermelho’s cinema – with the short film O Caseiro [The Housekeeper] (2016) which proposes a dialogue with the 1959 film, O Mestre de Apipucos, by Joaquim Pedro de Andrade.
The split screen film is constructed symmetrically in two narratives. On the left, the 1959 film, kindly ceded by the producer, Filmes do Serro, shows the daily life of Gilberto Freyre in his house in the district of Apipucos, in Recife. On the right, Jonathas de Andrade creates a simultaneous mirroring of the scenes of O Mestre de Apipucos, substituting Freyre by a supposed caretaker of the sociologist’s opulent residence. The parallel between the two characters – the historical one of the documentary, and the anonymous one of the fiction – establishes a tension that underlines aspects of class and race, two of the main subjects that Freyre dealt with in his work, as the sociologist appears in the film by Pedro de Andrade living an aristocratic life.
Outside the cinema, Jonathas is showing the installation Suar a Camisa [Sweat it out] (2014), seen for the first time in São Paulo. In direct contact with the workers in the streets of Recife, Andrade negotiated, traded and bought about 120 sweaty shirts from the city’s workers at the end of a workday. The mounting of the shirts in a large line, each on a wooden stand, alludes to a sort of waiting line: an unemployment line, a line to enter a bus, or even a line of striking workers.
