Fire, Faísca, Funke, 2019
Exhibition by Ana Hupe, Marina Camargo, Barbara Marcel.
At Mario Kreuzberg Gallery, Berlin (25.May – 16.June).
Project funded by Bezirksamt Friedrichshain-Kreuzberg, Berlin.
The works by Ana Hupe for this show are guided, on the one hand, by socialist sentences found in the streets of Havana, Cuba, during one month of residency at Artista x Artista and, on the other hand, by elements of Santería. The priestess of Yemayá, Raiza Morenas Cruz, told stories and shared knowledges of santería religion.
Pictures by © Marina Camargo
Bananas para o rei // Bananas to the king, 2019
Printed text on 30 x 50cm wood;
02 metal triangles;
02 C.U.C coins;
02 imperial palm tree seeds;
01 Photograph 15x 23 cm digital pigment print on Hahnemühle pearl paper
In Havana, I found some bananas hanging on an elegant, huge imperial palm tree, tied with a red node. It was when I discovered that besides being the symbol of Cuban Constitution, printed in the back of some C.U.C. coins, the Imperial Palm Tree is also the tree of Sango (Written Changô in Cuba, and Xangô in Brazil). And Sango, the King of justice, likes bananas.The status symbol of the imperial palm tree was also spread during colonial times in Brazil. The King John VI of Portugal planted the first one in the Botanical Gardens of Rio de Janeiro and forbid the selling of the seeds. But Sango made his intervention: at night, enslaved people would climb the tall trunks and steal the seeds, which they would sell next. Bit by bit, seeds were transformed into coins, used to buy their freedoms.
Traje de gala // Gala dress
02 black lights;
01 photograph of Santera Raiza Morenas Cruz,15x 23 cm digital pigment print on Hahnemühle pearl paper
The Priestess of Yemayá, Raiza Morenas Cruz, told me about the ritual of wearing a gala dress when the Ìyàwó, person who is going through the process of initiation in Santería, is presented to the drums, the reborn moment. After that, the dress should only be worn again by the time of death. The mystery of the sacred gala dress, always hidden, as if living in the abysm of the oceans, inspired the flags with the seven elements of Yemayá, which navigate under the black light. In the abysm is where the bioluminescent beings live.
Maniok reibe ich dir, Schwesterchen, 2015-19
BARBARA MARCEL + ANA HUPE | 2-Channel Video Installation
Pará-BR / Germany, HD-Video, Sound, 13min + 43min
(Stills by Barbara Marcel).
Film Credits (Technische Angaben)
Luciene Santos | Activist and Herbalist at GECEM- Casa de Chico Mendes, PA-BR)
Izilda Godinho aka Piquixita | Herbalist from the Community of Anã, in the Extractive Reserve of Tapajós-Arapiuns, PA-BR
Claudete Munduruku | Defender of the Munduruku indigenous rights and teacher at Aldeia Sauré, Itaituba, PA-BR
Images: Barbara Marcel and Ana Hupe
Editing: Barbara Marcel
ContraNatura (2015) by Thelmo Cristovam
Walzenaufnahmen aus Brasilien (1911-1913). Berliner Phonogramm-Archiv Series Historische Klangdokumente – 3. Arbeitsgesänge - Gesang Beim Maniokreiben, Gruppe Makuschí
No Paiz das Amazonas (In the land of the Amazon, Manaus, 1922), a film by Agesilau De Araujo and Silvino Santos.
Der Edison-Phonograph, by UnterbergerMedien, 2014. Auftraggeber: Helbling Verlagsgesellschaft mbH Produzent: M&P Unterberger KG. https://www.youtube.com/watch?v=4koqcfAzSCQ
National Museum: the neglect of history, Tv Brasil. September 2018. https://www.youtube.com/watch?v=lPp1oR6JrPg
Ass. of Finalization: Alice Dalgalarrondo
Transcripts and subtitles: Paulina Hupe
Special Thanks to: Marty Hiatt, Kandyê Medina, Fabio Ribeiro, Hugus Félix, Project Saúde e Alegria, Thais Helena Medeiros, Caetano Scannavino, CEFA – Centro Experimental Floresta Ativa, Chico Mendes Institute for Biodiversity Conservation – ICMBio, Casa Bicho, MUSA, Mulheres Sonhadoras de Anã, Rodrigo Lopes, Marisa Mello, Luciene Santos, Izilda Godinho aka Piquixita, Claudete Munduruku, Alice Alfano.
Most of the video footage was taken during a residence of artist Barbara Marcel at Casa Bicho, Alter do Chão in December 2017.