Tracey Emin em Buenos Aires

Sylvia Colombo

Saiu hoje, na Ilustrada, uma matéria que fiz com a artista britânica Tracey Emin, 50, que está de passagem pela Argentina esses dias, abrindo a exposição “How it Feels”, no Malba (Museu de Arte Latinoamericana de Buenos Aires). Emin, expoente do grupo YBA (Young British Artists), traz pela primeira vez suas obras para um museu do continente.

A entrevista foi realizada na sacada do Malba, numa tarde meio instável de primavera, com muito vento e temperatura a 21 graus. Emin não se importou, “o clima aqui é ótimo, a primavera é muito linda”, disse, de vestido e botas, apontando para as árvores floridas de Palermo Chico. A exposição em Buenos Aires fica em cartaz até o dia 25 de fevereiro de 2013.

Leia, abaixo, a íntegra da conversa.

Folha – É muito diferente expor num museu ou numa galeria?

Emin – Muito! Sempre expus muito em galerias, mas o museu te dá uma sensação de prestígio muito grande, mostram que você é importante. E eu já tenho 50 anos, está acontecendo meio tarde na minha vida (risos).

Folha – Os filmes reunidos em “How it Feels” têm mais ou menos 20 anos.

Emin – Sim, tudo nessa exposição é histórico. Os filmes são antigos, os temas também, me vejo na tela e é como uma versão antiga de mim mesma. Mas foi o curador (o canadense Phillip Larratt-Smith) quem definiu esse recorte e eu entrei na dele.

Folha – Qual a importância dos filmes na sua obra?

Emin – Eu fazia muitos filmes nessa época, fim dos anos 90, andava sempre com uma super-8 ou algum outro equipamento barato à mão. Depois me aproximei da indústria do cinema e tudo foi me parecendo odioso. Não gostei das pessoas, do modo como opera essa indústria, e me afastei. Mas ainda faço alguns filmes de arte, ou mais pop, acabei de fazer um, aliás, que foi ao ar pela MTV.

Folha – “How it Feels” narra, basicamente, uma experiência sua de aborto. Primeiro, numa clínica, em que não dá certo, depois, um aborto natural. Fazer o filme fez o processo ser menos doloroso?

Emin – Sim, muito menos doloroso. Mas deixe eu esclarecer, antes de mais nada, “How it Feels” é um filme sobre o fracasso, mais do que sobre o aborto. Eu queria entender como uma mulher faz um aborto, vai trabalhar, finge que não aconteceu nada, e depois isso volta para ela de alguma forma no futuro. Eu acho que os abortos teriam de ser mais discutidos, entre casais, na família, na sociedade, o sentimento que vai crescendo na mulher depois que ela o pratica é horrível. Mas ao mesmo tempo eu não me arrependo, são situações em que não há alternativa, eu não tinha alternativa.

Fazer o filme e depois vê-lo muitas vezes fez com que eu me livrasse da dor. Fiz sessões numa galeria de Londres por algumas semanas, mostrava o filme duas vezes por dia. Vi mais de 30 vezes. Até o dia em que o assisti e não senti mais nada.

Folha – Como eram as sessões?

Emin – Eu armava um clima. Depois que todos entravam, fechava tudo, mas deixava uma janela para a rua aberta. Era perto da estação de Waterloo, em Londres, havia muito movimento. Então as pessoas ouviam os ruídos que há no filme enquanto estou falando e também os da rua, daquele exato momento, e a atmosfera ia ficando claustrofóbica, algumas pessoas desmaiavam.

Folha – E como você se sente hoje com relação a outros trabalhos antigos seus, como “The Bed”?

Emin – Eu a revi outro dia, em Frankfurt. Entrei nela outra vez depois de muitos anos. Foi estranho, porque ela tem o cheiro do meu passado. Como as camisinhas e os tampões ensanguentados são transportados em sacos plásticos, eles mantêm o cheiro.  Não uso mais tampões, porque não fico menstruada, nem uso camisinhas, porque não faço sexo. É como uma cápsula do tempo do meu passado.

Folha – Como foi sua passagem pelo Brasil no fim dos anos 90?

Emin – Espero que o Brasil tenha mudado muito. Fiquei chocada com os níveis de pobreza e com a diferença entre as pessoas muito ricas e as muito pobres em São Paulo. Além disso me senti insegura, assustada, me pareceu uma cidade hostil. Já no Rio, passei dez dias e choveu o tempo todo. Me impressionei com o frio, era dezembro e eu tinha de andar agasalhada. Ou seja, não foi a melhor das imagens e definitivamente não foi a imagem mais comum que as pessoas têm do Brasil. Espero que dessa vez seja diferente.

Folha – Qual a sua relação hoje com sua cidade-natal, Margate?

Emin – Acabo de fazer uma retrospectiva de minha obra lá e fiquei muito feliz, pois foram vê-la mais de 170 mil pessoas. A população da cidade é de 60 mil, ou seja, muita gente foi à cidade só para isso. É mais do que consigo reunir às vezes em Londres. Me alegrou porque sei que essas pessoas foram para lá e consumiram café, fish & chips, hotéis, e isso movimenta a economia local. É uma cidade muito pequena, com muitos problemas e carências. Fico feliz de ajudar um pouco e perceber que as pessoas recebem a arte como uma coisa boa. E ainda carreguei a tocha olímpica pela cidade quando ela passou por lá. Isso foi incrível!! (risos).

Folha – Quando você começou a ter sucesso, nos anos 90, a Inglaterra era outra, era a Inglaterra de Tony Blair e do britpop. O que mudou com um governo conservador agora com relação às artes?

Emin – Tony Blair nos decepcionou muito. Eu esperava mais, os artistas esperavam mais, e não aconteceu. Hoje estou num ponto da minha vida em que tenho de votar no que é bom para mim, então votei nos conservadores. Os conservadores se interessam mais pelas artes, as valorizam mais. Sei que é feio dizer isso porque supostamente os artistas têm de ser sempre de esquerda e votar nos trabalhistas, mas hoje eu não vejo nenhum sentido em votar nos trabalhistas. São os primeiros a achar que as artes não são importantes e cortar o apoio a elas se há uma crise.

Folha – Como vê o mercado de arte na Inglaterra hoje?

Emin – As artes estão muito bem posicionadas na sociedade, diferentemente do que acontece nos EUA. Na Inglaterra, elas têm espaço nos jornais, nos meios, são notícia. Uma notícia sobre um artista pode estar na primeira página de um jornal. Nos EUA isso nunca acontece.

 

 

 

 

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