Nossa casa, minha vida - Visite um apartamento decorado
Autor: Leonardo Davino | Publicado: 2015-01-10T09:43:00-02:00

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Um visitante menos avisado pode ser levado a pensar
que em "Nossa casa, minha vida - Visite um apartamento decorado" Nelson
Leirner tenha ultrapassado a linha tênue sobre a qual sua obra (tão bem) sempre
se equilibrou e pendido para o panfletário - menos ambiguidade, mais crítica.

Leirner criou um apartamento modelo, sem ter um
modelo desses apartamentos como guia. Usou matérias da imprensa para criar sua
obra. De fato, reduzir a recriação de uma "moradia popular", na Sala
Inglesa da Fundação Eva Klabin, a lençol de poliéster, paredes coloridas,
flores de plástico e TV sintonizada na Globo pode soar como a negação de todo o
processo de politização(?) em cena no Brasil atual. 

Além disso, o excesso de cuidado e a arrumação asséptica
dos objetos vibram mais como cenário, eliminam a vida do lugar, como a paisagem
vazia vista pela falsa janela. Tudo é frio, sem viço, apesar do colorido. O uso
de imagens religiosas poderia negar também o neo-pentecostalismo em expansão no
Brasil. Mas a Bíblia está lá. Ocupa a mesma casa, entre Iemanjá e Maria.

Penso que Leirner desloca o "quarto dos
fundos" para o centro da "casa-grande". Ou, ainda, tomando a
metáfora da boneca russa matrioshka, utilizada pelo curador do projeto Respiração,
Marcio Doctors, podemos dizer que o apartamento criado por Leirner é a boneca
do centro, a com bigode, a estranha, o estanque.

Fica evidente a opressão da casa-apêndice
dentro daquela casa-museu. Porém, igual a essa, aquela também guarda coleções.
Diferentes, mas movidas pelo mesmo gesto: guardar para contar (nossa) história.
É esse contraste o que me interessa. É aí que reside a ironia. Leirner desarma
as situações de classe, os mecanismos de consagração do circuito das artes,
daquilo que é, ou pode ser, colecionável. 

Por fim, a Sala Inglesa e o apartamento popular brasileiro
estão no mesmo nível de voz e de valor estético e social. É a arte dialogando
com a tal horizontalidade evocada pelas ruas.