Page 88 - Metropolis Magazine nº115

come looking for the postcard Hugo Vieira da Silva: No, but overlooked. Why is that? Because
they saw on the internet! But understanding it will never be they're embroiled in a series of
then they want to eat and go to possible. But to respect it in some controversies, which have now
Starbucks and McDonald's. And way... come to light, precisely about his
Segalen's attitude, which I hope life and the fact that he lived with
the film has, is to value what Paulo MilHomens: To respect his minors, based on readings that
is different. The aesthetics of work is to know him! are completely out of context,
diversity that Segalen proposes far removed from the time. The
is the value of what is different, The movie's debut and French painter has been banned
of what is different from me, forthcoming career. from a number of places due to
from my culture, and having Hugo Vieira da Silva: The film a form of cultural policing and
a voice that is different from has generated a lot of antibodies, cultural cleansing. Even here in
mine and me receiving it! To be if you ask me! I can confirm Vienna, a large retrospective of
in that position of generosity that a series of antibodies have his work is currently on display,
and intelligence of being able already been raised in relation and it is highly criticised simply
to receive it and try to perceive to Paul Gauguin. In everything because it exists. It is there.
it, to understand it even if, that is commissioned. Paul Impolite newspapers are writing
at the limit, there is always a Gauguin has problems without that the show should be closed,
total impossibility of this being being shown these days. Paul shut down, and so on. The film
fulfilled completely! Gauguin's paintings are often has suffered from censorship

88 METROPOLIS FEBRUARY 2025