Using only the truth, or real statements that claim to have no recollection of well-documented facts, Ianni takes one step further and creates a new, unstable terrain, where shame and its logic of firing and forgetting emerge to the surface only to be blinded by official imagery, the pristine drawings and maps that served as blueprints for the structuring of a spotless new capital.
More explicit is Plea, one of her latest works, shown at the Bienal de São Paulo last year, which creates a mash-up of two historical periods marked by violence that was systematically perpetrated by the state. In order to film Plea, Ianni took Debora Maria da Silva, a mother who lost her son to police violence, to the Perus cemetery in the north of São Paulo. The cemetery contains mass graves that were used by the military dictatorship to bury the bodies of political dissidents and is now used as a burial ground for unidentified corpses of those shot and killed during police operations. Ianni shows da Silva as she walks around the cemetery reciting a discourse against the violence that sent so many to these unmarked graves.
The artist believes the mournful aspect of this piece foreshadows the dark political climate that soon settled in the country after the reelection of president Dilma Rousseff late last year and the ensuing economic crisis. “There seemed to be positive things on the horizon, but everything just crumbled so tragically,” says Ianni. “Our government has entered a neoliberal dynamic and the elite has lost its inhibition to declare itself reactionary.”