{"id":12966,"date":"2009-10-29T17:27:59","date_gmt":"2009-10-29T20:27:59","guid":{"rendered":"http:\/\/beta.idanca.net\/?p=12966"},"modified":"2010-01-25T18:03:07","modified_gmt":"2010-01-25T21:03:07","slug":"china-unmade-%e5%88%87%e5%a7%86%e2%80%a2%e7%9b%96%e5%8d%9a-chaim-gebber-enesoe-chan-galerias-%e2%80%93-construcoes","status":"publish","type":"post","link":"https:\/\/idanca.net\/china-unmade-%e5%88%87%e5%a7%86%e2%80%a2%e7%9b%96%e5%8d%9a-chaim-gebber-enesoe-chan-galerias-%e2%80%93-construcoes\/","title":{"rendered":"CHINA unMADE – ??\u2022?? Chaim Gebber, Enesoe Chan, Galerias \u2013 constru\u00e7\u00f5es | CHINA unMADE – ??\u2022?? Chaim Gebber, Enesoe Chan, galleries – constructions"},"content":{"rendered":"

Sheila Ribeiro\/dona orpheline est\u00e1 trabalhando em Nanjing, na China, pelos pr\u00f3ximos seis meses. De l\u00e1, ela vai relatar suas experi\u00eancias e observa\u00e7\u00f5es da cultura local como correspondente do idan\u00e7a<\/strong>. <\/em><\/span><\/p>\n

Island 6 Arts Center<\/strong><\/span><\/p>\n

Thomas Charveriat, da galeria Island 6 Arts Center, <\/em>foi quem me apresentou Chaim. Ele <\/em>explica que os artistas da dan\u00e7a chineses apresentam mais seus trabalhos na Europa do que na China, por motivos financeiros e pela burocracia. Na Europa (Alemanha e Fran\u00e7a) existem bolsas para artistas chineses. Na China n\u00e3o.<\/span><\/p>\n

Al\u00e9m disso, para que um artista apresente seu trabalho em um local com o direito de cobrar ingressos, deve ter um documento, uma licen\u00e7a. Para obt\u00ea-la, o artista deve submeter-se a dois procedimentos: um financeiro e um moral. Com o financeiro, descobrimos uma \u201cpol\u00edtica p\u00fablica\u201d que estimula o fim do m\u00e9tier do artista da dan\u00e7a. Para cada evento, deve-se pagar uma soma em torno de 5000RMB (R$ 1.400), 18% de imposto e 20% para o sistema de venda de ingressos \u201cmy piao\u201d. O procedimento que chamei de \u201cmoral\u201d diz respeito a enviar um v\u00eddeo do trabalho para a censura, que o avaliar\u00e1 e devolver\u00e1 ao artista um feed-back<\/em> com o que deve ser cortado. A censura pro\u00edbe as coisas mais banais que uma censura proibiria: nudez, sexo, falar de pol\u00edtica e viol\u00eancia. Como diz Chaim: \u201cn\u00e3o existe maior viol\u00eancia que a censura\u201d. Por isso, a dan\u00e7a contempor\u00e2nea na China vive nas galerias de arte, que, pelo que entendi, t\u00eam muito prazer em compartilhar os trabalhos de dan\u00e7a em seus locais. Sem financiamento direto, os artistas, \u00e0s vezes, recebem cach\u00eas de intermedi\u00e1rios culturais europeus.<\/span><\/p>\n

<\/em><\/span><\/p>\n

Art Shaker<\/strong><\/span><\/p>\n

Meia hora de t\u00e1xi me leva do centro de Shangai a uma periferia de horizonte largo, Yangpu, para o Art Shaker<\/em>. No meio de um centro comercial (com lojas de material de constru\u00e7\u00e3o, DHL e outros escrit\u00f3rios) o Art Shaker<\/em> aparece e relembra que a no\u00e7\u00e3o de centro versus periferia n\u00e3o se aplica mais \u00e0 metr\u00f3pole contempor\u00e2nea.<\/span><\/p>\n

Muito novo em tudo o que \u00e9, o Art Shaker <\/em>\u00e9 um complexo <\/em>de estrutura enorme, arquitetura de ponta, em quatro setores e cinco andares. Dois andares em funcionamento, com v\u00e1rias galerias. Os outros tr\u00eas, em constru\u00e7\u00e3o, s\u00e3o ao mesmo tempo o alojamento dos trabalhadores que os constroem. No centro, um espa\u00e7o a c\u00e9u aberto, tipo pra\u00e7a, interliga \u2013 shakera – <\/em>praticando o shake <\/em>que mistura os sabores dos andares, das pessoas, das galerias vivas e das em gesta\u00e7\u00e3o, sendo liminar dos sentidos da vis\u00e3o, da imensid\u00e3o, do deslumbramento do c\u00e9u e da constru\u00e7\u00e3o. Pedreiros e artistas trabalhando no mesmo espa\u00e7o – oper\u00e1rios, obreiros.<\/span><\/p>\n

Vinte e cinco \u201cpalavras de ordem\u201d estampadas em seu flyer<\/em> de divulga\u00e7\u00e3o orgulhosamente apresentam a vis\u00e3o de mundo deste espa\u00e7o para as artes multidisciplinares e indisciplinadas (selecionei 10 delas): futuro, mundo, brilho, tempero, explos\u00e3o, criatividade, artista, arte, sentidos, liberdade. E concluem: \u201cVoc\u00ea est\u00e1 em um fant\u00e1stico lugar onde neg\u00f3cios, tecnologia, arquitetura, moda e arte est\u00e3o fervendo\u201d. \u00c9 mole?<\/span><\/p>\n

<\/em><\/span><\/p>\n

Tomaz Zihunt Chow cura Liminal 800,<\/em> onde o trabalho de Chaim, One<\/em><\/strong> (foto), <\/em>est\u00e1 <\/em>programado. Chow se interessa pelo que vem a ser, hoje, a rela\u00e7\u00e3o dentro-fora, nas din\u00e2micas e espa\u00e7os que formam zonas liminares. Questiona os espa\u00e7os de tr\u00e2nsito geogr\u00e1fico (como corredores e janelas) relacionando-os \u00e0queles sociais (pessoas que seguem regras e as que as quebram) – lembrando que no pr\u00f3prio pr\u00e9dio tem um escorregador que liga o 5\u00ba andar ao 1\u00ba (ou o contr\u00e1rio). Para ele, o liminar traz incerteza e gera tens\u00e3o de equil\u00edbrio entre a criatividade humana e a inflexibilidade das regras. Assim, apresenta o conceito de liminaridade\u00a0como um divisor sutil onde n\u00e3o existem diferen\u00e7as de g\u00eaneros ou disciplinas e onde o latente se faz poss\u00edvel em um transitar inst\u00e1vel entre um dentro que n\u00e3o existe mais e um fora ainda impreciso e indefinido. Prop\u00f5e assim, as instala\u00e7\u00f5es interativas criadas por bailarinos e artistas visuais.<\/span><\/p>\n

<\/em><\/span><\/p>\n

Dragoneira<\/strong><\/span><\/p>\n

Falando em zona liminar, Eneso\u00e9 Chan se autodefine como um mesti\u00e7o sino-brasileiro nascido em Mo\u00e7ambique. Ele \u00e9 estilista e misturou em seu \u00faltimo projeto os temas do drag\u00e3o e da capoeira, para ele, casando China e Brasil. Seu slogan \u00e9 \u201cmoda invest\u00edvel, arte vest\u00edvel, moda consciente\u201d.\u00a0O conceito de moda invest\u00edvel troca de lugar com o da \u00a0arte que se pode incorporar como vestimenta e traz desejo e prazer na muta\u00e7\u00e3o, na constru\u00e7\u00e3o. A moda consciente de Chan dissolve a vis\u00e3o de que a moda \u00e9 uma padroniza\u00e7\u00e3o homologante propondo, antes de tudo, consci\u00eancia est\u00e9tica da pessoa e da roupa.<\/span><\/p>\n

J\u00e1 Chaim Gebber existe porque um s\u00edrio e uma chinesa fizeram amor; e tamb\u00e9m porque dois escravos de Minas Gerais fizeram amor e puderam ter um filho n\u00e3o escravo a partir da Lei do Ventre Livre.\u00a0Por isso, o conceito multi-prosp\u00e9ctico do shaker<\/em>, do limiar e da constru\u00e7\u00e3o transbordam da arquitetura da Art Shaker <\/em>e da curadorida de Chow pertencendo al\u00e9m da \u201ccultura\u201d, tamb\u00e9m dos detalhes e cruzamentos biogr\u00e1ficos dos dois artistas.<\/span><\/p>\n

Durante One,<\/em><\/strong> <\/em>de um som grave, obscuro e de pulsa\u00e7\u00e3o cont\u00ednua surge a voz de Ney Matogrosso (em uma r\u00e1pida cita\u00e7\u00e3o); uma can\u00e7\u00e3o de Gilberto Gil \u00e9 tocada e dan\u00e7ada por completo; uma voz em off <\/em>fala de mameluco, mesti\u00e7o, mulato, branco, \u00edndio brasileiro – em portugu\u00eas; o trabalho de Chaim, apesar de ser evento chin\u00eas, relembra que um artista traz consigo experi\u00eancias, formata\u00e7\u00f5es, valores, deslocamentos, sua mat\u00e9ria bruta. Chaim escreve em chin\u00eas (algo que n\u00e3o entendo). No encontro com o artista p\u00f3s-apresenta\u00e7\u00e3o, uma espectadora pergunta \u201cqual \u00e9 a sua motiva\u00e7\u00e3o para nos mostrar isso?\u201d Enfim, um jogo constante de um shaker<\/em>que \u00e9 inc\u00f3gnita nas rela\u00e7\u00f5es contempor\u00e2neas onde a tradu\u00e7\u00e3o n\u00e3o existe e n\u00e3o faz sentido.<\/span><\/p>\n

One<\/em><\/strong><\/span><\/p>\n

M\u00e1scaras brancas espalhadas no ch\u00e3o em um ambiente criado por luzes negras fosforescentes nos levam at\u00e9 os pratic\u00e1veis. No centro da cena, um homem em p\u00e9, de branco, p\u00e9s descal\u00e7os – em mix de coisa \u201coriental\u201d, capoeira e roupa para dan\u00e7ar. Ele est\u00e1 mascarado em meio \u00e0s mesmas muitas m\u00e1scaras. Ele est\u00e1 ali, im\u00f3vel, mas n\u00e3o intacto, nem passivo. Ele respira e est\u00e1 presente. A presen\u00e7a de Chaim d\u00e1 vida \u00e0s m\u00e1scaras que se tornam c\u00famplices, vigilantes e em exposi\u00e7\u00e3o. Com refer\u00eancias nas culturas em que viveu, uma s\u00e9rie de a\u00e7\u00f5es e rela\u00e7\u00f5es s\u00e3o objetos-ponte para que Chaim componha um panorama de \u201ccontexto\u201d: desde a m\u00e1scara branca, passando por um bonequinho \u201cbei\u00e7udo\u201d (representando um negro?), pap\u00e9is, escrita e trocas de figurino em cena.<\/span><\/p>\n

Em termos de background <\/em>dramat\u00fargico, o que me pareceu mais \u201cbrasileiro\u201d em termos de know-how<\/em> foi a necessidade de se explicar e de ser \u201ccompreendido\u201d em suas peculiaridades; a parte \u201ceuropeia\u201d seria a estrutura ir\u00f4nica e par\u00f3dica como se esse tipo de intelig\u00eancia fosse anti-poder. Segundo a simbologia crom\u00e1tica chinesa, a cor branca tem um sentido de morte e luto. O branco veste-se nestas m\u00e1scaras comunicando um evento incontrol\u00e1vel ou incompreens\u00edvel que transforma o rosto vivo (colorido) em m\u00e1scaras mortu\u00e1rias replicadas.<\/span><\/p>\n

A arquitetura de sua dan\u00e7a delimita c\u00f3digos da ordem do reconhecimento racional e social, onde, por consequ\u00eancia Chaim se mete \u201ca dan\u00e7ar\u201d novamente, ou, quer dizer, a movimentar-se em uma dan\u00e7a de outra ordem, a da abstra\u00e7\u00e3o. O corpo fica \u201cdoce\u201d (chegando \u00e0 necessidade de dar uma reboladinha t\u00edmida – representando um prazer?). Abstrata, por\u00e9m n\u00e3o t\u00e3o diferente do mish-mellow<\/em> que prop\u00f5e e disseca na \u201cprimeira parte contextual\u201d. Sua movimenta\u00e7\u00e3o vai do deslocar e expressar sensa\u00e7\u00f5es e sentimentos; a fazer refer\u00eancias e cita\u00e7\u00f5es; a penetrar em movimentos vindos da capoeira e do releasing<\/em> em uma bricolagem de formas reconhec\u00edveis e inventadas. \u00c0s vezes olha os objetos com uma pseudo estranheza, com a surpresa do primeiro encontro, se colocando tamb\u00e9m, como objeto de encontro para o espectador. O \u201csi mesmo\u201d se transforma em uma surpresa a cada vez.\u00a0 Ou ainda o \u201csi mesmo\u201d \u00e9 o \u201ccomo se fosse\u201d de si mesmo.<\/span><\/p>\n

Com as m\u00e1scaras traz as multiplicidades mascaradas que encontra em si mesmo, nos outros, nos grupos constitu\u00eddos por subjetividades e naqueles de dif\u00edcil acesso \u00e0 subjetividade. A m\u00e1scara singular e plural, forma o \u201cum\u201d. De certa maneira, Chaim parece fazer um convite: o de perceber a singularidade fixa de um rosto \u2013 do rosto\u00a0um<\/em><\/strong> \u2013 em um escorrer ininterrupto de identidades como os fragmentos de culturas que o artista constroi e shakera<\/em>.<\/span><\/p>\n

Enquanto se objetifica, a t\u00edtulo de v\u00e1rios exemplos, Chaim tem proposta pol\u00edtico-ideol\u00f3gica defendendo a mesti\u00e7agem. Transita entre o que domina e o que n\u00e3o, em v\u00e1rias representa\u00e7\u00f5es de si mesmo propondo m\u00faltiplas realidades que, para Chaim, constroi \u201co um\u201d fragmentado e viajante. O que Chaim tenta fazer do \u201cum\u201d n\u00e3o \u00e9 criar unifica\u00e7\u00e3o, nem reproduzir o um como identidade fixa e self<\/em>, ao contr\u00e1rio, mostra que o um pode existir tamb\u00e9m dentro de uma porosidade, gordinha, latente, redonda, pulsante, esperan\u00e7osa. \u00c9 quando o um n\u00e3o pode ser mais visto por um olhar da tradi\u00e7\u00e3o intelectual ocidental. Tudo se desloca, se shakera<\/em> e o um tamb\u00e9m. Enquanto isso Eneso\u00e9 Chan e o Art Shaker <\/em> vestem, revestem, investem e despem. <\/span><\/p>\n

Sheila Ribeiro\/dona orpheline \u00e9 artista em dan\u00e7a contempor\u00e2nea, novas m\u00eddias, publicidade e cinema. Interessada pelas din\u00e2micas de poder, trata tens\u00f5es p\u00f3s-coloniais, ilus\u00e3o, deslocamento e desejo na comunica\u00e7\u00e3o contempor\u00e2nea, trabalhando sempre em tr\u00e2nsito. Faz duo com seu marido, o antrop\u00f3logo Massimo Canevacci Ribeiro. Colabora tamb\u00e9m com Beno\u00eet Lachambre, Laurent Goldring, Sophie Deraspe, Edgard Scandurra, entre outros.<\/strong><\/span><\/p>\n

Sheila Ribeiro\/dona orpheline is working in Nanjing, China, for the next six months. She will report on her experiences and observations about the local culture as a correspondent for idan\u00e7a<\/strong>.<\/em><\/span><\/p>\n

Island 6 Arts Center <\/strong><\/span><\/p>\n

Thomas Charveriat, from the Island 6 Arts Center gallery, was the one who introduced me to Chaim. He explained that Chinese Dance Artists show their work in Europe more than they do in China and so for financial reasons and because of the bureaucracy. In Europe (Germany and France) there are grants for Chinese artists. But not in China.<\/span><\/p>\n

Besides, once an artist presents her work in a place that has the right to charge for tickets, she must have a document, a license. In order to get it, the artist must submit to two procedures: a financial one and a moral one. Through the the financing issues, we found out a \u201cpublic policy\u201d that stimulates the end of the Dance artist m\u00e9tier. Each event one must pay a sum of about 5000RMB (R$1.400), 18% taxes and 20% for ticket selling system \u201cmy piao\u201d. The procedure I call \u201cmoral\u201d involves submitting a video of the work for censorship, which evaluates the material and sends a feedback of what must be cut. The censorship forbids the universal trivial things around censorship itself: nudity, sex, discussing politics and violence. As Chaim says: \u201cthere is no greater violence than censorship\u201d. For that reason, Contemporary Dance in China takes place in Art, which – from what I could see – are happy to share Dance works in their spaces Without direct funding, artists often receive their payment through European cultural intermediates.<\/span><\/p>\n

Art Shaker<\/strong><\/span><\/p>\n

A half-hour taxi ride takes me from downtown Shangai to a wide horizon periphery, Yangpu, to Art Shaker. In the middle of a commercial center (with building material stores, DHL and other offices), Art Shaker emerges and reminds us that the idea of center versus periphery no longer applies to the contemporary metropolis.<\/span><\/p>\n

Very new in everything, Art Shaker is a complex with a huge structure, brand new architecture, with four sectors and five floors. Two floors are already working, with many galleries. The other three, still under construction, are being used at the same time as lodging by the workers building them. In the center, an open sky square-like space interconnects \u2013 shakes \u2013 practicing the shake that mixes the flavors of the buildings, the people, the alive galleries and those still in the womb, a threshold of senses of vision, vastness, dazzle of the sky and the building. \u201cOpera\u201d workers, side by side.<\/span><\/p>\n

Twenty five slogans printed in the advertising flyers proudly present the worldview of the space for multidisciplinary and undisciplined arts (I selected ten of them): future, world, shine, seasoning, explosion, creativity, artist, senses, freedom. And the conclusion is: \u201cYou are in a fantastic place where business, technology, architecture, fashion and art are sizzling\u201d. Got it?
\n<\/span><\/p>\n

Tomaz Zihunt Chow curates Liminal 800 where Chaim\u2019s work, One<\/strong><\/em>, was shown. Chow is interested in what the inside-out relation means in dynamics and spaces that form liminal zones. He questions the geographic transit spaces (like corridors and windows) relating them to social ones (people who follow rules and people who break them) – keeping in mind that the building itself has a slide that connects the 5th to 1st floor – (or the other way around). For him, the in-between brings uncertainty and creates balance tensions between human creativity and the inflexibility of rules. Thus, he presents the concept of liminality as a subtle divider in which there are no differences between genders or disciplines; where what is latent becomes possible in an unstable transit between an inside that doesn\u2019t exist anymore and an outside that is still imprecise and undefined. Therefore, he proposes interactive installations created by Dancers and Visual Artists.<\/span><\/p>\n

Dragoneira<\/strong><\/span><\/p>\n

Speaking of liminal zones, Eneso\u00e9 Chan defines himself as a mixed Chinese-Brazilian born in Mozambique. He is a Fashion Designer and in his latest project he mixed dragon and capoeira themes, marring China and Brazil. His slogan is \u201cunwearable fashion, wearable art, conscious fashion\u201d. The concept of unwearable fashion changes place with the one of art. An art that could be incorporated as clothing and which brings desire and pleasure in mutation, in construction. Chan\u2019s conscious fashion dissolves the notion that fashion is homogeneous standardization, proposing, above all, the aesthetic awareness of the person and the clothing.<\/span><\/p>\n

Chaim Gebber exists because a Syrian man and a Chinese woman made love and also because two slaves from Minas Gerais, a Brazilian state, also made love and were able to have a non-slave son after the \u201claw of the free womb\u201d. That is why the multi-perspective concept of the shaker, of the liminal and of construction overwhelm the Art Shaker architecture and Chow curatorship, belonging – beyond \u201cculture\u201d \u2013 also the two artists biographic crossings<\/span><\/p>\n

During One<\/strong><\/em>, from a deep, obscure, continuous pulsating sound emerges the voice of Ney Matogrosso (in a quick citation); a Gilberto Gil song is completely played and danced; a voice-over talks around mameluco, mestizo, mulato, white man, Brazilian native \u2013 in Portuguese; Chaim writes in Chinese (something I don\u2019t understand). At the post-show meeting with the artist, a spectator asks \u201cwhat is your motivation to show us that?\u201d In spite of being a Chinese event, Chaim\u2019s work reminds us that an artist brings along experiences, formats, values, displacements: his raw material. It\u2019s a constant game of a \u201cshaker\u201d that is an enigma in contemporary relationships in which translation doesn\u2019t exist and doesn\u2019t make any sense.<\/span><\/p>\n

One<\/strong><\/span><\/p>\n

White masks scattered on floor in an environment created by phosphorescent blacklights lead us to the scaffolds. In the center of the stage, a man stands, dressed in white, bare feet \u2013 a mix of \u201cEastern\u201d outfit, Capoeira and dance clothing. He is wearing a mask amidst the same many masks. He is standing there, still, but not intact, neither is he passive. He breathes and he is present. Chaim\u2019s presence gives life to the masks that become his witness, survailing and exhibited.<\/span><\/p>\n

Based on references to the cultures in which he has lived, a series of actions and relations are bridge-objects for Chaim to compose a panorama of \u201ccontext\u201d: from the white mask to a big-lipped doll (would it be a reference to a \u201cblack man\u201d?), papers, writings and costume changes on stage.<\/span><\/p>\n

In terms of dramaturgic background, what seemed most \u201cBrazilian\u201d to me, in terms of know-how was the need to explain himself and to be \u201cunderstood\u201d in his peculiarities; the \u201cEuropean\u201d part would be the ironic and parodic structure as if this kind of intelligence were anti-power. According to the Chinese chromatic symbology, the color white has a meaning of death and mourning. The white is dressed in these masks communicating an uncontrollable or incomprehensible event that transforms the living face (colorful) in replicated mortuary masks.<\/span><\/p>\n

His dance\u2019s architecture outlines rational and social codes through which, therefore, Chaim comes \u201cto dance\u201d again, or, I mean, to move in a dance of a different order, that of abstraction. The body becomes \u201csweet\u201d (reaching a point where he needed to shyly sway his hips \u2013 representing some pleasure?). It is abstract, but not so different from the mish-mellow he proposes and dissects \u201cin the first contextual part\u201d. His movement goes from displacing and expressing sensations and feelings; to making references and citations; penetrating in movements derived from Capoeira and release in a bricolage of recognizable and invented shapes. Sometimes he looks at the objects with pseudo-astonishment, with the surprise of a first encounter, presenting himself also as an object of an encounter with the spectator. \u201cHimself\u201d turns into a surprise at each time. Better yet, \u201chimself\u201d is the \u201cas if\u201d of himself.<\/span><\/p>\n

With the masks, he brings the masked multiplicities that are found within himself, in others, in groups composed by subjectivities and in those of difficult access to subjectivity. The singular and plural mask creates a \u201cone\u201d. Somehow, Chaim seems to be making an invitation: to realize the fixed singularities of a face \u2013 the one face \u2013 in an uninterrupted identity slide like the fragments of cultures the artist builds and shakes.<\/span><\/p>\n

While he objectifies himself, in the quality of several examples, Chaim has a political-ideological proposal and defends miscegenation. He transits between what he dominates and what he doesn\u2019t, in various self representations, proposing multiple realities that, for Chaim, build the fragmented and travelling \u201cone\u201d. What Chaim tries to do with the \u201cone\u201d is not to create unification, neither to reproduce the \u201cone\u201d as a fixed identity and self, on the contrary, he shows that the \u201cone\u201d can also exist within a fat, latent, round, pulsating, hopeful porosity. That\u2019s when the \u201cone\u201d can no longer be seen from a traditional western intellectual perspective. Everything shifts, \u201cshakes\u201d and the \u201cone\u201d also does. Meanwhile Eneso\u00e9 Chan and Art Shaker dress, redress, invest and undress.<\/span><\/p>\n

Sheila Ribeiro\/dona orpheline is a contemporary dance, new medias, advertisement and cinema artist. Interested in power dynamics, she deals with issues of post-colonial tensions, illusion, displacement and desire, always working in transit. She forms a duo with her husband, anthropologist Massimo Canevacci Ribeiro. She also collaborates with Beno\u00eet Lachambre, Laurent Goldring, Sophie Deraspe, Edgard Scandurra, among others.<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

No segundo texto da s\u00e9rie CHINA unMADE, Sheila Ribeiro\/dona orpheline escreve sobre dois artistas: Gebber e Chan, e sobre galerias de arte na China. Acompanhe a s\u00e9rie e deixe seu coment\u00e1rio!<\/p>\n","protected":false},"author":1808,"featured_media":12967,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2,28],"tags":[3474,3433,3475],"yoast_head":"\nCHINA unMADE - ??\u2022?? Chaim Gebber, Enesoe Chan, Galerias \u2013 constru\u00e7\u00f5es | CHINA unMADE - ??\u2022?? 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