It would be too much to ask the fundamentalists who assaulted the seats of Parliament, the Presidency and the Supreme Court in Brasilia, and the inspirer of these acts, Jair Bolsonaro, to be aware that there they broke, with sticks and stones, a beautiful part of the historical heritage of that country.
The generators of hatred and violence, comparable only to the practitioners of fascism wherever they are, attacked and destroyed part of the works of that great among the greats, Oscar Niemeyer, who designed some of the futuristic buildings that were attacked.
Did Bolsonaro and his acolytes know that what they were destroying was created by the same Brazilian who conceived the current UN building in New York, or the city of Brasilia itself, where the haters set up camp waiting for the order to attack the very culture of their country?
At the Planalto Palace, the fascist hordes pierced six times the main painting exhibited there, called As Mulatas (The Mulatto Women), the work of another great Brazilian cultural artist, Emiliano Augusto Cavalcanti de Albuquerque e Melo, better known as Di Cavalcanti, a Brazilian painter, illustrator, caricaturist and muralist.
Similarly, in the Congress, an iconic building with two tall towers raised on two domes, one of them inverted, the Araguaia stained glass window, the work of the Franco-Brazilian artist Marianne Peretti, a stained glass artist and the only woman who worked with Niemeyer in the construction of Brasilia, was damaged.
These circumstances could be aggravating, when those who attacked and destroyed part of the buildings where the power in Brazil is based, could be charged for having been involved in an anti-cultural action, in the worst style of what was done by the Nazi hordes in many capitals of European and world culture.
Translated by ESTI
