Urban Activists take over the Art World
Here are two small texts that explains what is happening in Sao Paulo/Rio, and how contemporary Brazilian artists deal with public space.
the editor
Urgency
contra-filé, Lucas Bambozzi et_and Ricardo Rosas
This textual collage on “the urgency of the real” addresses several of the current crises affecting Sao Paulo. Edited from months of conversations between artists and urban activists, it highlights the major concerns of those living and working in the city: homelessness, the redevelopment of public space, social and economic equality. The diversity of opinions expressed here, relating to the political efficacy of art, processes of collaboration and networking, the function of art institutions, as well as tactics for communicating with the public at large, reveal the importance of intervention for a growing number of contemporary Sao Paulo artists.
Rubens Mano
An Art of Space and its Production
par_by Laymert Garcia dos Santos
At the same time constituted by and a constituent of space, the work of Rubens Mano utilizes the strategies of intervention, installation and photography to transform the subject into “the perceived.” It is in this way, according to the author, that Mano experiments with the use of spatial relationships that interrogate the passage of the real to the virtual, of the public to the private, of the territory of art to the urban context. Drawing from the writings of Félix Guattari, Gilles Deleuze and Michel Foucault, the author concludes that the public and political bearing in Mano’s work consists in making the spectator into a heterotopic citizen.
the editor
Urgency
contra-filé, Lucas Bambozzi et_and Ricardo Rosas
This textual collage on “the urgency of the real” addresses several of the current crises affecting Sao Paulo. Edited from months of conversations between artists and urban activists, it highlights the major concerns of those living and working in the city: homelessness, the redevelopment of public space, social and economic equality. The diversity of opinions expressed here, relating to the political efficacy of art, processes of collaboration and networking, the function of art institutions, as well as tactics for communicating with the public at large, reveal the importance of intervention for a growing number of contemporary Sao Paulo artists.
Rubens Mano
An Art of Space and its Production
par_by Laymert Garcia dos Santos
At the same time constituted by and a constituent of space, the work of Rubens Mano utilizes the strategies of intervention, installation and photography to transform the subject into “the perceived.” It is in this way, according to the author, that Mano experiments with the use of spatial relationships that interrogate the passage of the real to the virtual, of the public to the private, of the territory of art to the urban context. Drawing from the writings of Félix Guattari, Gilles Deleuze and Michel Foucault, the author concludes that the public and political bearing in Mano’s work consists in making the spectator into a heterotopic citizen.
posted by Perambulacao at 10:42 AM
4 Comments:
We have now in Brazil a lot of groups (colectives) working in urban space, with social concernings in many diverse strategies of intervention. This phenomena in Brazil are answers to the the very hard conditions of working with art in general (few funds, bad spaces, old ways of working/ tinking art, no chance for experimental in institutions). The stategies are not only for find spaces for a show, but also to try to have more connection with the public. In Brazil, basic school education conditions are very bad and in that way, for many artists make art is more than make formal questions. I guess the curator, in that panorama, has also a important commitment, in a way to arrange links abroad and inside country to make possible for artists to show their works and spread discussions about different ways of think and make art. i am not sure about any 'curator obsession' we have in Brasil, but I try to work with artists who have political and social concernings and who are not just interest to develop art pieces to sell in art galleries. In the other hand, in Brazil we live a kind of crisis: we need the art market to survive, at the same time we hate it. Many artists prefer to work in a collective way than be alone fighting for a place in the market. But art need governamental support, and this is something we dont have at all. Maybe that is why we have a such strong production in 'periferia' (as here in Europe people are calling our countries...)
And I am sorry for my periferic, bad and confusing english. I dont care... You do?
Dani,
This is what I mean. Now we are getting somewhere... this is what we have to talk about; the difference between the artistic practice here in the Netherlands and in Brazil. I like to hear more about how it is for an artist in Latin America!
Rob
Great! This is the main issue of this project. Pic Nic tomorrow afternoon!
Dani,
I think that you think that in Holland or lets say Europe Art has only formal qualifications. I tell you, it's not. at the same time there is nothing wrong with formal art, it can be very moving. In Europe we have a strong a new movement in art; art and documentary, or let's say, artists are developing new documentary styles. This is interesting in relation to the 'street art' in Brazil.
An other presumption that you have about Europe is that there is a lot of money involved by the gouvernement. So, what you actually say is that being an artist in Europe is easier than being an artist in Brazil. Again this is way of the truth. The reality is that we also have to look for ways to keep doing what we do. What I hear from the Brazilian artists is that actually there are very interesting opportunities in Brazil, maybe even more interesting than in Europe. I even dare to say that you are better of than us!
R
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