Opening with Daniel Ribas, Maria Coutinho and Nuno Crespo
Institutional as Infrastructural Critique
In her essay "Between not Everything and not Nothing: Cuts towards Infrastructual Critique" (2016) the American art theoretician Marina Vidsmith argues for an expansion of the idea and practice of institutional critique in order to overcome its reduction to Western concepts of art and institutions. The notion of infrastructural critique demands nothing less than a (re-) consideration of the art and exhibition scene from the perspective of globally networked service, supply and transport systems. As I will argue in the course of my presentation, Vidsmith's proposal has far-reaching consequences for the re-evaluation of the relationship between work and context that is crucial for institutional critique, since her concept of infrastructure aims at time as a medium in which aesthetic production and daily reproduction overlap: The question to be discussed in exemplary artistic works aims, among other things, at the reassessment of the (post-)avant-garde distinction between the aesthetics of autonomy and functional aesthetics.
LUIZ CAMILLO OSORIO
Parangolés, Politics and the Museum
In 1965, a performance by Hélio Oiticica with his Parangolés and passistas from the samba school of Mangueira couldn't take place inside the Museum of Modern Art in Rio de Janeiro. From this inaugural scene, marked by interdiction, we will discuss some moments in the history of this conflictual relationship between the Parangolés and museums.
PEDRO DUARTE DE ANDRADE
Let me Dance: The Tropicalist Politics
At the end of the 1960s, the songs of the Tropicalismo movement in Brazil deviated from the engagement of protest songs without falling into the alienation of entertainment. Its critical dimension was not in the explicit message, but rather in indirect allegories; not only in social content, but in the aesthetic form. It was based in the arrangements, choirs and lyrics or in the presence of the body, dance and instruments, in line with the experiences of the artist Hélio Oiticica. This criticism was combined with joy and pleasure. In the contemporary debate, the tropicalist example can teach a freer and more powerful way of relating art and politics.
17h15 – 17h30
Kurt Cobain, Luuanda Rising; Rui Pinto Luuanda Leaks
A reflection on the role of the artist who uses his space for political and social thinking, placing the leader of Nirvana as the last pre-internet pop artist to have an attitude of political and social intervention in his work - the verse here we are, now entertain us shows is a good example on this. Luuanda Rising is a project that looks for heroes. Luuanda Leaks and Rui Pinto: in the middle of our reflection, we leave the 1990s and think about the present moment and the new digital space. This space allows for new types of raw material and different nuances of the hero's image, as well as for the need for a new global relationship with the concepts of social justice.
The decolonial potentiality of Marlene Monteiro Freitas’ choreographies
Distinguished in 2018 with the Silver Lion of the Venice Biennale, a prize for the choreographer revelation of her generation, Marlene Monteiro Freitas, born on the island of Sal, grew up in São Vicente, Cape Verde, and is currently based in Lisbon. Although her work evokes traces of the Cape Verdean cultural singularity, a country that was one of the most relevant transatlantic slave tradding posts, founded in the triangulation between Africa, Europe and America, the hybridity and disconcerting openness of her choreographic work go far beyond identity politics. Through strategies of condensation, disfigurement and displacement, and of her composite and over-determined figures, her dance pieces embody a decolonial potentiality that corrupts some of modernity postulates and dichotomies, with an overwhelming artistic singularity.