DOSSIÊ - REPENSANDO AS CONEXÕES DE ARTE E ECOLOGIA
A produção e circulação de imagens foram cú... more DOSSIÊ - REPENSANDO AS CONEXÕES DE ARTE E ECOLOGIA
A produção e circulação de imagens foram cúmplices na imposição do capitalismo de modo a dificultar que a crise ecológica global atual seja visualizada. Este artigo investiga formas de contravisualidade e resistência no campo transcultural da arte. Está focado na exposição Principio Potosí: ¿Cómo podemos cantar el canto del Señor en tierra ajena? [Princípio Potosí: como podemos cantar a canção do Senhor em terra estranha?], realizada entre 2010-2011 em diferentes instituições de três países da Europa e América do Sul. Conduzido pela figura do diabo e suas diversas expressões, o texto aborda a exposição em termos da multiplicidade de perspectivas apresentadas e do exercício herético necessário para dissolver a violência potencial implícita nas manifestações e instituições artísticas. Nesses termos, a contravisualidade se desdobra em práticas de contrafeitiçaria anticapitalista.
Text for the catalogue of the exhibition "Lygia Pape: The Skin of ALL", Kunstsammlung Nordrhein-W... more Text for the catalogue of the exhibition "Lygia Pape: The Skin of ALL", Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Divided into three sections, this essay is an attempt to put into practice the pedagogical inner workings of the "Aranhadas" [spiderings] by Lygia Pape. We imagine ourselves among those curious onlookers gathering around the hole being dug by spider-woman, tangled up in the silken threads and drawn by the magnetic pull emanating from it. Curious to find out where this subterranean opening could lead us, we excavate, think, and weave along with the artist, asking ourselves where, how, and with whom she set up her webs. What roots was she digging for at a specific area as well as a specific historical context where her artistic-pedagogical practice was set? And what prospects first cast by the artist then are lessons to be learned in the twenty first century?
It was not a matter of aestheticizing the ruin or regeneration through certain cultural humanism,... more It was not a matter of aestheticizing the ruin or regeneration through certain cultural humanism, but rather a form of resistance that paid attention to the life that grows in the interstices of places where destruction seems to be all there is (...)
En esta conversación, Luiza Proença pregunta a Elvira Espejo sobre el trabajo que desarrolló como... more En esta conversación, Luiza Proença pregunta a Elvira Espejo sobre el trabajo que desarrolló como directora del MUSEF en La Paz, desde los conceptos de cadena operatoria hasta el cuidado mutuo.
This text investigates how the topological figure of the Möbius strip, famously propagated by Ba... more This text investigates how the topological figure of the Möbius strip, famously propagated by Bauhaus proponent Max Bill, was used in Brazil within dissident artistic practices of the 1960s and 1970s as a tool for reflection on the subject, alterity and public space. The Möbius strip is revisited in this essay as a conduit for thinking critically about possible subversions of Eurocentric forms, as well as various appropriations of traditional popular culture by modern and contemporary art in Brazil.
Caça ao tesouro: explorar documentos, experimentar documentos
Caza del tesoro: minerar docume... more Caça ao tesouro: explorar documentos, experimentar documentos
Caza del tesoro: minerar documentos, experimentar documentos
[The museum as tragedy, as clinic]
Entre 2015 e 2017, o Instituto Goethe São Paulo organizou ... more [The museum as tragedy, as clinic]
Entre 2015 e 2017, o Instituto Goethe São Paulo organizou a série de encontros denominados Episódios Museais, reunindo curadores de museus e independentes para discutir o futuro dos museus. O texto a seguir, fracionadamente, relata os encontros como exercícios de análise institucional, ao interpretarem e questionarem as ações e devires do trabalho museológico.
Convite à viagem: Rumos Artes Visuais 2011/2013, 2012
Entrevista com Renan Araújo e Gustavo Torrezan
Trabalhos de Ivan Grilo, Deyson Gilbert e Guilherm... more Entrevista com Renan Araújo e Gustavo Torrezan Trabalhos de Ivan Grilo, Deyson Gilbert e Guilherme Peters
Editors: Leonhard Emmerling, Latika Gupta, Luiza Proença, Memory Biwa
To think about the museum ... more Editors: Leonhard Emmerling, Latika Gupta, Luiza Proença, Memory Biwa
To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. Thirty-one essays by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
Free download under the creative commons license CC BY-NC:
Edited by Leonhard Emmerling, and Latika Gupta, Memory Biwa, and Luiza Proença
Why museums? Wh... more Edited by Leonhard Emmerling, and Latika Gupta, Memory Biwa, and Luiza Proença
Why museums? What for? Whoever believes they are just dusty tombs of the past needs to read this book. To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. The texts by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
DOSSIÊ - REPENSANDO AS CONEXÕES DE ARTE E ECOLOGIA
A produção e circulação de imagens foram cú... more DOSSIÊ - REPENSANDO AS CONEXÕES DE ARTE E ECOLOGIA
A produção e circulação de imagens foram cúmplices na imposição do capitalismo de modo a dificultar que a crise ecológica global atual seja visualizada. Este artigo investiga formas de contravisualidade e resistência no campo transcultural da arte. Está focado na exposição Principio Potosí: ¿Cómo podemos cantar el canto del Señor en tierra ajena? [Princípio Potosí: como podemos cantar a canção do Senhor em terra estranha?], realizada entre 2010-2011 em diferentes instituições de três países da Europa e América do Sul. Conduzido pela figura do diabo e suas diversas expressões, o texto aborda a exposição em termos da multiplicidade de perspectivas apresentadas e do exercício herético necessário para dissolver a violência potencial implícita nas manifestações e instituições artísticas. Nesses termos, a contravisualidade se desdobra em práticas de contrafeitiçaria anticapitalista.
Text for the catalogue of the exhibition "Lygia Pape: The Skin of ALL", Kunstsammlung Nordrhein-W... more Text for the catalogue of the exhibition "Lygia Pape: The Skin of ALL", Kunstsammlung Nordrhein-Westfalen, Düsseldorf
Divided into three sections, this essay is an attempt to put into practice the pedagogical inner workings of the "Aranhadas" [spiderings] by Lygia Pape. We imagine ourselves among those curious onlookers gathering around the hole being dug by spider-woman, tangled up in the silken threads and drawn by the magnetic pull emanating from it. Curious to find out where this subterranean opening could lead us, we excavate, think, and weave along with the artist, asking ourselves where, how, and with whom she set up her webs. What roots was she digging for at a specific area as well as a specific historical context where her artistic-pedagogical practice was set? And what prospects first cast by the artist then are lessons to be learned in the twenty first century?
It was not a matter of aestheticizing the ruin or regeneration through certain cultural humanism,... more It was not a matter of aestheticizing the ruin or regeneration through certain cultural humanism, but rather a form of resistance that paid attention to the life that grows in the interstices of places where destruction seems to be all there is (...)
En esta conversación, Luiza Proença pregunta a Elvira Espejo sobre el trabajo que desarrolló como... more En esta conversación, Luiza Proença pregunta a Elvira Espejo sobre el trabajo que desarrolló como directora del MUSEF en La Paz, desde los conceptos de cadena operatoria hasta el cuidado mutuo.
This text investigates how the topological figure of the Möbius strip, famously propagated by Ba... more This text investigates how the topological figure of the Möbius strip, famously propagated by Bauhaus proponent Max Bill, was used in Brazil within dissident artistic practices of the 1960s and 1970s as a tool for reflection on the subject, alterity and public space. The Möbius strip is revisited in this essay as a conduit for thinking critically about possible subversions of Eurocentric forms, as well as various appropriations of traditional popular culture by modern and contemporary art in Brazil.
Caça ao tesouro: explorar documentos, experimentar documentos
Caza del tesoro: minerar docume... more Caça ao tesouro: explorar documentos, experimentar documentos
Caza del tesoro: minerar documentos, experimentar documentos
[The museum as tragedy, as clinic]
Entre 2015 e 2017, o Instituto Goethe São Paulo organizou ... more [The museum as tragedy, as clinic]
Entre 2015 e 2017, o Instituto Goethe São Paulo organizou a série de encontros denominados Episódios Museais, reunindo curadores de museus e independentes para discutir o futuro dos museus. O texto a seguir, fracionadamente, relata os encontros como exercícios de análise institucional, ao interpretarem e questionarem as ações e devires do trabalho museológico.
Convite à viagem: Rumos Artes Visuais 2011/2013, 2012
Entrevista com Renan Araújo e Gustavo Torrezan
Trabalhos de Ivan Grilo, Deyson Gilbert e Guilherm... more Entrevista com Renan Araújo e Gustavo Torrezan Trabalhos de Ivan Grilo, Deyson Gilbert e Guilherme Peters
Editors: Leonhard Emmerling, Latika Gupta, Luiza Proença, Memory Biwa
To think about the museum ... more Editors: Leonhard Emmerling, Latika Gupta, Luiza Proença, Memory Biwa
To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. Thirty-one essays by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
Free download under the creative commons license CC BY-NC:
Edited by Leonhard Emmerling, and Latika Gupta, Memory Biwa, and Luiza Proença
Why museums? Wh... more Edited by Leonhard Emmerling, and Latika Gupta, Memory Biwa, and Luiza Proença
Why museums? What for? Whoever believes they are just dusty tombs of the past needs to read this book. To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. The texts by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
Catálogo/Catalogue 9ª Bienal do Mercosul | Porto Alegre
org Luiza Proença, Sarah Demeuse, Sofi... more Catálogo/Catalogue 9ª Bienal do Mercosul | Porto Alegre
org Luiza Proença, Sarah Demeuse, Sofia Hernandez Chong Cuy
livro que acompanhou a 31a Bienal de São Paulo, co-organizada por Benjamin Serrousi, Charles Esch... more livro que acompanhou a 31a Bienal de São Paulo, co-organizada por Benjamin Serrousi, Charles Esche, Galit Eilat, Luiza Proença, Nuria Enguita Maio, Oren Sagiv and Pablo Lafuente.
Coordenação editorial
A Nuvem é uma antologia para professores, mediadores e aficionados da
9a B... more Coordenação editorial
A Nuvem é uma antologia para professores, mediadores e aficionados da 9a Bienal do Mercosul | Porto Alegre (2013) Este livro foi publicado pela Fundação Bienal de Artes Visuais do Mercosul, na ocasião da 9a Bienal do Mercosul | Porto Alegre, de 13 de setembro a 10 de novembro de 2013.
An anthology for teachers, mediators,
and aficionados of the 9th Bienal do
Mercosul | Porto Alegr... more An anthology for teachers, mediators, and aficionados of the 9th Bienal do Mercosul | Porto Alegre. With texts by Bruno Latour, Vilem Flusser, Walter de Maria, Eduardo Viveiros de Castro, Maria Lind, among others.
I’m Not Who You Think I’m Not #33: The Day After the Museum, Akademie der Künste, X Berlin Bienni... more I’m Not Who You Think I’m Not #33: The Day After the Museum, Akademie der Künste, X Berlin Biennial, September 2018
Uploads
Papers by Luiza Proença
A produção e circulação de imagens foram cúmplices na imposição do capitalismo de modo a dificultar que a crise ecológica global atual seja visualizada. Este artigo investiga formas de contravisualidade e resistência no campo transcultural da arte. Está focado na exposição Principio Potosí: ¿Cómo podemos cantar el canto del Señor en tierra ajena? [Princípio Potosí: como podemos cantar a canção do Senhor em terra estranha?], realizada entre 2010-2011 em diferentes instituições de três países da Europa e América do Sul. Conduzido pela figura do diabo e suas diversas expressões, o texto aborda a exposição em termos da multiplicidade de perspectivas apresentadas e do exercício herético necessário para dissolver a violência potencial implícita nas manifestações e instituições artísticas. Nesses termos, a contravisualidade se desdobra em práticas de contrafeitiçaria anticapitalista.
Divided into three sections, this essay is an attempt to put into practice the pedagogical inner workings of the "Aranhadas" [spiderings] by Lygia Pape. We imagine ourselves among those curious onlookers gathering around the hole being dug by spider-woman, tangled up in the silken threads and drawn by the magnetic pull emanating from it. Curious to find out where this subterranean opening could lead us, we excavate, think, and weave along with the artist, asking ourselves where, how, and with whom she set up her webs. What roots was she digging for at a specific area as well as a specific historical context where her artistic-pedagogical practice was set? And what prospects first cast by the artist then are lessons to be learned in the twenty first century?
ESPECULAÇÕES SOBRE UMA FICÇÃO CIENTÍFICA TECNO AFRO XAMÂNICA FEMINISTA
SPECULATIONS ABOUT AN AFRO SHAMANIC FEMINIST TECHNO SCI-FI
Caza del tesoro: minerar documentos, experimentar documentos
Treasure Hunts: Mining Documents, Experiencing Documents
in Weather Permitting org. by Sofia Hernandez Chong Cuy, Luiza Proença and Sarah Demeuse
Entre 2015 e 2017, o Instituto Goethe São Paulo organizou a série de encontros denominados Episódios Museais, reunindo curadores de museus e independentes para discutir o futuro dos museus. O texto a seguir, fracionadamente, relata os encontros como exercícios de análise institucional, ao interpretarem e questionarem as ações e devires do trabalho museológico.
Trabalhos de Ivan Grilo, Deyson Gilbert e Guilherme Peters
Books by Luiza Proença
To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. Thirty-one essays by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
Free download under the creative commons license CC BY-NC:
Why museums? What for? Whoever believes they are just dusty tombs of the past needs to read this book. To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. The texts by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
A produção e circulação de imagens foram cúmplices na imposição do capitalismo de modo a dificultar que a crise ecológica global atual seja visualizada. Este artigo investiga formas de contravisualidade e resistência no campo transcultural da arte. Está focado na exposição Principio Potosí: ¿Cómo podemos cantar el canto del Señor en tierra ajena? [Princípio Potosí: como podemos cantar a canção do Senhor em terra estranha?], realizada entre 2010-2011 em diferentes instituições de três países da Europa e América do Sul. Conduzido pela figura do diabo e suas diversas expressões, o texto aborda a exposição em termos da multiplicidade de perspectivas apresentadas e do exercício herético necessário para dissolver a violência potencial implícita nas manifestações e instituições artísticas. Nesses termos, a contravisualidade se desdobra em práticas de contrafeitiçaria anticapitalista.
Divided into three sections, this essay is an attempt to put into practice the pedagogical inner workings of the "Aranhadas" [spiderings] by Lygia Pape. We imagine ourselves among those curious onlookers gathering around the hole being dug by spider-woman, tangled up in the silken threads and drawn by the magnetic pull emanating from it. Curious to find out where this subterranean opening could lead us, we excavate, think, and weave along with the artist, asking ourselves where, how, and with whom she set up her webs. What roots was she digging for at a specific area as well as a specific historical context where her artistic-pedagogical practice was set? And what prospects first cast by the artist then are lessons to be learned in the twenty first century?
ESPECULAÇÕES SOBRE UMA FICÇÃO CIENTÍFICA TECNO AFRO XAMÂNICA FEMINISTA
SPECULATIONS ABOUT AN AFRO SHAMANIC FEMINIST TECHNO SCI-FI
Caza del tesoro: minerar documentos, experimentar documentos
Treasure Hunts: Mining Documents, Experiencing Documents
in Weather Permitting org. by Sofia Hernandez Chong Cuy, Luiza Proença and Sarah Demeuse
Entre 2015 e 2017, o Instituto Goethe São Paulo organizou a série de encontros denominados Episódios Museais, reunindo curadores de museus e independentes para discutir o futuro dos museus. O texto a seguir, fracionadamente, relata os encontros como exercícios de análise institucional, ao interpretarem e questionarem as ações e devires do trabalho museológico.
Trabalhos de Ivan Grilo, Deyson Gilbert e Guilherme Peters
To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. Thirty-one essays by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
Free download under the creative commons license CC BY-NC:
Why museums? What for? Whoever believes they are just dusty tombs of the past needs to read this book. To think about the museum means to contemplate the consequences of globalization, the continuing presence of the colonial past in different parts of the world, and the relevance of the museum in education, cultural heritage and political and social discourse. The texts by philosophers, activists, curators and social scientists from four continents, shed light on a wide range of critical questions related to the future of the museum and the museum of the future—questions that are intertwined with how we envision our pasts, presents and futures as communities and countries.
org Luiza Proença, Sarah Demeuse, Sofia Hernandez Chong Cuy
A Nuvem é uma antologia para professores, mediadores e aficionados da
9a Bienal do Mercosul | Porto Alegre (2013) Este livro foi publicado pela Fundação Bienal de Artes Visuais do Mercosul, na ocasião da 9a
Bienal do Mercosul | Porto Alegre, de 13 de setembro a 10 de novembro de 2013.
and aficionados of the 9th Bienal do
Mercosul | Porto Alegre. With texts by Bruno Latour, Vilem Flusser, Walter de Maria, Eduardo Viveiros de Castro, Maria Lind, among others.