Papers by José Schneedorf
Iluminuras, Dec 27, 2022
Resumo As discursividades ocidentais contemporâneas sequenciam, em seus processos inclusivos e eq... more Resumo As discursividades ocidentais contemporâneas sequenciam, em seus processos inclusivos e equitativos, uma sucessão de embates de ordem ideológica e narrativa que marcaram o trajeto das diversidades ao longo do século XX. No ângulo da orientação não normativa, este artigo propõe correlacionar o encontro e o agrupamento das afetividades pares, possibilitando o adensamento de suas afirmações e representatividades, com a formação das megalópoles, que igualmente se propiciou e adensou no correr do mesmo século. Particularmente nas três décadas mais significantes para essa correlação-1960, 1970 e 1980, que afunilaram as Guerras Culturais em Guerras Sexuaiso trânsito de vidas direcionou-se do rural para o urbano nessa dupla motivação (afetiva e trabalhista), oportunizando a constituição de comunidades por reconhecimento identitário mútuo, gerando e gerindo territórios próprios dentro das cidades, simbólicos e físicos. A pandemia de HIV/AIDS, que tomará esses centros já no início da última dessas décadas, impactará todo este duplo formativo, e tenderá a impulsionar um inesperado movimento de regresso migratório. Palavras-chave: Diversidade. Migração. Territorialidades urbanas. AIDS. John Dugdale.
A partir do momento em que seus autores se descobrem terminais, as obras dos artistas Felix Gonza... more A partir do momento em que seus autores se descobrem terminais, as obras dos artistas Felix Gonzalez-Torres, Jose Leonilson e Pepe Espaliu protagonizam a ficcao de suas proprias mortes, enquanto morrem de fato. Despem inferiorizacoes conceituais ou espetacularizacoes sobre afeto e partida, para vestir uma iconografia testamentaria, autorizada pelo extremo circunstancial: a AIDS oitentista. Legitimam narrativas de grandes questoes universais contemporâneas, como direito a vida, senso comunitario, acesso terapeutico, politicas farmacologicas e propriedade industrial. Legam visoes de mundo que ajudam a moldar atuais articulacoes de resistencia comunal, tanto as pandemias em si quanto ao biopoder do arbitrio oficial sobre elas. Abstract From the moment when those artists discover themselves disillusioned, the Felix Gonzalez-Torres, Jose Leonilson and Pepe Espaliu artworks featured the fiction of their own deaths, while they are actually dying. Take them off its possible lower connotatio...
Revista Concinnitas, 2020
As três décadas mais recentes dos extremismos ideológicos e da celebrização instantânea são rela... more As três décadas mais recentes dos extremismos ideológicos e da celebrização instantânea são relacionadas, neste artigo, a partir da sucessão dos acontecimentos expositivos que as representam: de uma emblemática individual de Robert Mapplethorpe, The perfect moment, em 1990, diversos museus e galerias brasileiros herdam e sequenciam, nos dois últimos anos, os antagonismos das guerras culturais.
Iluminuras - revista do PPGAS/IFCH/UFRGS, 2022
RESUMO: As discursividades ocidentais contemporâneas sequenciam, em seus processos inclusivos e e... more RESUMO: As discursividades ocidentais contemporâneas sequenciam, em seus processos inclusivos e equitativos, uma sucessão de embates de ordem ideológica e narrativa que marcaram o trajeto das diversidades ao longo do século XX. No ângulo da orientação não normativa, este artigo propõe correlacionar o encontro e o agrupamento das afetividades pares, possibilitando o adensamento de suas afirmações e representatividades, com a formação das megalópoles, que igualmente se propiciou e adensou no correr do mesmo século. Particularmente nas três décadas mais significantes para essa correlação – 1960, 1970 e 1980, que afunilaram as Guerras Culturais em Guerras Sexuais – o trânsito de vidas direcionou-se do rural para o urbano nessa dupla motivação (afetiva e trabalhista), oportunizando a constituição de comunidades por reconhecimento identitário mútuo, gerando e gerindo territórios próprios dentro das cidades, simbólicos e físicos. A pandemia de HIV/AIDS, que tomará esses centros já no início da última dessas décadas, impactará todo este duplo formativo, e tenderá a impulsionar um inesperado movimento de regresso migratório.
ABSTRACT: The occidental discursivities contemporaneously proceed, in their inclusive and equitable processes, an ideological and narrative sort of battles that marked the diversities paths throughout the 20th century. In the non-normative orientation angle, this article proposes to correlate the encounter and grouping of related affections, allowing densification for their affirmations and representativities, with the megalopolises formation, which also propitiated and densified during the same century course. Particularly in the three most significant decades for this correlation – the 1960’s, 1970’s and 1980’s, which funneled the Culture Wars into Sex Wars – the lifes transit was directed from rural to urban, in its dual motivation (affective and laboral), providing opportunities for communities constitution, oriented by common ground identities, generating and managing their own territories within cities, both symbolic and physical. The HIV/AIDS pandemic, which will take over these centers at the very beginning of these decades last one, will impact this entire twofold structure, and will tend to drive an unexpected migratory return movement.
Ouvirouver - revista do PPG-IArtes/UFU, 2021
RESUMO: Os retratos do corpo negro e homossexual se apresentam na obra fotográfica do artista nig... more RESUMO: Os retratos do corpo negro e homossexual se apresentam na obra fotográfica do artista nigeriano Rotimi Fani-Kayode, falecido em decorrência da pandemia de Aids em seu início, como um registro poente de esvaecimentos e êxtases, repleto de encruzilhadas que empurram o uso biopolítico da mortalidade em direção ao consumo necropolítico da mortandade, e abrem dignas intersecções entre sexo e morte, emulando o encontro entre os destinos da diáspora e da fatalidade; e triangulando negritude, homossexualidade e enfermidade, bem como identidade, política e espiritualidade iorubá.
ABSTRACT: The black and homosexual body portraits presented in the photographic artwork of Nigerian artist Rotimi Fani-Kayode, whose Aids related death occurred in the pandemic early years, are a falling record of evanescence and ecstatic, and a solid intersection between the biopolitical and necropolitical crossed concepts of lives and populations use and consumption, opening worthy crossroads to sex and death, which emulates a very specific meeting point for diaspora and fatality; and triangulates blackness, homosexuality and disease, as well as identity, politics, and Yoruba spirituality .
Porto Arte - revista de artes visuais - PPGAV/UFRGS, 2021
RESUMO: A partir do momento em que seus autores se descobrem terminais, as obras dos artistas Fel... more RESUMO: A partir do momento em que seus autores se descobrem terminais, as obras dos artistas Felix Gonzalez-Torres, José Leonilson e Pepe Espaliú protagonizam a ficção de suas próprias mortes, enquanto morrem de fato. Despem inferiorizações conceituais ou espetacularizações sobre afeto e partida, para vestir uma iconografia testamentária, autorizada pelo extremo circunstancial: a AIDS oitentista. Legitimam narrativas de grandes questões universais contemporâneas, como direito à vida, senso comunitário, acesso terapêutico, políticas farmacológicas e propriedade industrial. Legam visões de mundo que ajudam a moldar atuais articulações de resistência comunal, tanto às pandemias em si quanto ao biopoder do arbítrio oficial sobre elas.
ABSTRACT: From the moment when those artists discover themselves disillusioned, the Felix Gonzalez-Torres, José Leonilson and Pepe Espaliú artworks featured the fiction of their own deaths, while they are actually dying. Take them off its possible lower connotations and spectacular endowments about sharing and leaving speeches, to put them on a testamentary iconography, authorized by the extremes circumstances: the 1980’s AIDS. Its legitimize narratives of great universal and contemporary issues, such as life rights, common sense, therapeutic access, pharmacological policies and industrial property. Its bequeath worldviews that help to shape present-day communal resistance articulations, both to the pandemics themselves and to the biopower of the government will over them.
Revista Estado da Arte - Iartes/UFU, 2020
RESUMO: O coletivo Gran Fury, ativo entre 1987 e 1996, permanece disseminador de conteúdo através... more RESUMO: O coletivo Gran Fury, ativo entre 1987 e 1996, permanece disseminador de conteúdo através do domínio público, que tanto sequencia quanto define sua prática. Sua trajetória permite demonstrar uma dinâmica de formação de coletivos de arte, ordenada por fenômenos agenciadores de identidade, separatistas e identificatórios, que apontam indivíduos a partir de certas características atributivas. Posicionados vis a vis nesse exceto social, tais indivíduos reconhecem-se e agrupam-se em razão das mesmas características. A arte gestada nesses lugares de exclusão tende a tornar-se pública por seus próprios meios e atuar em sentido de resistência, manobrando linguagens, materiais, suportes e formatos veiculares de obras que tanto operem quanto sedimentem o conceito de publicação de artista. ABSTRACT: Active between 1987 and 1996, Gran Fury artist collective remains a spreader of public domain contents, which both sequences and defines its practice. Its existence enable to demonstrate an art collectives formation dynamic, ordered by identity’s agency phenomenon, designative and separatist, which point to individuals out certain attributive characteristics. Positioned face to face under this social
exception, such individuals recognize each other and group themselves due to that granted characteristics. The art created in these exclusion places tends to become public by its own resources, and act on a resistence sense, maneuvering artworks languages, materials, supports and placement formats that both operate and sediment the artist
publication’s concept.
Revista Concinnitas - PPGARTES/UERJ, 2020
RESUMO: As três décadas mais recentes dos extremismos ideológicos e da celebrização instantânea s... more RESUMO: As três décadas mais recentes dos extremismos ideológicos e da celebrização instantânea são relacionadas, neste artigo, a partir da sucessão dos acontecimentos expositivos que as representam: de uma emblemática individual de Robert Mapplethorpe, The perfect moment, em 1990, diversos museus e galerias brasileiros herdam e sequenciam, nos dois últimos anos, os antagonismos das guerras culturais.
ABSTRACT: The three last decades of ideological polarities and instant celebrity find one and the other related and chained, in this article, by their art exhibition symbolisms: since The perfect moment, Robert Mapplethorpe 1990’s opening, up to the last two years, when several Brazilian museums and galleries inherit and have sequenced the antagonisms of cultural wars.
Revista Poéticas Visuais - FAAC/UNESP, 2013
RESUMO: Um panorama das exposições do artista plástico Banksy, com ênfase em sua precisa seleção ... more RESUMO: Um panorama das exposições do artista plástico Banksy, com ênfase em sua precisa seleção de endereços citadinos, e ápice nas aproximações entre a arte urbana contemporânea, por ele bem representada, e as pautas cronistas do cotidiano dos grandes centros da moderna Arte Pop, por ele herdadas na mesma medida que por Andy Warhol igualmente bem representadas. Esse recorte intramural de sua extensa produção compila sintomas correntes da arte originária e original das megalópoles e resume a perfectibilidade expositiva da pertença institucional da arte política, cidadã, através da emblemática mostra Warhol vs. Banksy, que permite traçar os muito pertinentes (e devidos) paralelos (e devires) históricos entre os dois artistas, representativos ambos dos sentidos críticos propostos pela arte, aprimorados quando entranhados nos aparentes becos que criticam.
ABSTRACT: A plastic artist Banksy exhibitions panorama, with emphasis in his accurate town addresses selection and apex in the approaches among the contemporary street art, by him well acted, and the modern Pop Art great centers daily chronicler, for him inherited as well as for Andy Warhol equally well acted. That intramural cutting in his extensive production compiles megalopolis originating and original art running symptoms, and summarizes the expositive perfectibility of the political, citizen art at institutional appendage, through the emblematic exhibition Warhol vs. Banksy, which allows to draw the very pertinent ones (and owed) historical parallels (and philosophical becoming) among the two artists, both representative from the critical art proposed, growth senses when embedded in these eming deadlocks that it criticizes.
CES Revista/Mestrado em Letras - Centro de Ensino Superior de Juiz de Fora, 2013
RESUMO: Inventário que se apropria do título de duas séries de obras setentistas do artista conce... more RESUMO: Inventário que se apropria do título de duas séries de obras setentistas do artista conceitual Cildo Meireles, despidos seus distintos adjetivos – ideológicos e antropológicos –, embora também sejam ambos válidos, para investigar significados dos espaços públicos de convívio, fruição, cultura e patrimônio, e de suas constantes dinâmicas de significantes sociais, indiciando atuais mutações – ou rotações – de noções reflexivas entre si de arte e vida, bem como de história e comunidade, de direito e territorialidade; e nelas significar ações e produções igualmente apropriadoras – sintomatologia contemporânea – do artista urbano Banksy alocadas nesses espaços, desafiando-os – predicado grafiteiro expandido – na mesma medida que o pensamento presente impõe desafios aos lugares da apresentação e da representação.
ABSTRACT: An inventory which appropriates itself of conceptual artist Cildo Meireles two 70’s series title, without their different adjectives – ideological and anthropological –, although are they also both valid ones, to investigate public spaces significances in their social intercourses, enjoyments, patrimonies and cultural opportunities, and their constant significant dynamics, indicting current mutations – or rotations – from reflexive notions amongst themselves about art and life, as well as history and community, rights and territoriality; so into them signify equally appropriating actions and productions – contemporary symptomatology – by street artist Banksy at those spaces allocated, challenging them – expanded graffiti’s attribute – in the same way as the present thinking imposes challenges to the presentation and representation places.
Lindoneia - revista do Grupo de estudos Estratégias da arte na era das catástrofes - EBA/UFMG
Lindoneia - revista do Grupo de estudos Estratégias da arte na era das catástrofes - EBA/UFMG
Revista Palíndromo - PPGAV/UDESC, 2009
RESUMO: A diligente marca grafiteira Banksy, que circunscreve os muros do globo desde meados da d... more RESUMO: A diligente marca grafiteira Banksy, que circunscreve os muros do globo desde meados da década passada, está na lanterna da diáspora artística de sua geração: exposições com residência nas potencialidades, exposições com residência na volta ao mundo – em ambos os sentidos. No paradoxo, esse heterônimo retém e preserva anonimamente a autoria (individual ou coletiva) e alcança repercussão mundial e aprovação popular novidadeiras para a arte urbana. Alcança também inserção: ainda maior ineditismo encontra-se na proposta coextensiva que Banksy hoje melhor representa entre os espaços expositivos intramuros e extramuros, tradicionalmente avessos entre si. Uma pendularidade para a qual os artistas de rua se apresentam cada vez mais aptos e eticamente harmonizados, selando a reorientação do contracultural mesmo dentro da contemporaneidade, e selando ainda mais a decantação da cizânia, da segregação mútua entre o institucional e o periférico: relevam-se contrariedades aparentemente terminais e revelam-se acessos de uns para os outros.
ABSTRACT: The diligent graffiti tag Banksy, which bounds globe walls since the middles of last decade, is in the flashlight of its generation’s artistic Diaspora: exhibitions dwelling in the potentialities, exhibitions dwelling in the run around the world – in both meanings. In the paradox, that pen name anonymously retains and preserves the authorship (individual or collective) and reaches world repercussion and popular approval faddist for the urban art. It also reaches insertion: even larger novelty is in the coextensive proposal which Banksy today best represents between the intramurally and extramurally expositive spaces, traditionally conversed between each other. An oscillation on which street artists present themselves more and more capable and ethically harmonized, sealing the contra-cultural reorientation even inside contemporaneity itself, and even more the decantation of the darnel, the mutual segregation between the institutional and the peripheral: annoyances seemingly terminal are exempted and accesses are revealed to one another.
Revista Travessias - PPGL/UNIOESTE, 2008
Resumo: Banksy é um codinome autoral, uma assinatura de grafites e estênceis que se assomam aos ... more Resumo: Banksy é um codinome autoral, uma assinatura de grafites e estênceis que se assomam aos muros, às fachadas, às ruas, às praças da Inglaterra desde a última década, propagando-se por outros tantos espaços urbanos ao redor do mundo (da Europa à América Latina, dos Estados Unidos à Palestina), um trânsito, uma atitude já típica da nova geração britânica de artistas do urbano em geral, grafiteiros em particular – tribo unida. Cognome aparentado, em possível analogia, ao termo inglês bank (banco, lucro, consumo, também ribanceira, muro de arrimo, obstáculo, resistência). De seu eficiente e eficaz anonimato conjetura-se encobrir um bretão de Bristol, Robert Banks, de 34 anos. Outra possibilidade estaria no pseudônimo abrigar um coletivo de artistas esforçando-se num mesmo raciocínio plástico e conceitual (bem-humorado e filosófico, reflexivo do real, do agora). Além do espaço público das ruas, Banksy também opera em original interferência e apropriação de outros espaços públicos: parques de diversões (como a Disneylândia), zoológicos, museus principalmente; em "arte-invasões" que inserem suas obras burlando ironicamente não apenas a vigilância, mas especialmente o acesso, o processo seletivo e a autorização. Este ensaio tenta encontrá-lo, criando – respeitante à ideologia e ao humor de seu anonimato – uma investigação, uma busca não pelo indivíduo ou pelo personagem, mas pelo que representa; pelo trajeto de sua arte e pela realidade que a causa e impulsiona, construindo um pequeno panorama de nossos tempos e alinhavando um diálogo, talvez uma dialética, a partir das palavras do próprio sorrateiro artista – alvo móvel, alvo invisível.
Abstract: Banksy is a graffiti and stencils authorial code name, a tag looming to the walls, to the façades, to the streets, to the squares of England since the early 90's, spreading for so many other urban spaces around the world (from Europe to Latin America, from USA to Palestine), a transit, an attitude already typical of the new British street artists – joint tribe. Kindred signature, in possible analogy, to the term bank (money, profit, consume, also cliff, support wall, obstacle, resistance). By his efficient and effective anonymity it's conjectured to hide a 34-year-old English man, Robert Banks, from Bristol. Another possibility would be the pseudonym sheltering a group of artists making an effort at the exact same plastic and conceptual reasoning (cheerful and philosophical, reflexive of the Real and the Now). Besides the street's public spaces, Banksy also operates in original interference and appropriation of other public spaces: amusement parks (like Disneyland), zoos, museums specially; in "art-intruders" which inserts his works ironically defrauding not only the surveillance, but even more the access, the selective process and the authorization. This essay probe to find him, creating – concerning to the ideology and the humor of his anonymity – an investigation, a search not for the person or the character, but for what depicts; for his art itinerary, for what it cause and impels, building a small landscape of our days and tacking a dialogue, maybe a dialectic, starting from the own sly artist words – activity target, invisible target.
Master's degree dissertation by José Schneedorf
Agradecimentos a quem orientou, quem ensinou, quem compartilhou, quem apontou, quem esclareceu. À... more Agradecimentos a quem orientou, quem ensinou, quem compartilhou, quem apontou, quem esclareceu. Àqueles que incentivaram, inspiraram, confortaram, alegraram, apoiaram, toleraram. Aos que conjugaram qualquer um desses verbos, ou mais de um deles. Que contribuíram, direta ou indiretamente, cientes ou não.
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Papers by José Schneedorf
ABSTRACT: The occidental discursivities contemporaneously proceed, in their inclusive and equitable processes, an ideological and narrative sort of battles that marked the diversities paths throughout the 20th century. In the non-normative orientation angle, this article proposes to correlate the encounter and grouping of related affections, allowing densification for their affirmations and representativities, with the megalopolises formation, which also propitiated and densified during the same century course. Particularly in the three most significant decades for this correlation – the 1960’s, 1970’s and 1980’s, which funneled the Culture Wars into Sex Wars – the lifes transit was directed from rural to urban, in its dual motivation (affective and laboral), providing opportunities for communities constitution, oriented by common ground identities, generating and managing their own territories within cities, both symbolic and physical. The HIV/AIDS pandemic, which will take over these centers at the very beginning of these decades last one, will impact this entire twofold structure, and will tend to drive an unexpected migratory return movement.
ABSTRACT: The black and homosexual body portraits presented in the photographic artwork of Nigerian artist Rotimi Fani-Kayode, whose Aids related death occurred in the pandemic early years, are a falling record of evanescence and ecstatic, and a solid intersection between the biopolitical and necropolitical crossed concepts of lives and populations use and consumption, opening worthy crossroads to sex and death, which emulates a very specific meeting point for diaspora and fatality; and triangulates blackness, homosexuality and disease, as well as identity, politics, and Yoruba spirituality .
ABSTRACT: From the moment when those artists discover themselves disillusioned, the Felix Gonzalez-Torres, José Leonilson and Pepe Espaliú artworks featured the fiction of their own deaths, while they are actually dying. Take them off its possible lower connotations and spectacular endowments about sharing and leaving speeches, to put them on a testamentary iconography, authorized by the extremes circumstances: the 1980’s AIDS. Its legitimize narratives of great universal and contemporary issues, such as life rights, common sense, therapeutic access, pharmacological policies and industrial property. Its bequeath worldviews that help to shape present-day communal resistance articulations, both to the pandemics themselves and to the biopower of the government will over them.
exception, such individuals recognize each other and group themselves due to that granted characteristics. The art created in these exclusion places tends to become public by its own resources, and act on a resistence sense, maneuvering artworks languages, materials, supports and placement formats that both operate and sediment the artist
publication’s concept.
ABSTRACT: The three last decades of ideological polarities and instant celebrity find one and the other related and chained, in this article, by their art exhibition symbolisms: since The perfect moment, Robert Mapplethorpe 1990’s opening, up to the last two years, when several Brazilian museums and galleries inherit and have sequenced the antagonisms of cultural wars.
ABSTRACT: A plastic artist Banksy exhibitions panorama, with emphasis in his accurate town addresses selection and apex in the approaches among the contemporary street art, by him well acted, and the modern Pop Art great centers daily chronicler, for him inherited as well as for Andy Warhol equally well acted. That intramural cutting in his extensive production compiles megalopolis originating and original art running symptoms, and summarizes the expositive perfectibility of the political, citizen art at institutional appendage, through the emblematic exhibition Warhol vs. Banksy, which allows to draw the very pertinent ones (and owed) historical parallels (and philosophical becoming) among the two artists, both representative from the critical art proposed, growth senses when embedded in these eming deadlocks that it criticizes.
ABSTRACT: An inventory which appropriates itself of conceptual artist Cildo Meireles two 70’s series title, without their different adjectives – ideological and anthropological –, although are they also both valid ones, to investigate public spaces significances in their social intercourses, enjoyments, patrimonies and cultural opportunities, and their constant significant dynamics, indicting current mutations – or rotations – from reflexive notions amongst themselves about art and life, as well as history and community, rights and territoriality; so into them signify equally appropriating actions and productions – contemporary symptomatology – by street artist Banksy at those spaces allocated, challenging them – expanded graffiti’s attribute – in the same way as the present thinking imposes challenges to the presentation and representation places.
ABSTRACT: The diligent graffiti tag Banksy, which bounds globe walls since the middles of last decade, is in the flashlight of its generation’s artistic Diaspora: exhibitions dwelling in the potentialities, exhibitions dwelling in the run around the world – in both meanings. In the paradox, that pen name anonymously retains and preserves the authorship (individual or collective) and reaches world repercussion and popular approval faddist for the urban art. It also reaches insertion: even larger novelty is in the coextensive proposal which Banksy today best represents between the intramurally and extramurally expositive spaces, traditionally conversed between each other. An oscillation on which street artists present themselves more and more capable and ethically harmonized, sealing the contra-cultural reorientation even inside contemporaneity itself, and even more the decantation of the darnel, the mutual segregation between the institutional and the peripheral: annoyances seemingly terminal are exempted and accesses are revealed to one another.
Abstract: Banksy is a graffiti and stencils authorial code name, a tag looming to the walls, to the façades, to the streets, to the squares of England since the early 90's, spreading for so many other urban spaces around the world (from Europe to Latin America, from USA to Palestine), a transit, an attitude already typical of the new British street artists – joint tribe. Kindred signature, in possible analogy, to the term bank (money, profit, consume, also cliff, support wall, obstacle, resistance). By his efficient and effective anonymity it's conjectured to hide a 34-year-old English man, Robert Banks, from Bristol. Another possibility would be the pseudonym sheltering a group of artists making an effort at the exact same plastic and conceptual reasoning (cheerful and philosophical, reflexive of the Real and the Now). Besides the street's public spaces, Banksy also operates in original interference and appropriation of other public spaces: amusement parks (like Disneyland), zoos, museums specially; in "art-intruders" which inserts his works ironically defrauding not only the surveillance, but even more the access, the selective process and the authorization. This essay probe to find him, creating – concerning to the ideology and the humor of his anonymity – an investigation, a search not for the person or the character, but for what depicts; for his art itinerary, for what it cause and impels, building a small landscape of our days and tacking a dialogue, maybe a dialectic, starting from the own sly artist words – activity target, invisible target.
Master's degree dissertation by José Schneedorf
ABSTRACT: The occidental discursivities contemporaneously proceed, in their inclusive and equitable processes, an ideological and narrative sort of battles that marked the diversities paths throughout the 20th century. In the non-normative orientation angle, this article proposes to correlate the encounter and grouping of related affections, allowing densification for their affirmations and representativities, with the megalopolises formation, which also propitiated and densified during the same century course. Particularly in the three most significant decades for this correlation – the 1960’s, 1970’s and 1980’s, which funneled the Culture Wars into Sex Wars – the lifes transit was directed from rural to urban, in its dual motivation (affective and laboral), providing opportunities for communities constitution, oriented by common ground identities, generating and managing their own territories within cities, both symbolic and physical. The HIV/AIDS pandemic, which will take over these centers at the very beginning of these decades last one, will impact this entire twofold structure, and will tend to drive an unexpected migratory return movement.
ABSTRACT: The black and homosexual body portraits presented in the photographic artwork of Nigerian artist Rotimi Fani-Kayode, whose Aids related death occurred in the pandemic early years, are a falling record of evanescence and ecstatic, and a solid intersection between the biopolitical and necropolitical crossed concepts of lives and populations use and consumption, opening worthy crossroads to sex and death, which emulates a very specific meeting point for diaspora and fatality; and triangulates blackness, homosexuality and disease, as well as identity, politics, and Yoruba spirituality .
ABSTRACT: From the moment when those artists discover themselves disillusioned, the Felix Gonzalez-Torres, José Leonilson and Pepe Espaliú artworks featured the fiction of their own deaths, while they are actually dying. Take them off its possible lower connotations and spectacular endowments about sharing and leaving speeches, to put them on a testamentary iconography, authorized by the extremes circumstances: the 1980’s AIDS. Its legitimize narratives of great universal and contemporary issues, such as life rights, common sense, therapeutic access, pharmacological policies and industrial property. Its bequeath worldviews that help to shape present-day communal resistance articulations, both to the pandemics themselves and to the biopower of the government will over them.
exception, such individuals recognize each other and group themselves due to that granted characteristics. The art created in these exclusion places tends to become public by its own resources, and act on a resistence sense, maneuvering artworks languages, materials, supports and placement formats that both operate and sediment the artist
publication’s concept.
ABSTRACT: The three last decades of ideological polarities and instant celebrity find one and the other related and chained, in this article, by their art exhibition symbolisms: since The perfect moment, Robert Mapplethorpe 1990’s opening, up to the last two years, when several Brazilian museums and galleries inherit and have sequenced the antagonisms of cultural wars.
ABSTRACT: A plastic artist Banksy exhibitions panorama, with emphasis in his accurate town addresses selection and apex in the approaches among the contemporary street art, by him well acted, and the modern Pop Art great centers daily chronicler, for him inherited as well as for Andy Warhol equally well acted. That intramural cutting in his extensive production compiles megalopolis originating and original art running symptoms, and summarizes the expositive perfectibility of the political, citizen art at institutional appendage, through the emblematic exhibition Warhol vs. Banksy, which allows to draw the very pertinent ones (and owed) historical parallels (and philosophical becoming) among the two artists, both representative from the critical art proposed, growth senses when embedded in these eming deadlocks that it criticizes.
ABSTRACT: An inventory which appropriates itself of conceptual artist Cildo Meireles two 70’s series title, without their different adjectives – ideological and anthropological –, although are they also both valid ones, to investigate public spaces significances in their social intercourses, enjoyments, patrimonies and cultural opportunities, and their constant significant dynamics, indicting current mutations – or rotations – from reflexive notions amongst themselves about art and life, as well as history and community, rights and territoriality; so into them signify equally appropriating actions and productions – contemporary symptomatology – by street artist Banksy at those spaces allocated, challenging them – expanded graffiti’s attribute – in the same way as the present thinking imposes challenges to the presentation and representation places.
ABSTRACT: The diligent graffiti tag Banksy, which bounds globe walls since the middles of last decade, is in the flashlight of its generation’s artistic Diaspora: exhibitions dwelling in the potentialities, exhibitions dwelling in the run around the world – in both meanings. In the paradox, that pen name anonymously retains and preserves the authorship (individual or collective) and reaches world repercussion and popular approval faddist for the urban art. It also reaches insertion: even larger novelty is in the coextensive proposal which Banksy today best represents between the intramurally and extramurally expositive spaces, traditionally conversed between each other. An oscillation on which street artists present themselves more and more capable and ethically harmonized, sealing the contra-cultural reorientation even inside contemporaneity itself, and even more the decantation of the darnel, the mutual segregation between the institutional and the peripheral: annoyances seemingly terminal are exempted and accesses are revealed to one another.
Abstract: Banksy is a graffiti and stencils authorial code name, a tag looming to the walls, to the façades, to the streets, to the squares of England since the early 90's, spreading for so many other urban spaces around the world (from Europe to Latin America, from USA to Palestine), a transit, an attitude already typical of the new British street artists – joint tribe. Kindred signature, in possible analogy, to the term bank (money, profit, consume, also cliff, support wall, obstacle, resistance). By his efficient and effective anonymity it's conjectured to hide a 34-year-old English man, Robert Banks, from Bristol. Another possibility would be the pseudonym sheltering a group of artists making an effort at the exact same plastic and conceptual reasoning (cheerful and philosophical, reflexive of the Real and the Now). Besides the street's public spaces, Banksy also operates in original interference and appropriation of other public spaces: amusement parks (like Disneyland), zoos, museums specially; in "art-intruders" which inserts his works ironically defrauding not only the surveillance, but even more the access, the selective process and the authorization. This essay probe to find him, creating – concerning to the ideology and the humor of his anonymity – an investigation, a search not for the person or the character, but for what depicts; for his art itinerary, for what it cause and impels, building a small landscape of our days and tacking a dialogue, maybe a dialectic, starting from the own sly artist words – activity target, invisible target.