REVISTA ZUM 15
Um homem amazÃ´nico
Ã‰der Oliveira & Daniela Labra
Publicado em: 03 de janeiro de 2019
Um homem amazÃ´nico
Ã‰der OliveiraÂ (1983) Ã© artista paraense. Recebeu o prÃªmio de arte Lingener, da Alemanha, em 2016, e o prÃªmio Pipa de Voto Popular em 2017.
Daniela LabraÂ (1974) Ã© curadora de artes visuais e crÃtica de arte.
archieve action.art Ã© um arquivo material de livros, catÃ¡logos e folhetos de exposiÃ§Ãµes, cartazes e material audiovisual relacionado com a aÃ§Ã£o. action art Ã© uma investigaÃ§Ã£o em si mesma, que tem forma de magazine electrÃ´nico. Estrutura-se em trÃªs Ã reas: a performance, a manifestaÃ§Ã£o e a fragmentaÃ§Ã£o. Em cada Ã¡rea se encontrarÃ£o artÃculos, artistas, entidades, eventos e bibliografia. Em espanhol.
For the publication of issue #55, the digital journal InterArtive will publish a special issue dedicated to diverse aspects of the current discussion about Art & Mobility. Theorists, critics, curators and artists who work on the subject are invited to participate.
Artistic practices and creativity are directly and closely linked to mobility. A great part of the art and architecture that we know would not have existed if it werenâ€™t for the urge to travel, to discover, the need to go beyond the limits â€“ territorial and intellectual â€“ of the known. To reflect on mobility today means to widen the perspective, to go beyond the concepts of travel, discovery and displacement; it calls for an analysis of the social, political, economic and cultural phenomena linked to it.
Texts should be around 800 to 3000 words: Format Guidelines (pdf)
The works and art projects will be published in the form of Virtual Gallery (images and short text): Format Guidelines (pdf)
Proposals should be submitted up until July 15, 2013, by mail at: [email protected]
Franklin Cassaro. Festival Performance Arte Brasil, MAM RJ, 2011
The Brazillian experience – Puzzling Morality and the effusive body (part 1)
By Cristiane Bouger
When asked about her perspective on performance, the independent curator Daniela Labra stated with simultaneous confidence and perplexity: â€œBrazilians are performative. We deal with the body in a libertarian way, but we are also impregnated with moralisms.â€ The paradox raised by Labra can be identified in almost every aspect of Brazilian culture and social behavior. Nevertheless, her statement also addresses a poignant criticism to the conservatism of art institutions.
Labra has been working as a researcher and curator of performance works since 2004. In 2011 she conceived the Festival Performance Arte Brasil at the Museu de Arte Moderna do Rio de Janeiroâ€“MAM RJ. The six-day festival received a grant from FUNARTE/MinC (The National Foundation for the Arts/Ministry of Culture) in the amount of approximately USD 125, 000. A curatorial team formed by professionals from different regions of the country composed the festival program, which presented the work of more than forty artists and art collectives.
Santiago Sierra, Space Closed by Corrugated Metal, 2002. Installation view, Lisson Gallery, London. Courtesy of Lisson Gallery, London.
TM Do you think that current art tries to make a star out of the creator?
SS Art is conceptual entertainment. Regardless of how radical it is, it has a great penetration on the market.
Leia a ÃntegraÂ http://bombsite.com/issues/86/articles/2606
“A internet revolucionou modos de produzir, difundir e debater cultura. Qual o papel da crÃtica quando todo mundo tem direito a opiniÃ£o? Entre os dias 16 e 19 de outubro, sempre Ã s 18h30, o SeminÃ¡rio CrÃtica da CrÃtica: expansÃµes e limites do pensamento 2.0 vai reunir artistas, jornalistas e pesquisadores na Caixa Cultural, no centro do Rio, para discutir os desafios da crÃtica cultural hoje. As mesas de MÃºsica, Artes Visuais, Cinema e Literatura contarÃ£o com a fala de expoentes de cada Ã¡rea e o pÃºblico serÃ¡ convidado a fazer parte do debate”.Â Entrada gratuita.
Nos preparativos para o centenÃ¡rio de John Cage, a plataforma UBUWEBÂ disponibiliza parte da produÃ§Ã£o do artista entre 1969 e 1991, a qual consiste em audio e filmes,Â entrevistas e palestras, e escritos na seÃ§Ã£o UbuWeb Papers e em UbuWeb’s Historical.
De fato, uma variedade de material de Cage estÃ¡ espalhado pelo site.
Visite John Cage Centenary (2012)
O tema desta ediÃ§Ã£o da revista ONCURATING, voltada para assuntos curatoriais nas artes contemporÃ¢neasÂ Ã©Â “Curando a CrÃtica” (Curating Critique).
Seu conteÃºdo joga uma luz na discussÃ£o sobre a aparente situaÃ§Ã£o de esvaziamento da capacidade de julgar da crÃtica de arte. Considerando mÃ©todos de aproximaÃ§Ã£o curatorial ao objeto artÃstico como meios de questionamentos crÃticos, a publicaÃ§Ã£o desfia possibilidades de inserir a crÃtica em formatos que estÃ£o para alÃ©m da escritura textual e da dicotomia bom-ruim/certo-errado – as quais nÃ£o dÃ£o mais conta da anÃ¡lise da produÃ§Ã£o de arte contemporÃ¢nea.
Esta ediÃ§Ã£o reune artigos de :Â Marianne Eigenheer, Barnaby Drabble, Dorothee Richter, Sarat Maharaj, Beatrice von Bismarck, Per HÃ¼ttner and Gavin Wade, Rober M. Buergel and Ruth Noack, Rebecca Gordon Nesbitt, Maria Lind and Paul O’Neill, Oliver Marchart, Beryl Graham and Sarah Cook, Marion von Osten, Sarat Maharaj and Giliane Tawadros, Ute Meta Bauer and Marius Babias, Walter Grasskamp.
Baixe versÃ£o em PDF, em inglÃªs aqui
Hurt Now, Feel Later: Noise, Body and Capital in the Japanese Bubble
â€œThe short-lived bubble economy at the end of the 1980s was a period of collective hysteria, a crazy time of frothy fortunes, pie-in-the-sky projects, and lavish living that suddenly evaporated. The impact of the crash of the stock market and land prices has had profound consequences, hammering banks, businesses, investors, borrowers, customers, and employees.â€
-Jeff Kingston on Japanâ€™s â€œlost decade.â€
â€œI cut my leg with a circular saw (â€¦) I knew I had cut myself, but I didnâ€™t feel any pain (â€¦) It was some kind of extreme emotional state.â€
-Yamatsuka Eye describing Hanatarashâ€™s second live performance in Osaka, 1984.
Echoing the â€œboomâ€ of the Japanese economy in the 1980s was an explosive feedback caterwaul shot from underneath the countryâ€™s ballooning stock markets. A potent mixture of ecstatic improvisation, raw performance and psychedelic sound mangling, â€œnoizuâ€ (noise music) manifested as a violent and transgressive practice juxtaposed against Japanâ€™s sleek hypermodern expansion. Acts such as Hanatarash and Hijokaidan emerged from the underground eager to destroy not only their ears but their bodies in each performance. Enticed by rumors of blood and auto-destruction, audiences grew in number and in determination to be assaulted by sound. They entered concert venues as war-zones: chainsaws, backhoes, shattered glass and industrial tools were accompaniment to blown-out guitar fuzz and distorted human shrieks. Artist profiles and mythologized tales of performances were disseminated in zines while cassette tapes documenting live recordings and bedroom studio experiments were bartered across oceans. These artifacts were quickly consumed by like-minded listeners in America, Europe and elsewhere, prompting the moniker â€œJapanoise.â€
Select Ã© uma publicaÃ§Ã£o de jornalismo cultural comprometida com o sÃ©culo 21. Aposta na convergÃªncia entre as artes visuais, a tecnologia, o design e o comportamento, ativando um olhar abrangente sobre a contemporaneidade.Â A proposta procura alinhar visualidade e conteÃºdo consistente.Â Ã‰ uma visita boa: