Éder Oliveira, um Homem Amazônico (Éder Oliveira, an Amazonian Man)

Um homem amazônico
Éder Oliveira & Daniela Labra
Publicado em: 03 de janeiro de 2019

Um homem amazônico

Éder Oliveira (1983) é artista paraense. Recebeu o prêmio de arte Lingener, da Alemanha, em 2016, e o prêmio Pipa de Voto Popular em 2017.

Daniela Labra (1974) é curadora de artes visuais e crítica de arte.


archieve action.art é um arquivo material de livros, catálogos e folhetos de exposições, cartazes e material audiovisual relacionado com a ação. action art é uma investigação em si mesma, que tem forma de magazine electrônico. Estrutura-se em três àreas: a performance, a manifestação e a fragmentação. Em cada área se encontrarão artículos, artistas, entidades, eventos e bibliografia. Em espanhol.


Art & Mobility: Call for texts and artistic projects

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 weren’t for the urge to travel, to discover, the need to go beyond the limits – territorial and intellectual – 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: info@interartive.org

info http://www.transartists.org/article/art-mobility-call-texts-and-artistic-projects

The Brazillian experience – Puzzling Morality and the Effusive Body (part 1) @ performa magazine

Frkln cassaro
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: “Brazilians are performative. We deal with the body in a libertarian way, but we are also impregnated with moralisms.” 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 Janeiro–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.



A artista Teresa Margolles entrevista Santiago Sierra, na Bomb Magazine

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 íntegra  http://bombsite.com/issues/86/articles/2606

Seminário Crítica da Crítica: expansões e limites do pensamento 2.0

“A internet revolucionou modos de produzir, difundir e debater cultura. Qual o papel da crítica quando todo mundo tem direito a opinião? Entre os dias 16 e 19 de outubro, sempre às 18h30, o Seminário Crítica da Crítica: expansões e limites do pensamento 2.0 vai reunir artistas, jornalistas e pesquisadores na Caixa Cultural, no centro do Rio, para discutir os desafios da crítica cultural hoje. As mesas de Música, Artes Visuais, Cinema e Literatura contarão com a fala de expoentes de cada área e o público será convidado a fazer parte do debate”.  Entrada gratuita.

Acesse: facebook.com/seminariocritica

John Cage Centenary (2012) no UBUWEB

Nos preparativos para o centenário de John Cage, a plataforma UBUWEB  disponibiliza parte da produção do artista entre 1969 e 1991, a qual consiste em audio e filmes,  entrevistas e palestras, e escritos na seção UbuWeb Papers e em UbuWeb’s Historical.

De fato, uma variedade de material de Cage está espalhado pelo site.

Visite John Cage Centenary (2012)

Revista ONCURATING # 9

O tema desta edição da revista ONCURATING, voltada para assuntos curatoriais nas artes contemporâneas  é  “Curando a Crítica” (Curating Critique).

Seu conteúdo joga uma luz na discussão sobre a aparente situação de esvaziamento da capacidade de julgar da crítica de arte. Considerando métodos de aproximação curatorial ao objeto artístico como meios de questionamentos críticos, a publicação desfia possibilidades de inserir a crítica em formatos que estão para além da escritura textual e da dicotomia bom-ruim/certo-errado – as quais não dão mais conta da análise da produção de arte contemporânea.

Esta edição reune artigos de :  Marianne Eigenheer, Barnaby Drabble, Dorothee Richter, Sarat Maharaj, Beatrice von Bismarck, Per Hüttner 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 versão em PDF, em inglês aqui


Japanese Punks

Hurt Now, Feel Later: Noise, Body and Capital in the Japanese Bubble

Matthew Mullane

“The 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.”[1]

-Jeff Kingston on Japan’s “lost decade.”

“I cut my leg with a circular saw (…) I knew I had cut myself, but I didn’t feel any pain (…) It was some kind of extreme emotional state.”[2]

-Yamatsuka Eye describing Hanatarash’s second live performance in Osaka, 1984.

Echoing the “boom” of the Japanese economy in the 1980s was an explosive feedback caterwaul shot from underneath the country’s ballooning stock markets. A potent mixture of ecstatic improvisation, raw performance and psychedelic sound mangling, “noizu” (noise music) manifested as a violent and transgressive practice juxtaposed against Japan’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 “Japanoise.”



Select Рpublica̤̣o de jornalismo cultural

Select é uma publicação de jornalismo cultural comprometida com o século 21. Aposta na convergência entre as artes visuais, a tecnologia, o design e o comportamento, ativando um olhar abrangente sobre a contemporaneidade.  A proposta procura alinhar visualidade e conteúdo consistente.  É uma visita boa: