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RN02_03a_P: Heritage, Memories, Visual Cultures and Cultural Representations (Panel: Lusophone Sociology of the Arts, Part 1/3)
6:00pm - 7:30pm
Session Chair: Sacha Jérôme Kagan, Institute of Sociology and Cultural Organization (ISKO) Leuphana University Lueneburg
Location:PA.1.1 PANTEION University of Social & Political Sciences
136 Syggrou Avenue
17671 Athens, Greece
Building: A, Level: 1.
Madureira - Copacabana, Yemanjá: paths of The Queen of the sea
Ana Paula Alves Ribeiro1, Maria Alice Rezende Gonçalves2
1Universidade do Estado do Rio de Janeiro, Brazil; 2Universidade do Estado do Rio de Janeiro, Brazil
In this paper we intend to conduct an ethnography of Yemanja Party of 'Mercadão de Madureira', focusing on photographic records and emphasizing their belonging to african-Brazilian culture. It is a party in process, changing, dialoguing with contemporary society without losing its characteristics which makes it be recognized as a sacred feast and African origin. The patrimonialization process of immaterial culture, cultural policies and visibility of african-Brazilian culture and its commercialization in Brazil makes this carioca party one of those builders phenomena of african-brazilian ethnicity.
Neste trabalho pretendemos realizar uma etnografia da Festa de Iemanjá do Mercadão de Madureira, privilegiando os registros fotográficos e enfatizando seu pertencimento a cultura afro-brasileira. Trata-se de uma festa em construção, em constante mudança, dialogando com a sociedade contemporânea sem perder suas características que a faz ser reconhecida como uma festa sagrada e de matriz africana. O processo de patrimonialização da cultura imaterial, as políticas culturais e a visibilidade da cultura afro-brasileira e sua mercantilização no Brasil torna essa festa carioca um daqueles fenômenos construtores da etnicidade afro-brasileira.
Brazilian contemporary art: word and visuality
Fernando Souza Gerheim
This research investigates the relation between word and image in the work of some contemporary Brazilian artists, aiming to read their works from the point of view of a certain rupture in the way by which the visuality and the semantics are organized and related. This rupture establishes a new paradigm, in which the relation of identity between word and image in the concretist movement is replaced by the displacement and the difference that each can produce in the other. The idea of "semantic participation" by Hélio Oiticica, presented in the text General Scheme for the New Objectivity (1967), can be seen as a milestone in this rupture, in which the identity between word and image gives rise to a relationship in which one does not seek to suppress difference or to integrate it. Instead, Oiticicica seeks to incorporate the contexts to the circumscription of art, producing displacements in the divisions that demarcate doing, saying and thinking. This new relationship between word and image will be investigated in works by artists such as José Agripino de Paula, Nuno Ramos, Artur Barrio, Leonilson, Fernanda Gomes and Ricardo Basbaum. The visual-semantic relation is undertaken by these artists in different ways, having in common the fact that all deny the presupposition of a place where image and word are equivalent, affirming in exchange the displacement that each can produce in the other and its singular emergence. Particular works can, paradoxically, illuminate the panoramic view of the visual-semantic relationship in contemporary Brazilian art.
New urban narratives at the public space: art, territoriality and community development in the Flâneur project
Pedro Costa, Ricardo Lopes
Instituto Universitário de Lisboa (ISCTE-IUL) / DINAMIA'CET-IUL, Portugal
Analyzing a project developed throughout several European cities (“Flâneur – New urban narratives”) which endeavored new approaches to the relation between art, public sphere and local communities through the way creative processes and exhibition devices on public space are displayed, this paper aims to analyze the relation between the artworks produced, the creative processes and the territories and art worlds where they are developed. Their territorial embededness, the contribute they bring to community development, and the way they build their relation with photography art worlds are particularly explored, drawing upon empirical work based on direct observation and interviews to the 24 international photographers as well to some of the curators and producers involved in the network of festivals and cultural institutions that were gathered around this project.
“Flâneur” is a network project involving 20 organizations from 11 different countries. Artists are encouraged to create new interpretations of urban territories, taking the concept of flâneur as their starting point and considering the physical context of the city as a social construct in a state of constant flux and change. During its two year span, Flâneur project is being developed and presented in 16 cities, mixing internal and external perspectives. The results are displayed in public space, contributing to a process of deconstruction and “democratization” of the access to art, sharing it with an heterogeneous audience. Replicating the city, open and accessible 24 hours a day, the exhibition displays are configured as modular backlit structures, which are adapted to each specific site.