Praxis and poiesis: from arts practice towards art theory (2025)

Todos saem e deixam o espaço vazio. Campos cruzados e abertos entre performance e documentação Everybody goes out and leaves the space empty. Intersections and open fields between performance art and documentation

DOCUMENTÁRIO/ DOCUMENTARY, 2018

Documentary, 2018 “Documentary” brings together different strategies for registering the work process developed for the creation of the choreographic work with the same name, which premiered at Festival DDD 2018. Gathering contributions from several collaborators, we put together different documentation proposals that underline different aspects of the work developed through creative residences in Lisbon, Porto, Vila do Conde, Barcelona and Guimarães, between August 2017 and October 2018. These different documentation strategies represent pieces of a process that unfolds with each attempt to describe it. Production / Edition: Joclécio Azevedo. Authors: Joclécio Azevedo; Cláudia Galhós; Daniel Ribas; Melissa Rodrigues; Olivia da Silva; Paulo Mendes; Pedro Tudela; Rita Castro Neves; Susana Neves Translation: Júlia Ferreira. Review: Júlia Ferreira and Paulo Vasques. Design: Lina & Nando. Project financed by: República Portuguesa – Cultura, DGArtes – Direcção-Geral das artes

(2010) O desapego do artista (Poiésis, periódico)

The text seeks to investigate the implications of practices of contemporary art in the public sphere, stressing an interest in collaborative processes of articulation, approximation and engagement with communities. The reflections are based on experiences from the dESAPEGO (Detachment) project, carried out by the artist Helio Branco in Niterói, which serves as the central motivation and point of convergence for these reflections.

Los manifiestos del arte posmoderno. Textos de exposiciones 1980-1995(Anna Maria Guasch, ed.)Jose Luis Brea, Douglas Crimp, Thomas Crow, Hal Foster, Jo Anna Isaak, Mary Jane Jacob, Donald Kuspit, Jean-Hubert Martin, Thomas McEvilley, Michel Onfray, Griselda Pollock, Harald Szeemann

Akal/ Arte Contemporáneo, Madrid, 2000

Como fenómeno cultural renovado, las exposiciones de la llamada posmodernidad con todos los tentáculos e intereses, restan todavía por valorar y sobretodo resta medir la incidencia que han tenido en la transformación de la plástica finisecular que nos rodea. Pero lo que puede decirse es que lo que en el seno de las vanguardias históricas, desde el Fauvismo al Surrealismo fueron los manifiestos o lo que en el contexto de las neovanguardias generadas a raíz de la Segunda Guerra Mundial, eran las proclamas de críticos e historiadores, en la posmodernidad son las exposiciones. Desde la iniciativa pública, aunque también desde la privada, éstas se han convertido en los instrumentos preferidos de la política institucional para radiografiar el presente, realizar una prospección de futuro, conformar las sensibilidades, encauzar los gustos, encumbrar artistas o relegarlos al silencio, configurar nuevos modelos museográficos e incluso modificar el comportamiento de los artistas y del público ante el hecho artístico y social. Más que ningún otro agente cultural en el proceso de creación/difusión del arte, la exposición se ha impuesto como una realidad polivalente y rica en significados. Se podría comparar con un ecosistema, un sistema de naturaleza interactiva que no únicamente vehicula creadores, obras y los discursos narrativos de los comisarios en el marco de unos espacios físicos (la galería, el museo, el entorno público) sino que pone en contacto a los críticos y al público y ayuda a resituar la presencia del espectador. T

"Contemporary art — beyond the limits of theory and art criticism", by Jorge Restrepo, Bogota, 2013

Art beyond the horizon | Pivô São Paulo | 29-30 September 2018

Art beyond the horizon proposes a critical reflection on the intersections of artistic, aesthetic and political practice to rethink notions relevant to future directions of contemporary art. In recent years contemporary art has been subject to a series of theoretical and practical incursions from both within and without that call into question its models of practice and the structures that sustain them, the hegemony of a geographically located canon of works and the porous nature of art’s autonomy itself. In both institutional and extra institutional spaces, there has been a proliferation of artistic and curatorial projects that propose public space as a sphere of activity and the artistic work as a post-material experience. Accompanying this shift in focus that gestures towards dimensions of sociality, works that directly challenge the contemporary art systems of hegemonic countries have gained greater visibility, proposing unexpected pathways to engage with traditional architectures and putting forward artistic practice as a means of knowledge production. In parallel, theoretical propositions have emerged that put forward artistic practices as ‘ways of doing’, which intervene in the general order of daily life while also identifying a consequent oscillation between the inevitability of art’s insertion in society and its desire for autonomy. Importantly, these recent directions are intrinsic but also extrinsic: they are situated simultaneously on the inside and the outside of existing paradigms, but even if originating from an exterior position, they still seek to act upon that interior position as a whole. Such transit means that these issues play out in a liminal and contested field, so how might we understand the relationship between artistic practice and activist intervention, particularly with regard to urban space? Do such practices foster new modes of critical and creative thinking in their interaction with dimensions of sociality? How might the reconfiguration of Eurocentric canons be proposed as a result, if that is at all possible? Is it the case that we can make such a division between dependence and autonomy, art and society? And to where do these new directions point, what might lie beyond the horizon of contemporary art in its current incarnation? With contributions by Wura Ogunji, Jonas Tinius, Laymert Garcia dos Santos, Fernando Palma Rodríguez, Catalina Lozano, Pedro Cesarino, Luiza Crosman, Bruno de Almeida, Isabella Rjeille, Juliana Caffé, Yudi Rafel, André Mesquita and Virginia de Medeiros amongst others. Organized by Alex Flynn (Durham University), hosted by Pivô in cooperation with the Goethe Institut São Paulo.

CRUZ, Maria Teresa (2009) "From Participatory Art Forms to Interactive Culture: Towards a Critique of the Aesthetic Economy”

A arte efémera e a conservação: o paradigma da arte contemporânea e dos bens etnográficos

2010

EM FOCO THE POETICS OF TEMPORAL SCAFFOLDING AND POROSITY: SHARING AFFECT AND MEMORY A poeticA dA estruturA temporAl e dA porosidAde: compArtilhAndo Afetos e memóriAs

S: P(AR)ticipate: body of experience/body of work/body as archive and AffeXity are two AR (Augmented Reality) and Screendance works that attempt to capture, amplify and share affect and memory using AR, mobile phones and audience participation. P(AR)ticipate is an immersive, autobiographical, participatory and live installation work comprising: text, analogue hieroglyphs and gestural Screendance videos, tagged to the hieroglyphs, using the AR app Aurasma, within an interaction design. The work explores the porosity between analogue and augmented gestures, personal somatic memories and mediated experiences, of living in an apartheid and democratic South Africa. AffeXity on the other hand, is an interdisciplinary choreographic project examining affect, dance on screen and cities. AffeXity, a play on both 'affect city' and 'a-fixity'. It is a collaborative project drawing together dance, visual imagery, AR and mobile phones, that audiences use for the viewing of choreog...

Performance and Digital Poetics in Brasil

Research as poiesis? Interdisciplinary landscapes expanded by the art and methodologies

The transparency, the penumbra and a kaleidoscopic perspective of Olafur Eliasson works are able to reveal our questions. What does it mean to understand the research as poiesis? How artistic procedures can contribute as a methodology for our researches? These questions move our research as a work in progress. One student from the master program, two from de PhD program and the teacher of them from the interdisciplinary graduation program of Education, Art and Cultural History at the Universidade Presbiteriana Mackenzie in São Paulo/Brazil are trying to deal with artistic procedures in their own researches. Our theoretical inspiration come from three concepts that complete each other: art based research; a/r/tography and artistic research methodology. The starting question is a reflection of other questions related to ours objects of study. As Pareyson (1984, p.32) says on his book I problemi dell'estetica (The aesthetics problem): “art is something that as it is being doing it also invents what to do and how to do it”. That seems to be our procedure in our collaborative research. That is a common aspect in us, it is a ritornello that push us towards. We jump in even with an uncertain security and we live the experience as we invent what to do and how to do it. We dare to live the experience not as an experiment but as action. One experience as Dewey (2010) said. Also, the different poetic actions seen in this conference helped us to expand our research and initial findings. Key words: Research, Artistic procedures, Art, Methodologies, Poiesis.