To what extent can art continue to be art and simultaneously be politics? To what extent can the political intervention simultaneously be politics and point towards a heterogeneous sensible proper to art making? How to talk about this political pretension of arts or the artistic reverberation of politics, now that both artistic and political institutions are in crisis?
Em que medida a arte pode ser arte e ser ao mesmo tempo política? Em que medida a intervenção política, pode ser política e ao mesmo tempo sinalizar para um sensível heterogêneo próprio ao fazer artístico? Como falar desta pretensão política da arte ou da reverberação artística da política hoje quando as instituições artísticas e políticas estão em crise?
Two articles originating from past activities and current researches of Transnational Dialogues have been featured in the most recent publication “Exploit. Come rovesciare il mondo ad arte. D-istruzioni per l’uso”. The book originates from the experience of MAAM – Metropoliz, an impromptu museum located in the outskirts of Rome, which has been founded by anthropologist Giorgio De Finis, one of the book’s editors. Among the many contributors are Hans Ulrich Obrist, Chantal Mouffe, David Graeber, Dora Garcia, Cesare Pietroiusti, Annie Cohen-Solal and Lorenzo Romito. Continue reading Exploit or How to Overturn the World with Art→
Q: The reform brought by the Pontos de Cultura (‘Culture Hotspots’) in 2010 is considered revolutionary in the management of the public spending from the State towards the cultural sector. What has worked? What has not? As for the latter case, why so?
A: The idea behind the Culture Hotspots is that the State must have the means to strengthen initiatives that already exist in the society. In this sense, the aim was to approach culture and citizenship, to build a shared management between the society and the public authorities, as well as to propel the most diverse languages – from the traditional popular culture to the experimentation with new technologies. The Culture Hotspots helped consolidating and brought scale to thousands of spontaneous and well-succeeded initiatives…
Curator Rachel Marsden introduces in this interview the article <<Hong Kong’s Visual Politics – A City Observation or Global “Agitprop”?>> that she has written for the Transnational Dialogues Journal 2014. Full article accessible below.
Always arrive late.
When I reached the garden in Kyoto, the door stood ajar, the abbot had departed, only some rocks were left in the sand where gravel traces he combed out, like the imprint of the body left by lovers, remained.
Brazil’s economic context along with its regionalization directly influences the artistic production, historically concentrated on big urban centers, such as Rio de Janeiro and São Paulo, ultimately gaining capillarity in locations like Recife, a city now recognized as a major producer of contents related with new technologies. Its cultural investments take place through several programs and projects, which have the tax incentives laws as main funding method. Yet, why is there a permanent dissatisfaction regarding public investments, especially among artists?
I live in North-east Brazil. In a city that I call Natown. The sun is constantly burning over our heads. The waterside is taken up by hotels, luxury buildings, kiosks, restaurants and clubs. I live where you spend vacation. A city from the tropics, built as a tourist paradise. This implies, most obviously, an organization of urban space focused on sanitized areas – where the tourists go – to the detriment of other parts of the city, that are increasingly more precarious. But there are also less obvious consequences. Throughout this text, I would like to reflect on how the tourist character of my town interferes with the cultural politics aimed at local artistic production, by regulating the types of projects that get, or don’t get public funding, as well as their visibility and conditions for continuity…
Place yourself in a spot at an unfamiliar street for you and remain there.
Place yourself on the space and remain.
Observe how the objects and people around you are situated.
Do you represent an obstacle to something? Do you diverge from the rhythm composed in there? Do you feel material or immaterial being there? Is there any embarrassment involved? Being in such position, what in you and in what do you have an affect on?
Mika Conradie and Molemo Moiloa of VANSA, the Visual Arts Network of South Africa, tell us about the development of a code or set of principles of practice in the South African artistic and cultural field, which is characterized by the recent development of its post-apartheid infrastructure. This article continues the discussion over cultural policies that has started with Brazil and China in the recently published Transnational Dialogues Journal 2014.
The Visual Arts Network of South Africa (VANSA), through the support of the National Arts Council of South Africa, has commissioned research towards a national code of practice for the Visual Arts. Taking a cue from this international and principally ‘global north’ practice, we looked at various codes that have been developed in parts of Europe, in Australia and North America. Continue reading Toward a Principle of Practice: Mobilities and Responses→
Within the Global Players Residency (Chongqing, 9-29 June 2014), artist and researcher Seila Fernandez Arconada has developed a series of workshops and seminars in collaboration with other international and Chinese artists alike. A handful of posters are here to witness Seila’s efforts in establishing those transnational dialogues.
The Global Players Residency Programme was born in collaboration with Organhaus Chongqing and has received additional support from Goethe-Institut China and the Artists’ International Fund of the British Council and Arts Council England.
Cover photo: “Seila Fernandez Arconada”, 2013, an artistic project by Seila Fernandez Arconada.
Debates e reflexões a partir da Brazilian Caravan, parte do projeto Transnational Dialogues 2014 / Debates and reflexions from the Brazilian Caravan experience, part of the project Transnational Dialogues 2014 / Raphael Franco
An English version of the article is available here.
O século XX trouxe uma série de processos transformadores para a humanidade. A globalização (ou mundialização) aproximou os continentes, imprimindo na sociedade dinâmicas econômicas e políticas que, naturalmente, tiveram impacto nos âmbitos social e cultural. Alem do acesso a novos meios de produção e mercadorias, a globalização abriu caminho para maior acesso à informação e facilidade de fluxos transitórios. Com isto, processos de reflexão crítica também se tornaram mais freqüentes, através da inter-conexão entre diversos grupos, organizações, instituições e indivíduos.
Artist Vanessa Rosa tells about her experience as artist-in-residence at the occupied cultural centre M^C^O, Milan. After the interview with Dorberto Carvalho of Sao Paulo's Casa Amarela, Transnational Dialogues keeps addressing the issues of spaces of artistic production in global cities.
Painting and drawing for me is a way to feel connected to the space where I am in, as if it were a reaction to the sensations caused by the context. Thus, it is a great pleasure for me to be able to paint whenever I am passing through new cities, especially when the act of painting is not a solitary observation, but a way to interact with people. I can almost feel to be part of a city, once I can develop an artistic project in it.