This paper aims to expose the Dionysian contradoutrine to optimism from the discussion of the philosopher Friedrich Nietzsche's interpretation of Socrates in the book The Birth of Tragedy. Our discussion brings into perspective the Nietzschean critique of the so-called aesthetic Socratism, which places Socratic philosophy far from its proposal for the Dionysian in art. To this end, we reconstruct Nietzsche's arguments and investigate their scope, as well as present Paul de Man's considerations on the emerging tension. As a conclusion, we point to the scope of the concepts of pessimism and optimism within the constructed scope.
In this article we analyze the art from the perspective of Jean-Paul Sartre. From your work what is literature? We demonstrate how the arts are distinguished and why the writer can be more engaged than the other artists. For the French philosopher it is possible to say of significant art and non-significant art. Poetry, painting and sculpture are non-significant while literature, by dealing with signs, is significant. There is a common choice for all artists, however, the option for significant art as a way of unveiling the world has a deeper sense that Sartre sought to clarify. In addition, we try to show what makes a work of art an aesthetic object.
This article focuses on the relationship between the collective painting experiences Cuba Colectiva (Havana, 1967) and 48 Artists, 48 Years of Fascism (Lisbon, 1974) and the impact they had on the Portuguese context of their production. In 1967, Portugal was under a dictatorship and although the Portuguese artists Lourdes Castro and René Bertholo had participated in the painting carried out in Havana, the event had no repercussion in the Portuguese press. The Portuguese revolution of the 25th of April 1974 allowed the opening of a series of artistic experiments carried out in public spaces. It was in this context that the Portuguese painting was executed. The article will inquire about the poetic and political meaning of the relationship between the two realizations. ; Este artículo se centra en la relación entre las experiencias pictóricas colectivas Cuba Colectiva (La Habana, 1967) y 48 Artistas, 48 Años de Fascismo (Lisboa, 1974) y el impacto que tuvieron en el contexto portugués de su producción. En 1967 Portugal estaba bajo una dictadura y aunque los artistas portugueses Lourdes Castro y René Bertholo habían participado en el cuadro realizado en La Habana, el hecho no tuvo repercusión en la prensa portuguesa. La revolución portuguesa del 25 de abril de 1974 permitió la apertura de una serie de experimentos artísticos llevados a cabo en espacios públicos. Fue en este contexto que se ejecutó la pintura portuguesa. El artículo indagará sobre el sentido poético y político de la relación entre ambas realizaciones. ; Este artigo incide sobre a relação entre as experiências de pintura colectiva Cuba Colectiva (Havana, 1967) e 48 Artistas, 48 Anos de Fascismo (Lisboa, 1974) e o impacto que tiveram no contexto português da sua realização. Em 1967, Portugal vivia uma ditadura e embora os artistas portugueses Lourdes Castro e René Bertholo tivessem participado na pintura realizada em Havana, o acontecimento não teve repercussão na imprensa portuguesa. A revolução portuguesa de 25 de Abril de 1974 permitiu a abertura a ...
O presente texto relata as experiências de formação artística da autora, destacando o papel dos Festivais como instrumento desta formação. O texto discute ainda o preconceito enfrentado pelos professores de arte e artistas em geral.
A first-hand account of life in the streets of São Paulo from 1955 to 1960, details the plight of an artist, writer and single mother of three children who, while living in a hovel, supported her family by digging through the garbage for paper and scraps to sell
This article seeks to investigate art as an emblematic example of life as will to power, from the perspective of Friedrich Nietzsche. According to Nietzsche life is a constant creating and recreating without a pre-defined teleology. It is precisely this aspect that art expresses a more transparent way what life is therefore art is precisely the process of creation and recreation without a purpose beyond creation itself. The art from the perspective of the artist is always unfinished and so he continues to create, is as if the artist somehow would capture what life is, and reveal it in their art and in the creative process. The art besides being like everything else, moved by the will to power, to the extent that she herself is a constant drive by creating, reveals a very peculiar way the pathos that is life as will to power that always surpasses herself . Therefore, to realize the true artist against the current world how content and content as form, realizes the inverted world, and in this reversal look allows play with life, creating and transforming the current New. Furthermore, to the extent that the figures are contrasted by a necessary one photographer to support the existence, for the inversion of true reality is a reality in its many situations created. Criticized the values exemplified by the action of the artist's conception of truth inaugurated by Socratic and Platonism, which in a way is based on a kind of deification of the rational concept. Our Philosopher explicit reversal of Platonism asserts that the truth-conceptual-rational metaphysics has less value than the irrationality of artistic pathos.
You will love the next as you love yourself was the motto of life and work of David Sassoli, born communicator, who understanded that thought art we fight for any United and democratic Europe who innovates, protects and enlights. Six plastic artist understood his message and translated into different languages prolonging his plea.
It is in the light of the theory of property that two types of practices recently appeared in art are analyzed here: gift and appropriation. Oppose to each other (on the one hand, to dispossess myself of my own production for the benefit of another, on the other, to give oneself what we do not possess), these two phenomena are part of the same project of art, and if so, how to articulate their coherence? Do they involve the same artists or are there, on the one hand, "appropriationists" and, on the other, those who make donations? Do these two artists' gestures have a political aim in relation to the question of property, or do they exhaust themselves in their exclusively artistic sense as strategies of creation? It is finally in certain types of pirate and generous republishing that the two movements are united in one and the same project. ; C'est à la lumière de la théorie de la propriété que sont analysées ici deux types de pratiques récemment apparus dans l'art: le don et l'appropriation. Opposés l'un à l'autre (d'un côté, se déposséder de ma propre production au profit d'un autre, de l'autre, se donner à soi-même ce qu'on n'a pas), ces deux phénomènes font-ils partie d'un même projet de l'art, et si oui, comment en articuler la cohérence? Impliquent-ils les mêmes artistes ou, au contraire, y a-t-il, d'un côté les «appropriationnistes», et, de l'autre, ceux qui font des dons? Ces deux gestes d'artistes ont-ils une visée politique par rapport à la question de la propriété, ou bien s'épuisent-ils dans leur sens exclusivement artistique comme des stratégies de création? C'est finalement dans certains types de rééditions pirates et généreuses que les deux mouvements se trouvent réunis dans un seul et même projet. ; É à luz da teoria da propriedade que são analisadas aqui dois tipos de práticas recentemente surgidas na arte: a doação e a apropriação. Opostas uma à outra (de um lado se despossuir de minha própria produção em proveito de um outro, do outro, dar a si mesmo isso que não se possui), estes dois fenômenos fazem parte de um mesmo projeto da arte, e se sim, como articular sua coerência? Eles implicam os mesmos artistas ou, ao contrário, haveria de um lado os "apropriacionistas", e do outro, aqueles que fazem doações? Estes dois gestos de artistas tem uma visada política em relação à questão da propriedade, ou apenas se esgotam em seu sentido exclusivamente artístico como estratégias de criação? É finalmente em certos tipos de reedições piratas e generosas que os dois movimentos se encontram reunidos em um só e mesmo projeto. Tradução: Lilian Hack (orcid:0000-0002-4727-3845)
"By examining the work of a large number of photographers of immigrant families, the author documents the social uses and artistic dimensions of photography in Brazil from approximately 1890-1930. Supplemented with testimonies of travelers and artists such as Richard Burton and Jean Baptiste Debret, who describe everyday life in 19th-century Brazil. Also uses methods of visual anthropology to achieve a better understanding of historical photography. Includes bibliography and many reproductions"--Handbook of Latin American Studies, v. 58
I propound that the collection exhibition of Afro Brasil Museum located in São Paulo, Brazil, features characteristics that well represent intersections between art creation and curatorial work, besides its dealt with institutional memory through less conventional exhibit designs. Thus, I seek a reflection about the interchange between curatorial work, art making and metalanguage arrangements within this museum. I introduce this exhibition as an institutional memorial – based on conversations and interviews with the museum staff, "absent dialogues" with its curator-director-artist and by the analysis of bibliographic material, so as the collection itself – due to my understanding of the exhibition as an imagery formed by composite images set by Emanoel Araújo. In order to communicate the singularity of this exhibition I bring a perspective of the objects exhibited, by means of the registers of fieldnotes and on, undertaking a dialogue with scholars from arts and humanities about curatorial work, the polysemy of image and the role of scenography. I discuss the art making of curatorial work and Emanoel Araújo's métier as curator artist, supported by his concept A Mão Afro-Brasileira (The Afro-Brazilian Hand). In conclusion, I stress the relation textimage-public in order to communicate the singular aspects of its exhibition. Whilst the absence of consensus toward creativity and art agency while designing exhibitions, I assert that Araújo and his team strain the usual expectations on curatorial practice hence the limits of topographic arrangements and scenography schemes as a sensorial tool are extrapolated.
The objective of this text is to address the singularity of what the thinker Felix Guattari called the "aesthetic paradigm." Sometimes also called an ethical-aesthetic or political-aesthetic paradigm, it pretends to function as a proposition, rather than a proposal, to raise in the most diverse areas, fields and practices the problematic of ethical creation and political re-creation, both inseparable. Thus, it is necessary to investigate what is meantby "aesthetics", what is art and who is the artist of this paradigm. What are the motivations, the landscapes and the conditions of the issues that led Guattari to formulate this idea of a paradigm capable, from art, through ethics, to instituting a new way of thinking politics and to think politically.
