(Português) FALO arte, falo de político entre nós e o díspar

At the time of commitment of art with its place, in the communities and the world, I acknowledge the need for a collective and communitarian action, starting with experience (Yi Fu Tuan, 1983) and personal artistic practice in given locations. The act of putting both an author’s and an individual commitment into place happens, through performances, in an intense interference of the sensitive and antagonistic body in the political dimension. These topics frame the development of this work, through the mutual contamination of research and action.

The project is based on the idea of a democracy (as a direction or possibility) that enforces itself as daily social practice, intrinsically enhanced in the public sphere. Starting with the specific experimental position (Hélio Oiticica, 1964), reinforcing artistic tools and by reformulating processes of political culture in individual and collective spaces, this work aims to create situations that change the traditional limits that usually separate the artistic and political fields. It also integrates my double commitment – of art with politics, of politics with art – thus questioning the ways in which art can amplify the possibilities of a radical and plural democracy (Ernesto Laclau, Chantal Mouffe, 1985).

My objective is to take a critical view on the participation phenomena in artistic practices (Grant Kester, 2004). Within the aesthetics of the collective (Eduarda Dionísio, 1993) I bring to this work the analysis and reflection on the project “Intervenção Artística em Vila União” (Artistic Intervention in Vila União), promoted by the intercultural movement ‘Identidades’ with the community of “Conceição das Crioulas” (Pernambuco, Brazil). Starting with the intercultural relationship of the movement with this community, we promoted a joint capacity for action based on the experience of the liberation pedagogy (Freire, 1972). This concept caracterizes of processes of confrontation/ decision/ action during the artistic project, effectively promoting the local development of a community with an intense awareness of the power of participative democracy.

The performing practice that I develop uses processes which are constitutive of the social and political dimension, both the existing and the potential ones, as shown in recent research reflections (Beatriz Preciado, 2008). I thus bring to light interferences and different positions in the field of collective representation, of the building of identity(ies) and of History: if, on the one hand, with ditaDURA (dictatorship) I present dissidences in the discourse of the “Museu Militar do Porto” (Military Museum of Oporto), on the other hand, with “ASnato. asNATO” I develop a sensual incision, both interfering and violent against the mentioned world organisation.

With these projects, and their underlying reflections new possibilities and (im)possibilities are drawn up for the sensitive (Jacques Rancière, 2000) to interfere with the political, both in an experienced controversial way. These possibilities can produce a specific and concrete awareness – materialized in aesthetic events – of a more effective democracy and, therefore, more radical and plural, transversal and resistant to the division of the hegemonic sensitive of contemporary times. Therefore, I propose a transversal meaning to knowledge and an action that are committed to the collective in a social, communitarian and political way.

Year 2011
Type Thesis
Institution Faculdade de Belas Artes da Universidade do Porto
Degree Master
Supervisor(s) Gabriela Vaz-Pinheiro
Language Português
Field Artistic practices