2014 ional Dialogues · beijing), Megumi himizu (s beijing), Moca (chengdu), Monica Melani...
33
2014 DIÁLOGOS TRANSNACIONAIS 跨境对话 TRANSNATIONAL DIALOGUES JOURNAL
Transcript of 2014 ional Dialogues · beijing), Megumi himizu (s beijing), Moca (chengdu), Monica Melani...
2014
Diálog
os Tr
ansn
acion
ais 跨
境对话
Tran
snaTi
onal
Dialog
ues Jo
urna
l
32 VISIonS. PHoTo BY Dao Dao (2014)
sectionsuToPIaS, FuTureS anD DreamS [u]arTISTS anD CITIeS [c]CulTural PolICIeS [P]
TransnaTional Dialogues Journal 2014
9 Change Utopia: Fragments oF a prologUe mUdar a Utopia: Fragmentos de Um prólogo 改变乌托邦：开场白片断
luigi galimberti | lorenzo marsili | robin resch
11 a Few thoUghts on aesthetiCs and politiCs algUmas ConsideraÇÕes soBre estÉtiCa e polÍtiCa 关于美学与政治的一些思考 luiz Camillo osorio [u]
16 hong Kong’s VisUal politiCs – a City oBserVation or gloBal “agitprop”? rachel marsden [u]
21 roCKs and riCe 石与稻 hu Fang [u]
27 From the art oF the state to the art oF BUsiness, or artistiC oUtpUt on a preCarioUs sCale da arte de estado à arte de empresa, oU a saÍda pela esCala preCária 由国家艺术到企业艺术，
或许濒危规模才是出路 Jota mombaça [P]
31 pUBliC and ColleCtiVe maKing o Fazer ColetiVamente em púBliCo 公共空间的集体活动 laura sobral [c]
34 entremeios: ways oF liVing and CreatiVe praCtiCes in rio de Janeiro Barbara szaniecki | zoy anastassakis [c]
39 CUltUral poliCy and Contemporary art in China
a polÍtiCa CUltUral Chinesa e a arte Contemporânea 浅析中国文化政策与当代艺术 wang dong [P]
45 how is CUltUre FUnded in Brazil? Como a CUltUra É FinanCiada no Brasil? mariana lorenzi [P]
49 pUBliC thoUght and the needs oF the artist pensamento púBliCo e as neCessidades dos artistas tatiana richard [P]
53 rethinKing CUltUre. an interView with JUCa Ferreira repensando a CUltUra. entreVista Com JUCa Ferreira luigi galimberti | lorenzo marsili [P]
57 sitório sitorio sitorio andressa Vianna | Chico daviña [c]
59 transnational dialogUes 2014: a year oF aCtiVities
Editors of this journal and coordinators of transnational dialoguEs
Luigi Galimberti, Lorenzo Marsili and Robin Resch
Publication dEsign Gabriela Castro and Julia Masagão
translation and ProofrEading Daniel Lühmann, Zhang Weimin, Fang Liu,
Fernanda Ramone and Sally Hole
for videos, pictures, up-to-date information or for a digital copy
of this journal visit the website www.transnationaldialogues.eu
for further information do not hesitate to contact us at [email protected]
While the editors have striven to provide accurate and timely information, there may
be inadvertent inaccuracies, errors and omissions, for which we apologize.
coVEr iMagE My Promise for Your Happiness (detail, 2014) by lin jing jing.
courtesy of the artist and de sarthe gallery, hong Kong.
iMagE crEdits
11: no Way (fade out) (installation view). artwork by andrea de stefani (2011). cour-
tesy fluxia gallery | 18: “Everyday is like sunday”. artwork by MP5. courtesy of the
artist. www.mpcinque.com | 21-22: all images by hu fang | 32: “the river seen from
a construction site, inner Mongolia”. Photo by Zhang Kechun (2010). courtesy of the
artist and threeshadows +3 gallery, beijing | 40: “free and Easy Wandering” (video
documentation of performance, 07m 42s). still from video by Xing Xin (2008). cour-
tesy of the artist | 42: “nimbo oxalá at the Parque lage school of Visual arts” (fire
extinguishers). still from video by ronald duarte (2014), available at: https://vimeo.
com/96524107, retrieved on 6 september 2014. courtesy of the artist | 43: “fake
Pattern 03”. artwork by fangEr&Mengjin. courtesy of fake studio, london | 50:
“see saw seen” (hand-blown glass, mirroring chemicals, lacquer, steel and wood,
400 x 80 x 30 cm). artwork by adeline de Monseignat (2014). courtesy of the artist |
51: “untitled”. Photo by luca forcucci (2014). courtesy of the artist | P. 58: “Visions”.
Photo by dao dao (2014) | P. 60 (from left to right, from top to bottom): Photos by
tahian bhering; t.b., t.b.; t.b., isabella guedes; Emilijia skarnulyte, t.b., t.b.; t.b.; You
Mi, t.b. and Wellington dias | 61 (from left to right, from top to bottom): andressa
Vianna, a.V., chris daniels; a.V., c.d., c.d., Pauline doutreluigne; a.V., chico daviña;
tianji Zhao, Matilde Malaspina
this publication is licensed under the creative commons licence “attribution-non-
commercial-noderivatives 4.0 international (cc bY-nc-nd 4.0)”. More information
at: http://creativecommons.org/licenses/by-nc-nd/4.0/. images may or may not
permit reuse and modification.
Printed in the European union, november 2014
With the support of
this project has been funded with support from the European commission. this pub-
lication reflects the views only of the author, and the commission cannot be held
responsible for any use which may be made of the information contained therein.
“transnational dialogues: a factory for imagination, innovation and integration
across Europe, china and brazil” is an initiative of
a transnational membership organisation promoting democracy, equality and
culture beyond the nation state. European alternatives believes that social and
political change requires artistic and cultural engagement as much as other forms
of engagement. it seeks to promote alternative forms of political subjectivity and
collective political action.
for more information please check the website: www.euroalter.com
the partners of transnational dialogues in 2014 are:
transnational dialogues acknowledges the support of the following institutions:
A special thanks goes to all the participants in the activities of transnational dia-
logues in 2014. it is their enthusiasm, knowledge, vitality and critical spirit that made
possible such an extended and intense exchange of information, skills and network-
ing. a precarious list of those involved in this year activities reads as follows: alexan-
der Pettersson, ana hupe, andré leal, anna arutyunova, bel falleiros, chiara tinonin,
chico daviña, christopher daniels, colectivo opavivará!, david limaverde, Emilija
skarnulyte, fernanda carvalho, hanna husberg, irina Pienaru, isabella guedes, jay
lai, julia Masagão, laura Engelhardt, laura sobral, li li, liu Minyi, lucie blanche, Malu
andrade, Marc de Maisonneuve, Marina trancoso, Martin collins, Matilde Malaspina,
Matti aikio, Mi You, nina gschlößl, nuno cassola, Pauline doutreluingne, rachel
Marsden, rachela abbate, raphael couto, raphael franco, seila fernández arconada,
solveig suess, sylvana jahre, tianji Zhao, Vanessa rosa, Vicente Pereira, Wang dong,
Wang Xiaozhou, Wellington dias, Yan shuo, Yane conradi and Zandie brockett. our
deepest gratitude goes to transnational dialogues’ local coordinators in brazil,
china and Europe, who have given essential inputs in developing and implementing
the programme during the caravans: alessandro rolandi in beijing, andressa Vianna
in sao Paulo, chen Yizhong in chongqing, Petra Pölzl in berlin and tahian bhering in
rio de janeiro. a big thank you also to julia Masagão who has been coordinating the
overall design of transnational dialogues in 2014, to artist Veikko törmänen who
has kindly granted us the permission to use one of his drawings as the basis for our
2014 logo and to andrea Montuori for his web-designing skills. finally, we would like
to thank our network of friends who have been giving us their time, energy and
support across the world: alessandro Vitali (Kreuzberger Pavillon, berlin), ambra
corinti and rong guang rong (Zajia lab, beijing), amy cheng (1314, chengdu), andré
Komatsu (são Paulo), barbara szaniecki and beppe cocco (rio de janeiro), berardo
carboni (teatro Valle occupato, rome), cai hui (observation society, guangzhou),
carla chaim e laura gorski (jardim do hermes, são Paulo), carlos and joão Vergara
(ateliê carlos Vergara, rio de janeiro), chen chen (flicking forehead!, beijing), chen
Qiang (chengdu), chen Xuejian, Zhao Mi and fan Xue (china art treasury, chengdu),
chiara cartuccia (saVVY contemporary, berlin), claudia afonso (centro cultural são
Paulo), corrado gemini and Mateo Çili (M^c^o, Milan), costanza assereto and nicola
rombi (casa Momus, rio de janeiro), cruz and nathalie frankowsky (intelligentsia
gallery, beijing), daniel Murgel (rio de janeiro), daniel rubim (latitudebrasil.org, são
Paulo), deng dafei (beijing) and lijuan independent art school, dong Xun, Yu guo, liao
Wenchao and liu Weiwei (artists, chongqing), dong Yifei (art+gallery, chengdu), di-
dier schulmann, Mica gherghescu and all the participants in the summer university
2014 at bibliothèque Kandinsky (centre Pompidou, Paris), Espaço aurora (são Paulo),
fabia schnoor and Valerio ricci Montani (são Paulo), fabrício cavalcanti (rio de ja-
neiro), feng hao and li Qing (Miji lab, beijing), francesco Petrucci (gagliano del capo),
gabriela Maciel (tal, rio de janeiro), heiQiao artists’ community (beijing), hou hanru,
irene de Vico falliani, giulia ferracci and many others (MaXXi, rome), hu fang (Vita-
min creative space, guangzhou), ioWa artists’ community of caochangdi (beijing),
jaakko Mattila (helsinki), juca ferreira, joão brant and Paulo Menechelli filho (city
of são Paulo), lao gan (caoba commune, beijing), li jie (a4 contemporary art center,
chengdu), li Kun and Mao Zhu (chengdu), ligia nobre (são Paulo), lin jing jing (bei-
jing), liu bolin (beijing), lorenzo romito (stalker, rome), luca forcucci (berlin), luiz
camillo osorio and Marta Mestre (MaM – Museu de arte Moderna, rio de janeiro),
luiz guillherme Vergara (Mac de niteroi), Ma Yongfeng (beijing), Manuel (cooper-
ativa unidos do alemão), Mar – Museu de arte do rio, Márcio botner, Ernesto neto
and laura lima (a gentil carioca, rio de janeiro), Marcos gallon (galeria Vermelho,
são Paulo), Maria Monteiro (casa juisi Phosphorus, são Paulo), Mariana lorenzi and
benjamin seroussi (casa do Povo, são Paulo), Max gerthel (institute for Provocation,
beijing), Megumi shimizu (beijing), Moca (chengdu), Monica Melani (Mitreo-iside
del corviale, rome), nanko van buuren (ibiss, rio de janeiro), Pedro rivera (studio-X,
rio de janeiro), Qian long (action space, beijing), Qiaochu Ze (beijing), rain (l-art gal-
lery, chengdu), ren han (tianjin), renata Pereira figueiró (sEsc Pompeia, são Paulo),
roberto ceresia and adrian Wang (aike-dellarco, shanghai), ronald duarte (rio de
janeiro), serge onnen and Esther Kokmeijer (institute for Provocation, beijing), stella
tang (london), sasha hu (beijing), sue, sarah and olivier (Video bureau, guangzhou),
sun shaokun, Qiao Xingyue, li jie, he chengyao (ioWa, beijing), susana Queiroga (rio
de janeiro), tania alice (rio de janeiro), taru Elfving (fraME, helsinki), tatiana rich-
ard (rio de janeiro), tej tadi (lausanne), thais rivitti (ateliê 397, são Paulo), ty Wang
(guangzhou), Video bureau (beijing), Vivian caccuri (são Paulo), Wang haichuan
(chongqing), Weijing Zhu (the World of chinese, beijing), Wellington dias and sarah
Marques (casa giramundo, rio de janeiro), Xinran guo (chicago), Xu lang (chengdu),
Yang shu, ni Kun, li li and dao dao (organhaus, chongqing), Yaowei (heiqiao, beijing),
Yu bugong (beijing), and many others to whom we say a silent thank you.
6 CHongqIng FlYoVer. PHoTo BY TIanJI ZHao (2014) 7
98 CHange uToPIa: FragmenTS oF a Prologue
CHange uToPIa: FragmenTS oF a ProloguelUigi galimBerti | lorenzo marsili | roBin resCh
We are living in accelerated times. China and Brazil have turned into global players and have been very much present in the economic and political dis-course of recent years. Both are dynamic powerhouses undergoing a rapid renovation of education, economy, urbanization and culture, while causing significant impacts on – and changes to – their societies, at all levels. Despite persisting economic stagnation, or because of it, the social texture of Europe is also undergoing tremendous changes, with new models emerging – from a re-newed focus on commons, to alternative economies, from creative strategies to confront high unemployment, to shifting meanings of citizenship and borders.
And yet, the present is not delivering. Few appear content with the status quo – and that is potentially a very good thing. The Brazilian and Chinese models have proven unsatisfactory to many of their own citizens. The great awakening of civil participation and protest on the streets of Brazil in 2013 and 2014, as well as the difficulty for the ruling Workers’ Party to maintain a large majority at the October 2014 presidential elections, mark a shift away from the years of Lula and the “Brazilian miracle”. A more general feeling of precariousness and anxiety in China, in particular amongst the younger generation, as well as the September 2014 protests in Hong Kong, are just the latest reminder that eco-nomic liberalism and political authoritarianism form an unhappy mix. On the other hand, Europe is mired in a prolonged economic and political crisis that is causing widespread discontent and social suffering.
Current social, economic and cultural models are failing us, regardless of the national context. There are certainly endogenous reasons for this: the great inequalities of Brazil, the one-party system in China, the fragmentation of the European space marked by an economic but not yet a political Union. But there are also, we believe, common and overarching reasons for the failure of exist-ing models in these three apparently very different contexts. These common reasons are linked to the shortcomings of modernity as a whole, and the way it envisaged economic production, the nation state and the ordering of society,
urbanisation and ultimately the conception of the individual, both as citizen and subject.
Faced with the scale of such challenges, the response of the imagination seems as yet insufficient. Artists, philosophers, researchers, activists and prac-titioners have historically been at the heart of a drive to radically critique the present and imagine alternative futures, positing a radical break from the norm and fostering new forms of living together, with new scales of values. This ambition needs to be recuperated, and a new imaginary and narrative for the future needs to be opened. Once the global character of today’s challenges is recognized, this new imaginary and narrative can begin to unfurl only at a transnational level, through the bringing together in a dynamic exchange di-verse ideas and practices from all over the world.
And this is where Transnational Dialogues comes in. What is the role of the creative forces in questioning the present? How are social, economic and cul-tural contradictions situated in our global cities, and what creative strategies are being developed to address them? What role can governmental policies have in the cultural and artistic arena? How are spaces of cultural production being renegotiated? How much space is left for transnational dialogue and co-operation?
These are some of the questions at the heart of this issue of the Transna-tional Dialogues Journal. Although they are dispersed throughout the journal, the articles can be traced back to three main strands. Utopias, Futures and Dreams [U] starts with a reflection on aesthetics and politics by Luiz Camillo Osorio (p. 11), followed by a thorough overview on how this applies to the recent wave of protests in Hong Kong (Rachel Marsden, p. 16). The discourse contin-ues with memories from a visit to a garden, the utopia par excellence, by Chi-nese novelist Hu Fang (p. 21). Artists and Cities [C] follows with an account of the activities of Entremeios, an urban design project in Rio de Janeiro (Barbara Szaniecki and Zoy Anastassakis, p. 34). From São Paulo comes the experience of Largo da Batata, which looks at public and collective making (Laura Sobral, p. 31). Finally, Andressa Vianna and Chico Daviña (p. 57) invite us to leave our comfort zone when undertaking such transnational dialogues. Cultural Pol-icies [P] brings together analyses and reflections on the interaction between the governmental, the commercial, and the practitioners’ spheres in the artistic, cultural and creative sectors. Starting with a quick overview on China (Wang Dong, p. 39), the section focuses on Brazil with contributions from both prac-titioners (Mariana Lorenzi, p. 45, and Jota Mombaça, p. 27), public managers (Tatiana Richard, p. 49) and politicians (Juca Ferreira, p. 53). We hope you will enjoy reading the publication as much as we have enjoyed putting it together, and we warmly invite you to stay engaged with Transnational Dialogues and its future activities and publications.
luigi galimberti, lorenzo marsili and robin resch are coordinators of Transnational Dialogues.mu
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rese
nte?
Com
o as
cont
radi
ções
soci
ais,
ec
onôm
icas
e c
ultu
rais
se si
tuam
em
nos
sas c
idad
es g
lo-
bais
, e q
uais
est
raté
gias
cri
ativ
as e
stão
sen
do d
esen
vol-
vida
s pa
ra s
e di
rigi
r a e
las?
Qua
l é o
pap
el d
as p
olíti
cas
gove
rnam
enta
is n
a ar
ena
cultu
ral e
art
ístic
a? C
omo
os
espa
ços d
e pr
oduç
ão c
ultu
ral e
stão
send
o re
nego
ciad
os?
Qua
nto
espa
ço re
sta
para
o d
iálo
go e
a c
oope
raçã
o tr
ans-
naci
onal
?Es
sas s
ão a
lgum
as d
as q
uest
ões a
bord
adas
nes
ta ed
ição
do
Tra
nsna
tiona
l Dia
logu
es Jo
urna
l. Em
bora
est
ejam
alg
o em
bara
lhad
os a
o lo
ngo
da p
ublic
ação
, os
artig
os p
odem
se
r cat
egor
izad
os s
ob tr
ês te
mas
pri
ncip
ais.
A s
eção
Uto
-pi
as, F
utur
es a
nd D
ream
s [U
] com
eça c
om u
ma r
eflex
ão
sobr
e es
tétic
a e
polít
ica
assi
nada
por
Lui
z Cam
illo
Oso
rio
(p. 1
1), s
egui
da d
e um
pan
oram
a de
talh
ado
de c
omo
isso
se
apl
ica
à re
cent
e on
da d
e pr
otes
tos e
m H
ong
Kon
g (R
a -ch
el M
arsd
en, p
. 16)
. O d
iscu
rso
cont
inua
com
mem
ória
s da
vis
ita a
um
jard
im, a
uto
pia
por e
xcel
ênci
a, d
o ro
man
-ci
sta
chin
ês H
u Fa
ng (p
. 21)
. Já
Art
ists
and
Cit
ies
[C] d
á co
ntin
uida
de c
om u
m a
panh
ado
das
ativ
idad
es d
o En
tre -
mei
os, u
m p
roje
to d
e de
sign
urb
ano
no R
io d
e Ja
neiro
(por
Ba
rbar
a Sz
anie
cki e
Zoy
Ana
stas
saki
s, p
. 34)
. De S
ão P
aulo
, ve
m a
exp
eriê
ncia
do
Larg
o da
Bat
ata
abor
dand
o a
prát
ica
públ
ica
e co
letiv
a (L
aura
Sob
ral,
p. 6
). Po
r fim
, And
ress
a Vi
ana
e C
hico
Dav
iña
(p. 5
6) n
os co
nvid
am a
dei
xar a
zona
de
conf
orto
ao n
os en
volv
er co
m e
sses
diá
logo
s tra
nsna
cio -
nais
. Já
Cul
tura
l Pol
icie
s [P]
com
pila
aná
lises
e re
flexõ
es
sobr
e a
inte
raçã
o en
tre
as e
sfer
as g
over
nam
enta
l, co
mer
-ci
al e
prá
tica
nos s
etor
es a
rtís
tico,
cul
tura
l e c
riat
ivo.
Ini-
cian
do c
om u
ma
rápi
da v
isão
ger
al so
bre
a C
hina
(Wan
g D
ong,
p. 3
8), e
ssa
seçã
o se
con
cent
ra n
o Br
asil,
com
con
-tr
ibui
ções
tant
o de
pro
fissi
onai
s ativ
os (M
aria
na L
oren
zi,
p. 4
4, e
Jota
Mom
baça
, p. 2
6) c
omo
tam
bém
de
polít
icos
(J
uca
Ferr
eira
, p. 4
2, e
Tat
iana
Ric
hard
, p. 4
8).
Espe
ram
os q
ue v
ocê
desf
rute
da
leitu
ra d
esta
pub
lica-
ção
tant
o qu
anto
nós
apr
ecia
mos
o tr
abal
ho d
e fa
zê-la
, e
apro
veita
mos
par
a lh
e co
nvid
ar a
aco
mpa
nhar
e se
env
ol-
ver c
om o
pro
jeto
Tra
nsna
tiona
l Dia
logu
es e
suas
ativ
ida-
des e
pub
licaç
ões f
utur
as.
luig
i ga
lim
bert
i, lo
ren
zo m
ars
ili e
rob
in r
esch
co
orde
nam
o p
roje
to T
rans
natio
nal D
ialo
gues
.
Trad
uzid
o do
ingl
ês p
or D
anie
l Lüh
man
n
改变乌托
邦：开场
白片断
路易吉 • 加
林贝蒂
罗伦佐 • 马
尔西利
罗宾 •
雷希
我们置身于一切都在加速的时代。中国和巴西已成为全球性
的玩家，近几年是政经论述的要角。两者皆经历了在教育、经
济、城市化与文化各方面的迅
速变革，同时也引发
社会上
全
面的重大冲击与转变。另一方面，欧洲经济持
续停滞，正因为
如此，欧
洲社会
经历着巨大的变化，新的
模式
开始浮现－更
新的焦点包括从共享体到替代经济，从面对高失
业率的创造
性策略到公民和国界意义的变迁。
然而，眼前一切均不起作用。很少人
对现状满意－这或许
是件好事。事
实证明许多巴西与中国人民对他们自己国家的
发展模
式并不
满意。在巴西，2013和2014年公民参与意识的
觉醒
及街头
抗议，2014年10月总统大
选工党维持大多数支持
所遭
遇的困难，标志了卢拉
政权和“巴西奇
迹”后的转变。
在中国，一种尤其
存在于
年轻
一代的普遍不安与焦虑，以及
2014年9月
发生于香港的抗议行动仅仅是自由经济和威权体制
的不幸结合下最近的例证。另一方面，欧洲深陷于长期的经济
与政治危机所引生的普遍不满与社会上的痛苦。
不论在上述哪个国家，当前的社会、经济和文化模式都失
败了。当然这样的结果有一些各自的原因：巴西社会的极度不
平等，中国的一党制，欧洲空间的碎片化，尽管有统一的经济
体（还不是政治体）支持。但是我们相信，还有别的共同因素
导致
上述
三种彼此极不相同的体系的失
败。它们和现代性本
身的缺陷、在
此概
念下展开的经济
生产、民
族国家
和社会的
排序、城市化、还有同时是市民与主体的个
体概
念等皆脱不
了关系。
面对如此大规模的挑战，想像力似乎也不足以反映。艺术
家，哲学家，研究者，行动派及实践者历来都是现状的严厉批
判者，他们擅于想像
未来的各种可能
选项，设想某种
激进的
突破
方式，培养新
形态的共生关系及
新的价值衡
量标准。这
样的野心需要
被复苏，开启对未
来的全
新想像和陈
述。一旦
这些挑战的全球性格在跨国层次被认识到，整个世界将会充
满生气勃勃的思想交流与实践。
跨国对
话的重
要性由此
显现。创
造性的力量在
对当下的
质疑中扮演什么角色？社会、经济与文化
上的矛盾如何栖身
于全球性城市里？什么样的创造性策略被发展来陈述它们？
政府的政策在文化艺术领域
担任什么角色？如何为文化
生产
的空间重新谈判？还有多少容许跨国对话与合作的可能？
以上问题是
本期跨国对话期刊的核心。这
些主
题全
部可
以回溯到
三条思
路上。首先
Luiz
Cam
illo
Oso
rio
的乌
托
邦，未
来，梦(p.11)审
视美学
和政
治的关
系，
然后是
对它
们如何适
用在
最近
发生于香
港的一波
抗议行
动的全面概
述
(Rac
hel M
arsd
en, p
.16)。接下来
是中国小说
家胡昉对某个
乌托邦般的花园的回忆
(p.2
0)。艺
术家与城市陈
述里约的一
个都市设计
计划Extremeios
(B
arba
ra S
zani
ecki 和
Zo
y A
nast
assa
kis,
p.3
4)。圣保罗Largo
da
Batata
有关公共集
体制作的经验
(Lau
ra S
obra
l, p.
31)。最后，
And
ress
a V
iann
a 和
Chi
co D
aviñ
a邀请我们在
进行
这些跨国对话时离开习惯
的舒
适地带
(p.5
7)。文化
策略
分析并反
思政
府、商业
和实
践
等领域
在艺
术、文化
和创意范畴的互动。首先
是对中国文化
策略
的简洁
概述
(王东，
p.39
)，然
后聚焦于巴西来自实
践者
(Mar
iana
Lor
enzi
,p.4
5,和
Jota
Mom
baça
,p.2
7)与政
治家
(Juc
a Fe
rrei
ra, p
.53,和
Tatia
na R
icha
rd, p
.49)的贡献。
我们希望您们阅读
这份
刊物获得的喜悦和我们享受创作
这份刊物的程度相当。我们诚挚地
邀请您们继续支持并参与
跨国对话未来的出版与活动。
luig
i ga
lim
bert
i, l
or
enzo
ma
rsi
li 和
ro
bin
r
esch
皆负责跨国对话的协调任务。
翻译 刘
芳
10 uToPIaS, FuTureS anD DreamS 11
a Few THougHTS on aeSTHeTICS anD PolITICSlUiz Camillo osorio Since June 2013, streets in Brazil have been taken by several demonstrations rarely observed in the country. Not relinquishing the local particularities, it echoed, in a certain way, a set of movements spread throughout the globe – going from Spain, to Istanbul, Cairo, and New York, until reaching the Brazilian capital cities. Per se, the strength of dissemination combined with the clamor’s intensity imply the victory of these movements over the institutional politics. A lot has been said – regarding the absence of an agenda, the internal lack of organization, and the ideological vagueness of what was taking place on the streets, i.e., the clearness of objectives and a programmatic orientation were claimed in order to give them a guiding line. Although, the will to determine a direction for this political inten-tionality would precisely destitute it of its moving force. The ideological uncer-tainty and decentralization were exactly what made these demonstrations strik-ing, thus becoming attractive to young people who were politically marginalized and, after that episode, ended up realizing the magnitude of this political happen-ing, which required, and continues to require, new ways of thinking politically.
One of the most remarkable features of this occupation of the streets was the sterling amount of signs with assorted claims. Proliferating flags and ideo-logical colors multiplied the forms of political exposure and encumbered the reading and identification of actors according to traditional categories. As ob-served by Rodrigo Nunes when discussing the June events: “Despite the relative generalization of the most evident triggering factors (police brutality, increase in the cost of living, the impact of major sports events), the movement came out due to miscellaneous factors, some of them even contradictory; more than a variety of voices, the variety of wills.”1 Having the latter as point of departure,
1 Nunes, Rodrigo – “A organização dos sem organização: oito conceitos para pensar o inverno bra-sileiro”, in: www.diplomatique.org.br
one must start to think of political mobilization procedures bypassing instituted mediations – parties, unions, religious groups –, leaving behind the traditional dichotomies of collective unit and individual alienation, intentionality and di-rection. Deep inside, the issue goes through the ways that the political engage-ment is processed in the world these days, and how it goes around the raising of awareness by the actors; at least considering the most conventional terms by means of which such awareness would equip the action with direction as much as with transforming effectiveness. The question was how to come up with new models of participation that do not give in to tradition-inherited procedures, yet not waiving the power of confronting the instituted order.
One thing that arguably changed during these demonstrations was the abandonment of an ideological center formed by the soapbox and its mobilizing voice. Once abolished, a generalized scattering of voices and signs came about, thus composing transitory discursive cores generated in motion during the pro-tests. As Peter Pál Pelbart recalls, “we talk about desires, not only about claims, because these ones can be satisfied. The collective desire implies in the huge pleasure of going to the streets, feeling the multitudinous pulsation, bumping into the diversity of voices and bodies, genders and types, as well as learning something in ‘common’ that is related with the networks, the social networks, the collective intelligence”.2 How can these new action forms redefine expres-sion forms, that is, which aesthetics rise from this new politicization? How does it act upon the boundaries of a spectacularized aestheticization and a potent aestheticization? In order to discuss this politics of aesthetics it is also pertinent to think about how the art has been building itself a politics on the sidelines of its expected political action. What forms of participation were sought by ex-perimental poetics throughout the twentieth century and how do they open a political scene resistant to its spectacular and institutionalizing appropriation? Which politics of aesthetics – ways to unfold new senses for art – would be ca-pable of resisting to the aestheticization of art – ways of absorbing and manipu-lating? How to resist the aestheticization without relinquishing the aesthetic di-mension of art, of major importance to the establishment of singular means of feeling and thinking? It must be highlighted that this tension between aesthetic power and aestheticization should remain unsolved, since a full detachment of these fields, thus protecting the political resistance of the manipulative appro-priation, seems to be just one more impossible and undesirable dream of a given modernist ideological purism. The resistance continues alive in the bosom of this tension, producing divergent effects that hamper the immediate absorption of the affection that turns everything into a spectacle.
The specificity of art is then placed between brackets, in the sense of not con-cerning us here the discussion of possible conditions for something to be consid-
2 Pál Pelbart, Peter, “Anota aí: eu sou ninguém”, Folha de S. Paulo, July 19, 2013, Tendências/Debates section, page 2.
algum
aS Con
SIDera
ÇÕeS
SoBre
eSTÉTIC
a e
PolÍTIC
alUi
z Cam
illo os
orio
As r
uas b
rasi
leira
s for
am to
mad
as a
par
tir d
e ju
nho
de 20
13
por u
ma
série
de
man
ifest
açõe
s rar
as v
ezes
vis
tas n
o pa
ís.
Em c
erta
med
ida,
sem
ret
irar
as
espe
cifi
cida
des
loca
is,
ecoa
va a
qui u
m c
onju
nto
de m
ovim
ento
s esp
alha
dos p
elo
plan
eta
– da
Espa
nha,
pas
sand
o po
r Ist
ambu
l, C
airo
, Nov
a Yo
rk e
che
gand
o às
cap
itais
bra
sile
iras
. A fo
rça
com
que
se
dis
sem
inou
e a
inte
nsid
ade
do s
eu c
lam
or p
or m
udan
-ça
s im
plic
am, p
or si
só, u
ma
vitó
ria d
o m
ovim
ento
sobr
e a
polít
ica
inst
ituci
onal
. Mui
to fo
i dito
– em
sua
mai
oria
em
to
m n
egat
ivo
– sob
re a
ausê
ncia
de
paut
a, a
des
orga
niza
ção
inte
rna
e a
inde
finiç
ão id
eoló
gica
do
que
se p
assa
va n
as
ruas
, ou
seja
, rec
lam
ava-
se u
ma
clar
eza
de o
bjet
ivos
e u
ma
orie
ntaç
ão p
rogr
amát
ica
que d
esse
aos p
rote
stos
um
a lin
ha
de o
rient
ação
. Que
rer fi
xar u
ma
dire
ção
para
ess
a in
tenc
io-
nalid
ade
polít
ica
seri
a de
stitu
ir o
mov
imen
to ju
stam
ente
de
sua
forç
a m
obili
zado
ra. F
oram
just
amen
te a
des
cent
ra-
lizaç
ão e
a in
defin
ição
ideo
lógi
ca q
ue s
ingu
lari
zara
m o
s pr
otes
tos,
torn
aram
-nos
atr
ativ
os p
ara
uma
juve
ntud
e qu
e at
é en
tão
esta
va à
mar
gem
da
polít
ica
e de
ram
a e
les u
ma
enve
rgad
ura
de a
cont
ecim
ento
pol
ítico
que
exi
gia,
e se
gue
exig
indo
, nov
as fo
rmas
de
pens
á-lo
s pol
itica
men
te.
Um
a da
s car
acte
ríst
icas
mai
s mar
cant
es d
a oc
upaç
ão d
as
ruas
foi a
qua
ntid
ade
supe
rlativ
a de
car
taze
s co
m re
ivin
-di
caçõ
es v
aria
das.
Um
a pr
olife
raçã
o de
ban
deir
as e
de
co-
res i
deol
ógic
as q
ue m
ultip
licav
am a
s for
mas
de
expo
siçã
o po
lític
a e
dific
ulta
vam
a le
itura
e a
iden
tifica
ção
dos a
tore
s se
gund
o ca
tego
rias
trad
icio
nais
. Com
o ob
serv
ou R
odri
go
Nun
es a
o di
scut
ir os
aco
ntec
imen
tos d
e ju
nho,
“em
bora
os
fato
res d
esen
cade
ador
es m
ais e
vide
ntes
(vio
lênc
ia p
olic
ial,
aum
ento
do
cust
o de
vid
a, im
pact
os d
os m
egae
vent
os e
s -po
rtiv
os) s
ejam
rela
tivam
ente
gen
eral
izad
os, o
mov
imen
to
se m
anife
stou
por
coi
sas v
aria
das,
alg
umas
até
con
trad
itó-
rias
; mai
s que
um
a di
vers
idad
e de
voz
es, u
ma
dive
rsid
ade
de v
onta
des”
.1 A p
artir
des
sa d
iver
sida
de d
e vo
ntad
es, d
e-ve
-se
com
eçar
a p
ensa
r pro
cess
os d
e m
obili
zaçã
o po
lític
a qu
e pa
ssam
ao
larg
o da
s med
iaçõ
es in
stitu
ídas
– pa
rtid
os,
sind
icat
os, g
rupo
s re
ligio
sos
– e
que
deix
am p
ara
trás
a
dico
tom
ia tr
adic
iona
l ent
re u
nida
de c
olet
iva
e al
iena
ção
indi
vidu
al, e
ntre
inte
ncio
nalid
ade
e di
reçã
o. N
o fu
ndo,
a
ques
tão
pass
a so
bre
os m
odos
com
o o
enga
jam
ento
pol
íti-
co se
pro
cess
a no
mun
do a
tual
e a
té q
ue p
onto
ele
pas
sa a
o la
rgo
de u
ma
tom
ada
de c
onsc
iênc
ia p
or p
arte
dos
ato
res;
pe
lo m
enos
em
seu
s te
rmos
mai
s co
nven
cion
ais
em q
ue
essa
con
scie
ntiz
ação
dar
ia à
açã
o ta
nto
dire
ção
com
o ef
e -tiv
idad
e tra
nsfo
rmad
ora.
Com
o in
vent
ar n
ovos
mod
elos
de
part
icip
ação
que
não
pas
sem
pel
os p
roce
ssos
her
dado
s da
trad
ição
, sem
abr
ir m
ão, c
ontu
do, d
a po
tênc
ia d
e en
fren
ta-
men
to d
a or
dem
inst
ituíd
a.
Um
a co
isa
que
indi
scut
ivel
men
te m
udou
nas
man
ifes -
taçõ
es fo
i o a
band
ono
de u
m c
entr
o id
eoló
gico
con
stitu
ído
pelo
pal
anqu
e e
sua
voz
mob
iliza
dora
. Abo
lido
o pa
lanq
ue
surg
iu u
ma
disp
ersã
o ge
nera
lizad
a de
voz
es e
car
taze
s co
nstit
uind
o nú
cleo
s di
scur
sivo
s pr
ovis
ório
s ge
rado
s no
pr
óprio
and
amen
to d
o pr
otes
to. C
omo
lem
brad
o po
r Pet
er
Pal P
elba
rt, “
fala
mos
de
dese
jos
e nã
o de
reiv
indi
caçõ
es,
porq
ue e
stas
pod
em se
r sat
isfe
itas.
O d
esej
o co
letiv
o im
pli -
ca im
enso
pra
zer e
m d
esce
r à ru
a, se
ntir
a p
ulsa
ção
mul
ti-tu
diná
ria,
cru
zar a
div
ersi
dade
de
voze
s e c
orpo
s, se
xos e
tip
os e
apr
eend
er u
m c
omum
que
tem
a v
er c
om a
s red
es,
com
as r
edes
soc
iais
, com
a in
telig
ênci
a co
letiv
a”.2 C
omo
essa
s nov
as fo
rmas
de
ação
rede
finem
form
as d
e ex
pres
são,
ou
seja
, que
esté
tica(
s) su
rge(
m) d
essa
nov
a po
litiz
ação
? De
que
man
eira
ela
atu
a na
fron
teir
a en
tre
uma
este
tizaç
ão
espe
tacu
lari
zada
e u
ma
este
tizaç
ão p
oten
te?
Para
dis
cu-
tir e
ssa
esté
tica
da p
olíti
ca c
abe
refle
tir ta
mbé
m s
obre
os
mod
os co
mo
a ar
te v
eio
cons
titui
ndo
para
si u
ma
polít
ica
à m
arge
m d
o qu
e se
esp
erar
ia se
r sua
atu
ação
pol
ítica
. Que
fo
rmas
de
part
icip
ação
fora
m s
endo
bus
cada
s po
r po
éti -
cas e
xper
imen
tais
ao
long
o do
sécu
lo x
x e
de q
ue m
anei
ra
elas
abr
em u
ma
cena
pol
ítica
resi
sten
te à
sua
apro
pria
ção
1 N
unes
, Rod
rigo
. “A
org
aniz
ação
dos
sem
org
aniz
ação
: oito
con
ceito
s pa
ra p
ensa
r o in
vern
o br
asile
iro”
, ww
w.d
iplo
mat
ique
.org
.br
2 Pa
l Pel
bart
, Pet
er, “
Ano
ta a
í: eu
so
ning
uém
”, F
olha
de S
. Pau
lo, 1
9/07
/2
013,
Ten
dênc
ias/
deba
tes,
p. 2
.
espe
tacu
lar e
inst
ituci
onal
izan
te? Q
ue p
olíti
ca d
a es
tétic
a – f
orm
as d
e ab
rir n
ovos
sent
idos
par
a a
arte
– se
ria ca
paz d
e re
sist
ir à
est
etiz
ação
da
arte
– m
odos
de
abso
rção
e m
ani -
pula
ção?
Com
o re
sist
ir à
est
etiz
ação
sem
abr
ir m
ão d
a di
-m
ensã
o es
tétic
a da
art
e tã
o im
port
ante
par
a a
cons
titui
ção
de m
odos
sing
ular
es d
e se
ntir
e p
ensa
r? Im
port
ante
fris
ar
que e
ssa t
ensã
o en
tre p
otên
cia e
stét
ica e
este
tizaç
ão d
eve s
e m
ante
r irr
esol
vida
, um
a ve
z qu
e se
para
r tot
alm
ente
ess
es
cam
pos,
pro
tege
ndo
a re
sist
ênci
a po
lític
a da
apr
opri
ação
m
anip
ulad
ora,
par
ece
mai
s um
dos
son
hos
impo
ssív
eis
e in
dese
jáve
is d
e ce
rto
puris
mo
ideo
lógi
co m
oder
nist
a. É
no
seio
des
sa te
nsão
que
a re
sist
ênci
a se
man
tém
viv
a, p
rodu
-zi
ndo
efei
tos d
isse
nsua
is q
ue d
ificu
ltam
a a
bsor
ção
imed
ia-
ta d
o af
eto
que
tran
sfor
ma
tudo
em
esp
etác
ulo.
A e
spec
ifici
dade
da
arte
fica
pos
ta e
ntre
par
ênte
ses,
no
sent
ido
de n
ão n
os in
tere
ssar
aqu
i dis
cutir
con
diçõ
es d
e po
ssib
ilida
de p
ara a
lgo
ser o
u nã
o ar
te. E
m g
rand
e par
te, e
u di
ria
que
a pr
oble
mat
izaç
ão d
essa
fron
teir
a ap
onta
, com
o um
a es
péci
e de
des
dobr
amen
to in
cont
orná
vel,
para
a co
ns-
titui
ção
de u
m n
ovo
tipo
de e
spec
tado
r e d
e no
vas f
orm
as
de p
artic
ipaç
ão m
ais a
bert
as e
inde
finid
as. N
ão m
e in
tere
s -sa
aqu
i dis
cutir
a p
ertin
ênci
a ou
não
do
term
o es
pect
ador
, o
que
me
inte
ress
a é
anal
isar
os m
odos
com
o a
arte
pro
duz
afet
os e
efe
itos q
ue se
dis
sem
inam
no
mun
do. O
pro
blem
a co
loca
do p
elo
read
y-m
ade d
ucha
mpi
ano
foi j
usta
men
te a
co
nstit
uiçã
o de
um
ges
to q
ue fi
zess
e co
m q
ue a
mes
ma
coi -
sa p
udes
se se
r igu
alm
ente
art
e e
não-
arte
. O q
ue fa
z de
le
arte
rem
ete
às re
laçõ
es q
ue e
le p
rodu
z e a
os p
roce
ssos
que
el
e abr
e. P
or su
a vez
, dan
do u
m sa
lto en
orm
e no
tem
po e
no
espa
ço, a
s int
erve
nçõe
s do
cole
tivo
proj
etaç
ão n
as m
anife
s -ta
ções
de
junh
o sã
o e
não
são
artís
ticas
, ass
im c
omo
as fo
-to
grafi
as e
film
es d
a M
ídia
Nin
ja e
dos
mui
tos c
olet
ivos
que
at
uara
m a
par
tir d
as m
anife
staç
ões.
Com
o es
crev
eu B
arba
-ra
Sza
niec
ki, d
iscu
tindo
a e
stét
ica
das m
anife
staç
ões e
sua
potê
ncia
pol
ítica
: “O
que
se c
onfig
urou
nos
últi
mos
mes
es
num
a mul
tiplic
idad
e de l
ingu
agen
s nas
rede
s e n
as ru
as, é
o
‘art
ístic
o’ d
o tr
abal
ho b
iopo
lític
o na
met
rópo
le c
ario
ca q
ue,
dian
te d
os p
arad
oxos
e p
erig
os d
o m
omen
to, d
eve
dar s
enti -
do é
tico
às n
ossa
s dec
isõe
s col
etiv
as e
à n
ossa
vid
a co
mum
. Es
sa a
rte
da m
ultid
ão, p
ara
os d
ias
por v
ir, c
onsi
stir
á em
m
ante
r est
a co
nexã
o at
iva,
liga
da, i
nten
sa”.3
O q
ue in
tere
ssa
é di
scut
ir o
mod
o co
mo
algu
mas
est
ra-
tégi
as d
e açã
o po
lític
a res
gata
m u
ma p
artil
ha d
isse
nsua
l do
sens
ível
que
rem
ete
ao m
odo
com
o a
arte
pro
duzi
u se
ntid
o
3 Sza
niec
ki, B
. “A
mar
é a
mar
é A
mar
ildo:
mul
tidão
e a
rte”
, in:
htt
p://
uni-
nom
ade.
net/
tend
a/am
ar-e
-a-m
are-
amar
ildo-
mul
tidao
-e-a
rte-
rj-2
013/
关于美学
与政治的
一些思考
路易兹 ·
卡米罗
· 奥
索里奥
自20
13年
6月，巴西的街
道便被这个国家所少见的一连串的
示威游行所占据。某种程度上，不缺乏地区性的特色，是遍
布全
球的一系列
运动的回响，从西
班牙到
伊斯
坦布尔、从
开罗、纽约一直传到巴西的各大
城市。所
散发的力量，强烈
要求
改变的呼声，其本身，就
意味
着运
动对政
治体制的胜
利。众议纷纭，大多是批评的口吻，说发
生在街
道上的事情
缺乏计划，内部组织混乱，没有意识形态思想，换句话
说，
是呼吁
一种明确的目的和
有计
划的引导，给那些
抗议一
个
指导方针。想给政治运动确立一个方向本身，正是对运动动
员力的消弱。恰恰是由于没有集中，没有使抗议单纯化的确
定的思想，使运
动对直到那时还处在政治的边
缘的年轻
人
有了吸引力，给予他们一种政治事件的宏大规模，和所要求
的、且继续所须的，政治性地思考的新形式。
数量浩繁的各种权利诉求的海报，是上街示威的最突出
的特点。形色各异的，代表不同思潮的各种颜色的旗帜的泛
滥，多元化政治的表达形式，让人按照传统类别难以解读和
区别究竟是哪一派。正如罗德里格
·
努内斯
1 在讨论
6月事件的时候所说：“
尽管相当普遍地有明显的触发因素（警
察暴力，生活成
本上涨，大
型体育赛
事的冲击），运
动表现
出情况各异，有的甚至是相互
矛盾的，不同的声音，不同的
意愿，十分繁杂。”出自这种多样化的意愿，应该思考政治
运作的程
序，采取机构的调解（政党，工会，宗教组织），而
摆脱掉非此即彼的，非
集体的团结便
是个人的疯
狂的这种
传统的两元论。根本上，问题成了当今世界政治干预以什么
1 努内斯，罗德里格；《
无组
织者的组
织：对巴西冬天的八种思考，
ww
w.
dipl
omat
ique
.org
.br
no waY (FaDe ouT). arTworK BY anDrea De STeFanI (2011)
12 uToPIaS, FuTureS anD DreamS 13
ered as art or not. Mostly, I would say that problematizing this frontier, as some sort of unavoidable unfolding, points out towards the composition of a new spec-tator along with more open and undefined ways to participate. I am not interested in discussing here whether it is pertinent or not to use the term spectator, but rather to analyze how art produces affections and effects that spread throughout the world. The problem brought out by Duchamp’s ready-mades was exactly the constitution of a gesture capable of turning something into art that can also be non-art. What makes it art refers to the relations it produces and the procedures it engenders. On its turn, making a huge leap in time and space, the interven-tions of Coletivo Projetação during the June protests are simultaneously artistic and non-artistic, just as the photographs and videos by Mídia Ninja and several others collectives that acted on the demonstrations. As Barbara Szaniecki puts it, when discussing the aesthetics of the manifestations and their political power:
“What the past few months called forth in a wide range of languages, both on the networks and the streets, is the ‘artistic’ aspect of the biopolitical work in Rio de Janeiro, which, faced with the current hazards and contradictions, must give an ethical meaning to our collective decisions and our common life. On the days to come, this multitude art will consist in keeping this connection active, bound, intense.”3 The point is to discuss how some political action strategies redeem a dissonant distribution of the sensible, which refers to how art produced sense during the period that Jacques Rancière named the aesthetic regime of arts. “The arts only ever lend to projects of domination or emancipation what they are able to lend to them, that is to say, quite simply, what they have in common with them: bodily positions and movements, functions of speech, the parcelling out of the visible and the invisible. Furthermore, the autonomy they can enjoy or the sub-version they can claim credit for rest on the same foundation.”4
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? When the traditional forms of po-litical representation are constantly put at stake by current events, the ideolo-gies that used to give us some safety regarding our expectations can no longer aggregate more hearts and minds, and the question on the political character of arts and the artistic dimension of politics gains a peculiar urgency.
The question that seems crucial to me was the one posed by Duchamp: how to make a work of art that is not a work of art? What matters the most in this question, at the same time ironic and deep, is the need to think the arts beyond
3 Szaniecki, Barbara – “Amar é a maré Amarildo: multidão e arte”, in: http://uninomade.net/tenda/amar-e-a-mare-amarildo-multidao-e-arte-rj-2013/ 4 Rancière, Jacques. “The Politics of Aesthetics”, translated by Gabriel Rockhill. New York: Contin-uum Impacts, 2011, page 19.
what was then considered possible as art. With this transgressive and contradic-tory grounds that go beyond what is already established and open new jurispru-dences concerning what is art, a new political energy was inserted in art making, which seems determinant to me. This political potency is directly proportional to the possibility of art always becoming something more than art itself, more than what used to be considered as art. Therefore, it seems interesting to me to think of a political becoming of art as well as of an artistic becoming of politics, in which both, within a radical identity crisis, are putting themselves in ques-tion, thus forcing and combining heterogeneous meanings and temporalities that give room for the new to rise, unattached of its institutional practices and conventions.
It is faced with this perception of a new politics of arts on the sidelines of its politicization that I see the non-political engagement of Duchamp and his ap-parent nonchalance towards the programmatic politics, essentially as political acts. The invention of a new artistic possibility summons the spectator-partic-ipator to position him/herself and to take part in the way that the non-art be-comes art. This participation would be constituted (as) from the effects that the proposition, at first nothing more than a state of art without art,5 would be capa-ble of producing new ways of feeling and thinking for the spectator-participator.
By disputing their affections and making them public, each one would then participate in a common, shared, and plural world, while each work would then produce effects to constantly displace and recreate themselves. If we consider a video like the one made during a manifestation in Rio – in which a protestor dressed as Batman talks to a filmmaker that lives in Leblon and to his assumedly right-wing followers –, we observe the formation of a political contest scene, in which any ideological parameter is suspended, and the capacity of producing di-vergent affections is elevated to its maximum power. Made by a French journal-ist in an attempt to follow a manifestation or “rolezinho” (synonym for “stroll”) at Shopping Leblon, everything proves the differences, and nothing composes the minimum grounds of ideological articulation besides the genuine will of the French journalist to understand what goes on in Brazil. A scene like that can only take place when the political moods flourish and the need to step in/fictionalize the reality is confronted with the normative discourse’s volition of framing it in a fixed logic – in which Batman, for instance, would be the hero of the international capitalism, contrary to the ideological left-wing pamphlet that they wanted to paste on the protester. On the one hand, politics, through the fic-tionalizing action of Batman, displaces the fixed identities; on the other, the po-
5 The expression. “state of art without art” was coined by the Brazilian artist Lygia Clark to account her therapeutic interventions and the way the relational objects created by her would act along with the body of the patient-participator. It is also important to remark how much her poetics, along with Hélio Oiticica’s, would give room to transform the traditional work-spectator relationship into the contemporary notion of proposition-participation. The ways that the participation happens, as well as the positive and negative aspects of operating, are not part of the scope of this article.
dura
nte
o qu
e Ja
cque
s Ran
cièr
e de
nom
inou
de
regi
me
es-
tétic
o da
s art
es. “
As a
rtes
nun
ca e
mpr
esta
m à
s man
obra
s de
dom
inaç
ão o
u de
em
anci
paçã
o m
ais d
o qu
e lh
es p
odem
em
pres
tar,
ou se
ja, m
uito
sim
ples
men
te, o
que
têm
em
co -
mum
com
elas
: pos
içõe
s e m
ovim
ento
s dos
corp
os, f
unçõ
es
da p
alav
ra, r
epar
tiçõe
s do
vis
ível
e d
o in
visí
vel.
E a
auto
-no
mia
de
que
pode
m g
ozar
ou
a su
bver
são
que
pode
m s
e at
ribui
r rep
ousa
m so
bre
a m
esm
a ba
se”.
4
Em q
ue m
edid
a a
arte
pod
e ser
art
e e se
r ao
mes
mo
tem
-po
pol
ítica
? Em
que
med
ida
a in
terv
ençã
o po
lític
a po
de se
r po
lític
a e
ao m
esm
o te
mpo
sina
lizar
par
a um
sen
síve
l he -
tero
gêne
o pr
óprio
ao
faze
r art
ístic
o? C
omo
fala
r des
sa p
re-
tens
ão p
olíti
ca d
a ar
te o
u da
reve
rber
ação
art
ístic
a da
pol
í-tic
a ho
je q
uand
o as
inst
ituiç
ões a
rtís
ticas
e p
olíti
cas e
stão
em
cris
e? Q
uand
o as
form
as tr
adic
iona
is d
e re
pres
enta
ção
polít
ica
vêm
send
o co
nsta
ntem
ente
pos
tas e
m x
eque
pel
os
acon
teci
men
tos e
as i
deol
ogia
s que
nos
dav
am a
lgum
a se
-gu
ranç
a em
rela
ção
ao q
ue e
sper
ar d
o fu
turo
não
agr
egam
m
ais c
oraç
ões e
men
tes,
a p
ergu
nta
sobr
e o
cará
ter p
olíti
co
da a
rte
e a
dim
ensã
o ar
tístic
a da
pol
ítica
gan
ha u
ma
urgê
n -ci
a pa
rtic
ular
. A
inte
rrog
ação
que
me
pare
ce cr
ucia
l aí f
oi a
form
ulad
a po
r Duc
ham
p, a
sabe
r: co
mo
faze
r um
a obr
a de a
rte q
ue n
ão
seja
um
a obr
a de a
rte?
O q
ue in
tere
ssa n
esta
per
gunt
a, ir
ôni -
ca e
prof
unda
ao m
esm
o te
mpo
, é a
nece
ssid
ade d
e se p
ensa
r a a
rte a
lém
do
que s
e sab
ia p
ossív
el en
quan
to a
rte.
Com
este
fu
ndo
ao m
esm
o te
mpo
tran
sgre
ssor
e c
ontr
aditó
rio, d
e ir
além
do
inst
ituíd
o e
abri
r no
vas
juri
spru
dênc
ias
sobr
e o
que
seja
art
e, fo
i se
inse
rind
o no
faze
r art
ístic
o um
a ca
rga
polít
ica q
ue m
e par
ece d
eter
min
ante
. Ess
a pot
ênci
a pol
ítica
é
dire
tam
ente
pro
porc
iona
l a e
sta
poss
ibili
dade
de
a ar
te
esta
r sem
pre
se to
rnan
do a
lgo
além
del
a m
esm
a, a
lém
do
que
era
tido
com
o ar
te. P
orta
nto,
par
ece-
me
inte
ress
ante
pe
nsar
tant
o um
dev
ir p
olíti
co p
ara
a ar
te c
omo
um d
evir
artís
tico
para
a po
lític
a, em
que
am
bos,
no
seio
de u
ma c
rise
de id
entid
ade
radi
cal,
estã
o se
pon
do e
m q
uest
ão, f
orça
ndo
e co
mbi
nand
o te
mpo
ralid
ades
e s
entid
os h
eter
ogên
eos
a pa
rtir
do q
ual s
e abr
em es
paço
s par
a sur
gir o
nov
o de
scol
ado
de su
as p
rátic
as e
conv
ençõ
es in
stitu
cion
ais.
É
dian
te d
essa
per
cepç
ão d
e qu
e há
um
a po
lític
a da
art
e à
mar
gem
de
suas
form
as d
e po
litiz
ação
que
enx
ergo
o n
ão
enga
jam
ento
polít
ico d
e Duc
ham
p e se
u ap
aren
te d
esin
tere
sse
pela
pol
ítica
pro
gram
átic
a, co
mo
esse
ncia
lmen
te p
olíti
cos.
A in
venç
ão d
e um
a no
va p
ossib
ilida
de d
e ar
te co
nvoc
a o
espe
c -ta
dor/
part
icip
ador
a se
pos
icio
nar e
a pa
rtic
ipar
do
mod
o pe
lo
4 R
anci
ère,
Jacq
ues.
A P
artil
ha d
o Se
nsív
el. S
ão P
aulo
: Edi
tora
34, p
. 26.
qual
um
a nã
o-ar
te se
torn
a ar
te. E
ssa
part
icip
ação
se co
nsti-
tuiri
a a pa
rtir
dos e
feito
s que
a pr
opos
ição
, de i
níci
o nad
a mai
s do
que
um
est
ado
de a
rte
sem
arte
,5 seria
capa
z de
prod
uzir
nos m
odos
de s
entir
e pe
nsar
do
espe
ctad
or-p
artic
ipad
or.
Seri
a di
sput
ando
seu
s af
etos
e to
rnan
do-o
s pú
blic
os
que
cada
um
par
ticip
a de
um
mun
do co
mum
par
tilha
do e
pl
ural
, que
cada
obr
a pr
oduz
iria
efe
itos q
ue a
des
loca
ssem
e
a re
cria
ssem
con
tinu
amen
te. S
e to
mar
mos
um
víd
eo
com
o o
que
se re
aliz
ou e
m u
ma
das m
anife
staç
ões c
ario
-ca
s – e
m q
ue u
m m
anife
stan
te v
estid
o de
Bat
man
dis
cute
co
m u
m ci
neas
ta m
orad
or d
o Le
blon
e se
us se
guid
ores
que
se
ass
umem
de
dire
ita –
vem
os se
con
stitu
ir a
li um
a ce
na
de d
ispu
ta p
olíti
ca e
m q
ue q
ualq
uer p
arâm
etro
ideo
lógi
co
fica
susp
enso
e a
cap
acid
ade
de p
rodu
zir
afet
os d
isse
n-su
ais,
ele
vada
à m
áxim
a po
tênc
ia. N
esse
víd
eo, f
eito
por
um
jorn
alis
ta fr
ancê
s que
que
ria
acom
panh
ar u
ma
man
i-fe
staç
ão-r
olez
inho
no
shop
ping
Leb
lon,
tudo
é e
vidê
ncia
da
s dife
renç
as e
nad
a co
nstit
ui u
m so
lo m
ínim
o de
art
icu-
laçã
o id
eoló
gica
par
a al
ém d
a vo
ntad
e ge
nuín
a do
fran
cês
de e
nten
der o
que
se p
assa
no
Bras
il. U
ma
cena
com
o es
sa
só a
cont
ece
quan
do o
s âni
mos
pol
ítico
s aflo
ram
e a
nec
es-
sida
de d
e in
terv
ir-fic
cion
aliz
ar o
real
con
fron
ta-s
e co
m a
vo
ntad
e do
dis
curs
o no
rmat
ivo
de e
nqua
drá-
lo e
m u
ma
lógi
ca já
fixa
da –
em q
ue B
atm
an, p
or e
xem
plo,
seri
a um
he
rói d
o ca
pita
lism
o in
tern
acio
nal,
cont
rári
o à
cart
ilha
ideo
lógi
ca d
e es
quer
da q
ue q
ueri
am c
olar
no
man
ifest
an-
te. D
e um
lado
, a p
olíti
ca, a
trav
és d
a aç
ão fi
ccio
naliz
ante
do
Bat
man
, des
loca
iden
tidad
es fi
xas;
por
out
ro, a
pol
ícia
, en
quan
to n
orm
a id
eoló
gica
, que
r re
fixá-
la a
todo
cus
to.
Não
inte
ress
a aí
que
m te
m o
mel
hor d
iscu
rso
e fa
z a
defe
-sa
mai
s cor
reta
dos
aco
ntec
imen
tos,
mas
sim
as f
ratu
ras
que
se m
ostr
am e
m n
osso
cotid
iano
, os a
ntag
onis
mos
que
se
põe
m e
m jo
go q
uand
o um
a m
ulhe
r dire
itist
a de
nunc
ia
uma
amea
ça c
omun
ista
, um
sen
hor c
lass
e m
édia
def
en-
de o
shop
ping
dos
arr
uace
iros
, o c
inea
sta,
que
se d
iz ri
co,
afirm
a co
nviv
er h
arm
onic
amen
te co
m o
pes
soal
pob
re d
a C
ruza
da S
ão S
ebas
tião6 e
, por
fim
, o B
atm
an, c
laro
, que
va
i par
a as
ruas
, apr
opri
a-se
da
ficçã
o e
luta
pel
o di
reito
de
5 A e
xpre
ssão
“est
ado
de a
rte
sem
art
e, fo
i cun
hada
pel
a ar
tista
bra
sile
ira
Lygi
a C
lark
par
a da
r con
ta d
e su
as in
terv
ençõ
es te
rapê
utic
as e
do
mod
o co
mo
os o
bjet
os re
laci
onai
s po
r ela
cri
ados
atu
aria
m ju
nto
ao c
orpo
do
paci
ente
-par
ticip
ador
. Im
port
ante
tam
bém
lem
brar
o q
uant
o su
a po
étic
a,
junt
o co
m a
de
Hél
io O
itici
ca, a
bria
o te
rren
o pa
ra se
tran
sfor
mar
a re
la-
ção
trad
icio
nal o
bra-
espe
ctad
or n
aque
la m
ais c
onte
mpo
râne
a de
pro
po-
siçã
o-pa
rtic
ipaç
ão. O
s mod
os c
omo
a pa
rtic
ipaç
ão a
cont
ece,
os a
spec
tos
posi
tivos
e n
egat
ivos
de
oper
ar, n
ão c
abe
ao e
scop
o de
ste
artig
o di
scut
ir.6
A C
ruza
da S
ão S
ebas
tião
é um
con
junt
o ha
bita
cion
al p
obre
no
cora
ção
do L
eblo
n, o
bai
rro
mai
s nob
re d
o R
io d
e Ja
neir
o.
man
ifest
ação
. Tud
o al
i é a
o m
esm
o te
mpo
real
e fi
ccio
nal,
arte
e n
ão-a
rte,
pol
ítica
e n
ão p
olíti
ca. C
ada
um d
e nó
s po
de re
agir
ao
film
e à
sua
man
eira
, tod
avia
, esc
anca
ra-s
e um
mun
do q
ue p
erde
u qu
alqu
er u
nida
de e
que
cabe
a ca
da
um b
usca
r via
s de
repo
tenc
ializ
ação
de
um co
mum
cons
ti-tu
ído
de p
lura
lidad
es n
o in
terio
r des
sa fr
atur
a de
liber
ada.
Duc
ham
pian
amen
te n
os v
emos
igua
lmen
te a
part
a-do
s de
um id
eário
pol
ítico
da
arte
eng
ajad
a co
mo
tam
bém
do
val
e-tu
do n
iilis
ta q
ue v
ê tu
do c
omo
a re
petiç
ão d
a do
-m
inaç
ão e
da
lógi
ca d
o po
der.
Que
tipo
de
apro
pria
ção
se
faz
a pa
rtir
daí
não
impl
ica
defe
nder
um
a po
siçã
o, m
as a
pr
oduç
ão d
e de
side
ntifi
caçõ
es q
ue ab
rem
pos
sibili
dade
s de
sent
ido
não
dete
rmin
ávei
s. C
omo
abor
dar a
efic
ácia
pol
íti-
ca d
esse
s eve
ntos
, com
o tr
atar
a a
rte
e su
a ca
paci
dade
de
tran
sfor
maç
ão so
cial
qua
ndo
a in
serç
ão in
stitu
cion
al p
are -
ce se
r o se
u fim
últi
mo
e ne
cess
ário
? O q
ue a
s açõ
es p
olíti
-ca
s e a
man
eira
de
se to
mar
pol
itica
men
te a
art
e po
dem
fa-
zer p
ara e
nfre
ntar
e ul
trap
assa
r ess
a abs
orçã
o in
stitu
cion
al?
O q
ue n
a su
spen
são
judi
cativ
a du
cham
pian
a se
apr
esen
ta
enqu
anto
pot
ênci
a in
abso
rvív
el?
O d
esafi
o, p
orta
nto,
é o
de
man
ter a
lgum
a la
tênc
ia d
e tr
ansf
orm
ação
e, a
lém
dis
so,
recr
iar c
anai
s pos
síve
is d
e ar
ticul
ação
entr
e os
uso
s da
arte
e
as d
eman
das d
a po
lític
a, te
ndo
em v
ista
, pri
ncip
alm
ente
, te
mpo
ralid
ades
het
erog
ênea
s e co
mpl
emen
tare
s.C
onsid
eran
do q
ue a
pol
ítica
e su
as fo
rmas
de
repr
esen
ta-
ção
estã
o em
cris
e e q
ue es
sa cr
ise e
stá r
elac
iona
da a
uma c
ri-se
do
espa
ço co
mum
ond
e se
dá
o en
fren
tam
ento
de
form
as
de v
ida
hete
rogê
neas
e p
lura
is, c
reio
que
a d
iscu
ssão
da
par -
ticip
ação
enq
uant
o di
ssem
inaç
ão d
e af
etos
e ef
eito
s est
étic
o-p
olíti
cos
é da
mai
or im
port
ânci
a. A
apr
opria
ção
part
icip
a -tiv
a, e
nqua
nto
ativ
idad
e cr
ítica
com
bina
ndo
juíz
o e
cria
ção,
é
uma
nego
ciaç
ão c
onst
ante
e a
bert
a em
rela
ção
às p
ossib
i -lid
ades
de
sent
ido
ou d
e si
lênc
io n
a ap
reen
são
das o
bras
de
arte
e d
os e
vent
os p
olíti
cos.
O q
ue é
ger
ado
enqu
anto
efe
ito
polít
ico
só p
ode
ser v
islum
brad
o no
mod
o co
mo
as o
bras
ou
os a
cont
ecim
ento
s vão
pro
duzi
ndo
mun
do e
afe
tand
o su
bje -
tivid
ades
que
se ex
põem
e se
tran
sfor
mam
a p
artir
daí
. Q
uand
o a
inde
finiç
ão so
bre
o qu
e se
ja a
rte
é ra
dica
l, a
part
icip
ação
judi
cativ
a en
quan
to a
feto
que
pro
duz e
feito
s se
faz
nece
ssár
ia. P
ara
isso
, dev
e-se
dife
renc
iar u
m ju
ízo
que
é pr
ocur
a /
cria
ção
de s
entid
o de
um
juíz
o qu
e é
cond
ena -
ção
e en
quad
ram
ento
. Jul
gar a
í é u
m se
ntir
ativ
o, u
m a
feto
cr
iativ
o qu
e pro
duz d
ifere
nças
; é u
m ex
ercí
cio
de n
egoc
iaçã
o co
nsta
nte d
e cad
a um
cons
igo
mes
mo
e com
os o
utro
s, em
si
e fo
ra d
e si
, no
sent
ido
de q
uere
r dis
sem
inar
um
a ex
periê
n -ci
a e
pô-la
em
rela
ção
com
viv
ênci
as a
nter
iore
s de
cada
um
e f
orm
as d
e sen
tir d
istin
tas d
e qua
lque
r um
, que
evid
enci
am
方式
操作，乃至于何
种程
度它是行为
者一方所采的觉悟的
问题；至少这种觉悟以其最传统的概
念上会
给行
动以方向
并制造出效
果。如何创
造参
预的新模
式，不通
过由传统
继
承的手段，却又不放弃对抗成命的潜力。
示威
活动
有一种不
可争
辩的变化，就
是放
弃了由主
席
台和
动员口号所构成的中心思想。取消主
席台，而涌现出
分散
遍地的声音和海
报，构成临时的演讲中心，产生于抗
议活
动的进程的本身。诚如佩特
·
帕尔
·
沛尔巴特
所说，“
我们说的是欲望，而不是权利诉求，这些权利是可
以得到满足的。集体欲望意味
着要走
上街头的巨大快感，
体验
大众的脉搏，交错各异的呼喊
和身体，不同的性别，
各类的人物，学习相关网络、社
交网络、集
体智慧的一种
共同性”
2 。这种新的行动方式是怎样重新界定表达方式，
抑或，从这种新的政治形式究竟产生何种的美学概
念？它
以何
种方
式作用于标
新立异的
美学
与力
量美学的临界之
间？要讨论这种政治美学，应该也反思一下，艺术以其政治
行为所期
待的幅
度，如何逐
渐为自己设
立了政
治藩篱。在
二十世
纪，实
验诗
歌寻求了何
种方
式参
预，他们是
怎样开
辟了一个政治舞台来
抵御壮
观的体制性
经费。何
种美学政
治、吸引与操纵—
—为艺术开启新感官
方式—
—得以抗
拒
艺术的美学化？若不在建树感觉与思维的独特方式上如此
重要的艺
术美学维
度放手，怎能
抗拒美学化。重要的是指
出，这种美学力量与美学化
之间的紧张关系继续维持着，
得不到解决，因为完全的隔离这两个范畴，防范
经费操纵
的政治抵抗，似乎是不
可能的、某
些现代主义纯艺术思潮
所不愿实现的梦想。在
这种紧张关
系的内部，抵
抗保
持活
力，产生分歧的效
果，困扰
着影
响的直
接效
果，将一切化
解成形式。
艺术的特
殊性，代引号的，意思是
此处并不
想讨论某
种事
物属于还是不属于艺术的可能条件。大部分
情况下，
我认为对这一界线问题的提出，就象铺展开不可回避的折
叠，指向建
立一种新类
型的观
众和新的、更开放的、不
确
定的参与方式。我没有兴趣在此讨论是否与观众这一概念
有关系，我所感兴趣的是分析艺术如何产生感染世界的影
响和效果的方式。现成品的杜尚艺术所提出的问题，恰
恰
是构成一种态势，使得一种事物可以同时既是艺术又是非
艺术。所
谓是艺术，是指它所产生的关系和开
创的过程。
而6月
示威
运动中的集体设
计的参
预，在空间与时间上的
巨大
跨越，示威、还
有那些
照片和米
迪娅•宁
雅的电
影，
和所有在
示威游行中表演的集体，并非都是艺术性的。正
如巴巴拉•瓒
聂基在讨论示威的美学与政治力量的时候写
道：“
在最后的几个月，网络和街
道上，编派出层出不穷的
语言，是里约热内卢都市生物政治的’艺术’创作，在面对
矛盾与危险的时刻，应该给我们的集体决策和共同的生命
2 帕
尔
.
沛尔巴
特，佩
特：《记
下了：我
谁都
不是
》，《
圣保
罗之
页，
2013
/07/
19，倾向于辩论，第
2页。
14 uToPIaS, FuTureS anD DreamS 15
lice, while ideological norm, wants to refix it at any cost. It does not matter who has the best discourse and makes the most correct account of events, but rather the fractures unfolded in our daily lives, the antagonisms put at stake when a right-wing woman reports a communist threat, when a middle-class man de-fends the mall from the troublemakers, when the self-claimed rich filmmaker states a harmonic living with the poor people from Cruzada São Sebastião,6 and ultimately when Batman, of course, the character that goes to the streets, takes ownership of fiction and fights for the right to protest. Everything there is at the same time real and fictional, art and non-art, politics and non-politics. Each one of us can react to the video on his/her own way; however, it throws open a world that lost any notion of unit, and the fact that it is up to each and every one to look for ways of repotentiating a common ground constituted of pluralities within this deliberate fracture.
In a Duchampian fashion, we see ourselves equally apart of the political mindset of engaged art, and also of the anything-goes nihilism that faces every-thing as a repetition of the logic of power and domination. The kind of appropri-ation served from there does not imply on defending a positioning, but rather on the production of disidentifications that open new, undeterminable possibilities of meaning. How to approach the political effectiveness of these events, how to deal with art and its social potentialities when the institutional insertion seems to be its ultimate and essential purpose? What can the political actions and the political take on arts perform to confront and overcome this institutional ab-sorption? What presents itself in the Duchampian judicative suspension as a nonabsorbable potency? The challenge, accordingly, lays on keeping some ex-tent of transformation latency and, furthermore, recreating possible channels of articulation between the uses of art and the political demands, mainly aiming at heterogeneous and complimentary temporalities.
Considering that politics and its representation are in full crisis, and that this crisis is tied to that of the common space where plural and heterogeneous forms of life confront each other, I believe the discussion of participation as dis-semination of aesthetical-political affections and effects to be of major impor-tance. The participatory appropriation taken as a critical activity that combines judgment and creation is a constant negotiation always open to the possibilities of silence or meaning when seizing works of art and political events. The politi-cal effects can only be glimpsed in the way the works or events produce a world affecting subjectivities that are exposed and transformed from then on.
When the uncertainty regarding what is art becomes radical, the judicative participation as effect-producing affection becomes necessary. For this reason, the judgment as pursuance and creation of sense must be distinguished from the judgment as condemnation and framing. Under this guise, to judge is an active
6 The Cruzada is a housing complex for low-income families located in the heart of Leblon, one of Rio de Janeiro’s noblest neighborhoods.
feeling, a creative affection that produces differences; it is an exercise of constant negotiation with oneself and the other, in and outside of the self, in an effort of wanting to disseminate an experience and putting it in relation with previous experiences and the distinct ways each one feels, thus evidencing the inevitable conflict of our being in the world among each and every one. To translate an ini-tially undefined feeling, and to create both a vocabulary and a meaning in order to give voice and articulation to such feeling are aspects that must be continu-ously exercised by those who lead their lives with art and politics.
To highlight this originating relation between criticism and politics, affec-tion and effect, judgment and action, spectator and actor, I would like to quote another excerpt of Jacques Rancière: “Politics revolves around what is seen and what can be said about it, around who has the ability to see and the talent to speak, around the properties of spaces and the possibilities of time.”7 Art and politics commingle and contaminate each other, continuously negotiating the resistance and the management of what is in comparison to what could be, of being in and outside of the institutions. The criticism emerged exactly when art and politics came out as an experimental exercise of freedom, when they both broke up with ancient models. From then on, we started to conceive the controversy of meaning as the necessary unfolding of an undetermined con-dition of both arts and politics. The undecidable dispute between what is art or not disrupts the constituted competencies and opens negotiation channels among what is known and what is unknowingly produced. As pointed by Du-champ, “the personal ‘art coefficient’ is like an arithmetical relation between the unexpressed but intended and the unintentionally expressed.”8 Amidst this difference, which produces a world to the creative gesture while giving room for the invention of the participatory appropriation, anyone can take part and has a productive role. Its unfolding is unexpected and the outcomes are not neces-sarily those intended by the inaugural gesture, but rather the ones appropriated by the forces that availed it of different and new potentialities. These forces are inscribed in it, although they were not consciously targeted. From then on, ev-erything comes as surprise and dispute, that is to say, as aesthetic affection and political effect. (August 2014)
luiz camillo osorio is Professor in the Philosophy Department of puc-Rio and Curator of the Museum of Modern Art of Rio de Janeiro (mam-Rio).
Translated from Portuguese by Daniel Lühmann
7 Rancière, Jacques. “The Politics of Aesthetics”, translated by Gabriel Rockhill. New York: Contin-uum Impacts, 2011, page 13.8 Duchamp, Marcel. “The Creative Act” in: Salt Seller: The Writings of Marcel Duchamp. New York: Oxford University Press, 1973, page 139.
o co
nflito
inev
itáve
l e c
onst
itutiv
o de
nos
so se
r no
mun
do,
entr
e ca
da u
m e
qua
lque
r um
. A tr
aduç
ão d
e um
sent
imen
-to
inic
ialm
ente
inde
finid
o e
a cr
iaçã
o de
um
voc
abul
ário
e
um se
ntid
o qu
e de
em u
ma
voz
e um
a ar
ticul
ação
ao
sent
ir sã
o as
pect
os q
ue d
evem
ser e
xerc
itado
s con
tinua
men
te p
or
aque
les q
ue co
nviv
em co
m a
art
e e
com
a p
olíti
ca.
Para
sub
linha
r ess
a re
laçã
o or
igin
ária
ent
re c
rític
a e
polít
ica,
ent
re a
feto
e e
feito
, ent
re ju
ízo
e aç
ão, e
ntre
es -
pect
ador
e at
or, g
osta
ria d
e ci
tar u
ma
pass
agem
de
Jacq
ues
Ran
cièr
e: “A
pol
ítica
ocu
pa-s
e do
que s
e vê e
do
que s
e pod
e di
zer s
obre
o q
ue é
vis
to, d
e qu
em te
m c
ompe
tênc
ia p
ara
ver e
qua
lidad
e pa
ra d
izer
, das
pro
prie
dade
s do
esp
aço
e do
s pos
síve
is d
o te
mpo
”.7 Art
e e
polít
ica
se m
istu
ram
e se
co
ntam
inam
, neg
ocia
ndo
cont
inua
men
te a
resi
stên
cia
e a
gest
ão d
aqui
lo q
ue é
em re
laçã
o ao
que
pod
e vi
r a se
r, de
es-
tar d
entr
o e e
star
fora
do
sist
ema i
nstit
uído
. A cr
ítica
surg
iu
exat
amen
te q
uand
o a
arte
e a
pol
ítica
ass
umira
m-s
e co
mo
um e
xerc
ício
exp
erim
enta
l de
liber
dade
, qua
ndo
elas
rom
-pe
ram
com
os m
odel
os d
o pa
ssad
o; a
par
tir d
aí p
assa
mos
a
ter a
dis
puta
de
sent
ido
com
o de
sdob
ram
ento
nec
essá
rio
de u
ma
cond
ição
inde
term
inad
a ta
nto
da a
rte
com
o da
po -
lític
a. A
inde
cidi
bilid
ade
sobr
e o
que
é e
o qu
e nã
o é
arte
ro
mpe
com
as
com
petê
ncia
s co
nstit
uída
s e
abre
can
ais
de n
egoc
iaçã
o en
tre
o qu
e já
se sa
be e
o q
ue se
pro
duz
en-
quan
to n
ão sa
bido
. Com
o de
stac
ou D
ucha
mp,
o c
oefic
ien-
te a
rtís
tico
de u
ma
obra
é u
ma
“rel
ação
arit
mét
ica
entr
e o
que
perm
anec
e in
expr
esso
em
bora
inte
ncio
nado
, e o
que
é
expr
esso
não
inte
ncio
nalm
ente
”.8 N
essa
dife
renç
a, q
ue
prod
uz m
undo
par
a o
gest
o cr
iado
r ao
abri
r esp
aço
de in
-ve
nção
par
a a
apro
pria
ção
part
icip
ativ
a, q
ualq
uer u
m to
ma
part
e e
tem
um
a pa
rte
prod
utiv
a. O
s des
dobr
amen
tos s
ão
ines
pera
dos e
o q
ue v
irá n
ão n
eces
saria
men
te fo
i int
enci
o -na
do p
elo
gest
o in
augu
ral,
mas
apro
pria
do p
elas
forç
as q
ue
dera
m a
ele
out
ras
e no
vas
pote
ncia
lidad
es. E
ssas
forç
as
estã
o ne
le in
scri
tas
sem
, tod
avia
, ter
em s
ido
cons
cien
te-
men
te a
lmej
adas
. A p
artir
daí
, tud
o é
surp
resa
e d
ispu
ta,
ou se
ja, a
feto
est
étic
o e
efei
to p
olíti
co. (
Ago
sto
de 20
14)
luiz
ca
mil
lo o
sori
o é
Pro
fess
or d
o D
epar
tam
ento
de
Filo
sofia
puc
-Rio
e C
urad
or M
useu
de
Art
e M
oder
na d
o R
io d
e Ja
neiro
, mam
-Rio
.
Ran
cièr
e, Ja
cque
s. A
Par
tilha
do S
ensív
el. S
ão P
aulo
: Edi
tora
34, 2
005,
p. 1
7.8
Duc
ham
p, M
. “O
ato
cri
ador
”. In
: Bat
tcoc
k, G
. A N
ova
Art
e. S
ão P
aulo
: Ed
itora
Per
spec
tiva,
1986
, p. 7
3.
一种
道义。这
种群体的艺
术，对于以后的日子，意义在于保
持活跃，密切，强烈的联系。”
3
有意思的是讨论它的
方式，一些
政治行
动的某
些策
略如
何借助
于共享对
敏感
事物的意见分歧，产生
那种
被雅克•朗
西埃称为艺
术的审美
体系的艺
术境界。“
艺术从
来不给
予统
治或
解放行
动超出她所能够给予的，或者
说得更简捷
一点，
与她们所共同的那些：肢体的姿势和运动，语言的功能，对可
见和不
可见的分享。而他们
可以享
有的自主
权，或
者可以反
叛，都在同一基础上。”
4
艺术究竟在何
种程
度上可以是艺
术，同时又是
政治？在何
种程
度上，政
治介入可以是
政治，同时又
表现
为艺
术符
号，艺
术行为
特有的敏
感异化。当今艺
术与政治机构都
处于危
机之
中，如何来
述说艺
术的政治企图，或
政治的艺
术回音？当传统
的政治表现形式不断的受到事件的质疑，曾经让我们对所期待
的未来有某种安全感的意识形态不再加入新的心灵和头脑，艺
术的政治特色和政治的艺术维度的问题，显得尤为紧迫。
我以为此处
十分
关键的
提问，是杜尚提出的，既
是如何创
作一件不是艺术品的艺术品？这个提问有意思，在于它同时既
讽刺又深刻，需要思索艺术之所以成为艺术之外的东西。在这
种既冒犯
又矛盾的背景下，对何谓艺
术，冲破
约定俗成，开拓
新的理念，我认为决定性的乃是在之中植
入政治承载。这种政
治能量与艺术从来是超越其自身，超越其之所以为艺术的可能
性成
直接的正比。所以，我以为，思考艺
术的政
治化，和
政治
的艺术化是件十分有趣的事，在其中，两者处于彻底的身份
认
同的危机，受到怀疑，强作临时性和含义各异的结合，由此，开
拓以产生他们实践的和体制约定的、新的、分离的空间。
以这样的在政治化的边
缘地带存
在一种艺术的政治的看
法，在我
看来，杜尚的所
谓不参
预政治和他表面的对政治程
序的不感性
趣，其本质上却是
政治的。发明一种艺
术的新的
可能性，召集
观众
/参与者，各自占位并参加，通
过此
种方
式
非艺
术转化成艺
术。这种参加，在最初无非是非艺
术之艺
术
状态
5的，它
构成于效
果而
不是
命提，将
会产生出观
众/参
与
者的感受与思索的方式。
是互相争
夺着抢眼的效
果，将其展
示于公
众，而公
众的每
一个人参与到共享的复数的共同世界，世界中每件作品产生其
效果，在效
果中作品移动，再创，继
续。让我们来
看一段
录像
3瓒聂
基，巴
巴拉
：《
爱如
阿玛
里多
浪潮
：人
群与
艺术
》，见
http
://
unin
omad
e.ne
t/te
nda/
amar
-e-a
-mar
e-am
arild
o-m
ultid
ao-e
-art
e-rj
-201
3/4
朗西埃，雅克：《
感性分享》，圣保罗，
34出版社，第
26页。
5 非艺术的艺术态，这一表
述是由巴西艺术家莉吉
娅 . 克拉克所提出。用
来说明她的治疗手段，她创作的作品与患者/参
预者的身体的关
系。还
应该
提到她在诗歌
上的重要性，和赫利奥
.
奥依蒂西卡一同开辟的领域，将作
品-观
众的传统关系转化成最现代的建议-参
与。参与所发
生的方式，操作的
积极和消极诸方面，不在本文的讨论范畴。
是如何
在里约热内卢的示威中拍摄。录像
里一
个扮成
蝙蝠
侠
的示威
者与一个勒
布隆
6 区的居民争论，一个电
影演员和他的
追随者扮演右派。我们看到在那里形成一场政治辩论，其中某
种政治理念成为悬念，产生分歧效果的能力达到极致。这段录
像是由一
位法国记
者所摄
制，他
想追
拍一次勒
布隆
购物中心
的“逛街
示威”。这段
录像，除了法国人
要理
解在巴西所发
生
什么的天真的愿望，明显见证着分歧与差
别，没有一点意识形
态衔接的余
地。这
样一种只有
在政
治热
情高涨的时候
才会发
生的场景，介入-虚
构现实情形的需要，与想用事先固定的逻辑
框架规范演说的愿
望形成
对立—
—例如，蝙
蝠侠
是国际资本
主义的英雄，与左派要给示威贴上的意识形态的色彩相反，一
方面，政治通
过蝙蝠
侠虚
构的演出动作，剔除固定的标
识，另
一方面，政治作为规范的意识形态，不惜
一切代价要将它重
新
固定。在录像里，谁的讲演最出色，谁更正确的捍卫了事件，都
无所
谓，有意义的是所表现出的我们日常的裂痕，当一个右派
妇女揭发
共产主义
威胁的时候
所面临的危险
是对
抗。一位中
产阶
级反
对街头混混儿在购物中心滋事，电影
演员，自称是富
人，却说他与圣塞巴斯蒂昂十字
街的穷人的关系和谐得
很。最
后，蝙蝠
侠，当然，走
上街去，引用电
影的情节，为
示威的
权利
而斗争。那里的一切都同时既
是真实，又是虚
构，既
是艺
术又
非艺术，既是
政治又非政治。我们每
个人都
可以用自己的方式
对电影作出反
应，尽管被这
样的世界惊讶得目瞪口呆，她失去
任何的统一性，需要由每
个人来寻找道
路，在这种肆虐断裂的
内部，以多数构建一种共同，使其重获能量。
我们同样看到一些政治理想派系杜尚式地将艺术当成万
能胶的虚无
主义，将一切都看成
是权力统治和逻辑的重复。
是由是哪
种类
型的经费创作，并不意味
着维
护某种立场，而
是作品对身份的无所
认同，由此为不明确的意义的可能性敞
开大门。当体制介入似乎成为艺术最终和必要的目的时，如何
表述这些事件的政治效应，如何对待艺术及其改造社会的能
力？政治行
动和政治性地掌控艺术的方
法，艺术能抵御和超
越这种体制的消化吗？假使
是无法被消化的能
量，杜尚的司
法判决的叫停
是作何表现？因此，对改
变维
持一定的拖延是
种挑战，除此
之外，在艺
术的用途
和政治的要求
之间重建可
能的流通渠道，主要考虑到，不同类的和辅助的临时性。
鉴于政
治及其表
现方
式处在危
机之中，而且
此危
机联
系
到共同空间的危
机。在
这一公共空间里，正面临异构和复
杂
的生活方式，我认为，讨论作为美学-政
治的影响与效果的传
播的参与，至为重要。参与性的经费，作为结合了判断与创造
的批评活
动，是持续的交易，是关于意义的可能性的开放，或
6 勒布隆是
里约热内卢最豪华的市区，十字
街是勒布隆区中的一个贫民
住
宅区。
对艺术作品审查和政治事件的沉默。作为政治效
果所产生的
东西，只有在作品或事件怎样地产生世界，发
生客观影响，并
由此表现和发生改变的方式中，才得以看得清。
至于关于何谓艺术无所定义这一点，十分的激
进，司法
干
预，作为影响，产生
必然的效
果。为此，应该区分两种判断，
一种是寻求/创
造意义，而另一种则是判决和框限。判断是
主
动地去感觉，是
生产差
别的创造
性的影
响；是
每个人的一种
不断探讨，与自己，与他人，对内心，对身外，反复的练习，是
在想传播一种每
个人
过去的生活
经验，以及任
何一个体的不
同的感受方式，见证我们作为人在世间，个人和任何他人之间
的，不可避免的、建设性的冲突。阐释一种最初说不清道不明
的情感， 创
作一种话语，一种内含，发出一种声音，给所获的
感觉一段
道白，都是那些
生活在艺术
和政治中的人
应该不断
修习的层面。
为强调这种发生于批判和政治之间、情感和效果之间、判
断和行
动之间、观众和演员之间的关
系，我很想引用雅克•朗
西埃的一段话：“
政治占据它所
看得见的一切，以及关于其所
看得见的一切的可能的言辞，占
据有能力看见和说得出所见
的素养的人，占据空间的一切所有，时间的一切可能性。”
7艺
术与政治相互搀杂，相互感染，不停地在抗拒和管理、体制系
统之内和之外、未
来的和将可能成
为的之间作着交易。批评
的出现恰
恰是当艺
术与政治采取一种自由的实
验的演练，当
打破
过往的
模式，由此，我们
有了对
意义的、如
何开辟必
要
的、无论是艺术还是政治的，那种未确定条件的争夺。关于什
么是和什么不是艺术的无所定论，打破了固有的成见，敞开了
商讨的渠道，在已知者，和不知不觉中所产生者之间，正如杜
尚着重指出的，“
一件作品的艺术系数，在有意保持的未表达
和无
意间所
表达出之间的算术关
系。”
8。在
这种差
别，为
有
创意的手制造出一
个世界，给
参与经费打开
创造的空间，每
个人都参与，并有一
部分出产。拉开帷幕是种出人意料，将所
见到的，不一定
就是当初揭
幕动作时所
预想
达到的，但却是
适合
于其他的和新的力量
加之于它的。尽管不是有意识
地期
待如此，这些力量在作品刻上字迹。由此
观之，一切乃是惊叹
与争夺，换据话说，美学影响和政治效果。
2014年
8月
里约热内卢天
主教
宗大学哲学系教
授，里约热内卢现代艺
术
博物馆策展。
张维民译自葡萄牙文
7 朗西埃，雅克：《
感性分享》，圣保罗，
34出版社，
2005
，第
17页。
8 杜尚，M，“创造行为”，见格里巴特科克
主编《新艺
术》，视角出版社，圣
保罗，
1986
，第
73页。
16 uToPIaS, FuTureS anD DreamS 17
transformation.’ (‘Military Craft’ (2011) by Kai-Oi Joyce Yung, an on-going performance series that deploys the donated umbrella into further works about revolutionary situations.)
In the instance of ‘拆那(demolition)/China’ (2010), the umbrella became a statement symbol, a protected space for dialogue, an invitation to stop and en-gage with the political situation in hand, frozen in a moment of threat and un-known social change. It was act against society, a performance by and for the artist community, not to be seen as propaganda for the people. Whereas for the ‘I-Ching’ performance series, the umbrella becomes a space for intimate ex-change, a forced yet spiritual engagement with the individual, a dedicated time for the understanding of the other, open to new translations and mistranslations.
In relation to Occupy Central’s ‘Umbrella Movement’, the umbrella encom-passes all of these prefixes and goes far beyond. In the two weeks since the pro-tests started, sculptural umbrella interventions have been interrupting Hong Kong’s streets. This includes ‘Umbrella Man’ by 22-year old Hong Kong grad-uate known only as milk. A twelve-foot high human figure made of wood that tells his and the people’s story of the protest. Umbrella Man’s face is painted white representing all activists who were tear-gassed and pepper-sprayed by the police, standing tall and strong for the people, brandishing the iconic yellow umbrella. It has been adopted by the movement as a symbol of freedom and
peace, becoming an icon within which the protesters can see themselves, whilst standing as a manifestation of the artist’s spirit. This piece has been referenced by the media to the ‘Goddess of Democracy’, the thirty-three foot papier-mâché torch-bearing female figure constructed during the Tiananmen Square protests of 1989, a context unaware to MILK perhaps due to his age, coming from the next generation born in 1992.
In the Causeway Bay occupation site, umbrellas take charge of the street, coming together en-masse as a pop-up exhibit, collectively representing the pepper spray incident, where again the yellow umbrella is a key icon.
Although, these works are contextually laced with the political connotations of the situation at hand, they are, in my view, only surface level comments. They are an immediate reaction to the moment that can only achieve a certain level of engagement and exchange with the people and audiences.
More critically engaged works are provided by the interactive, online media and public intervention art project ‘Stand By You: ‘ADD OIL’ Machine for HK Occupiers’ (www.occupier.hk/standbyyou). Created by a group of art school graduates, it wanted to keep a direct focus on the messages and work of the protesters. Using borrowed computers and projectors, they created an online platform for people from all over the world to leave messages of support. The website has been repeatedly hacked, then reclaimed by the students, where in the interim of the site being down, they collected messages via their Facebook page (www.facebook.com/standbyyouoc) until it was back online.
Collated messages are projected on the wall of the government headquar-ters in Hong Kong every evening, positioned in parallel to a message-writing ‘Democracy Wall’ recently coined the “Lennon Wall” referencing the peace protest work of John Lennon. By the 6 October, they had collated over 30,000 messages including from other areas of global conflict, protest and war such as Gaza. This level of exchange and engagement resonates the Hong Kong’s political situation on a local to international platform, reinforcing a sense of global unity, hope and strength for the people. By creating this platform, that will ultimately become an invaluable archive of the event, it helps to build a crit-ical sense and understanding of the relationship to the protest beyond China’s boundaries.
Hong Kong photographer Lam Yik Fei took a series of posed portrait photo-graphs of the pro-democracy supporters at the Admiralty protest site on 7 Oc-tober 2014. These honest, true to life images taken in a makeshift studio, bring into clear focus the reality of the students’ and local people’s involvement, a
拆那 DemolITIon)/CHIna’ (2010) BY Huang ruI. Image CourTeSY oF THe arTIST.
Image TaKen From SoCIal meDIa
Image CourTeSY oF aFP/alex ogle
‘goDDeSS oF DemoCraCY’, PHoTograPHeD In 1989 BY SCoTT SImmIe.
Hong Kong’S VISual PolITICS – a CITY oBSerVaTIon or gloBal
“agITProP”?raChel marsdenIn the few days of writing this article, the political, social and cultural contexts embedded in the words ahead changed faster than my fingers could type. As pro-tests go, the student-led Occupy Central’s ‘Umbrella Movement’ in Hong Kong has become a defining historical moment in China’s history, the biggest pro-de-mocracy protest second to Tiananmen Square of 1989. It has taken hold of the world’s (social) media since 28 September 2014, unfailing in its strength and di-verse voice, developing more unpredictably and faster than China’s city skylines, giving a potential new power to the people through what I’m questioning as a new global discourse - China’s contemporary “agitprop” culture.
“Agitprop”, a portmanteau word of “agitation” and “propaganda”, was ini-tially coined during the 1917 Russian Revolution, central to the governmental committees of the Communist Party of the Soviet Union, applied to the cam-paign of cultural and political propaganda materials produced. The “agitation” (speech) and “propaganda” (literature, theatre, drama, music and art) did not bear any negative connotation at that time. It was seen as the positive “dissemi-nation of ideas” and very simply favoured Communism, being used to influence public opinion whilst achieving political goals. The term made its way to the West (Europe and the USA) from the 1920’s onwards as part of then key political uprisings, and due to the rise of “agitprop theatre”, which held a similar defi-nition. It then became propaganda for and from the people, rather than from governmental hands.
In Chinese, “agitprop” translates to 煽动与宣传 (shāndòng yǔ xuānchuán) – “incitement” (to move to action, to provoke, to urge) and “propaganda”. Similar to the Soviet Union, it was initially used without negative connotation, however was applied to propaganda materials produced by Mao Zedong during the Cul-tural Revolution in turn, embedded in a partially ironic way into the Chinese art historical movements of ‘Political Pop’ and ‘Socialist Realism’. In this respect, today, it has been difficult to view socio-politically grounded cultural practice from China without a negative bias connected to Communism, Capitalism, governmental censorship and political power plays, however, I suggest the art appropriates the ‘Umbrella Movement’, challenging these historical preconcep-
tions. Here, “agitprop” culture is critically illustrated alongside what I’ve called political observations of the city, of Hong Kong.
The umbrella became the symbol of the Hong Kong protests after they were used on 28 September 2014 by protesters to protect themselves against pepper spray and tear gas. Since then, it has become the global icon of pro-democracy in the Chinese nation, a semiotic symbol of political protest.
References to umbrellas used in relation to protests can be seen over recent years including on 3 June 2009 when government officials and police officers in Beijing were seen to block CNN reporters from filming near, or of, Tiananmen Square on the eve of the twentieth Anniversary since the Tiananmen Square protests. Here, the umbrella was used as a tool of privacy and protection, cen-sorship and control by the Chinese government.
Another example is from January 2010, when the Zhengyang Art District in Beijing was threatened with being demolished due to an “urban redevelopment program”. In response to this, artist Xiao Ge organised the art project ‘Warm Winter’ to raise awareness of the issue, bringing together over twenty art cen-tres and hundreds of artists in the Chaoyang District. Interventions were organ-ised in the form of exhibitions, performances and seminars all showing the art-ists’ resolution to fight the eviction, where acclaimed Beijing artist Huang Rui, founder of the historic 1979 Stars Group who were fundamental in developing a contemporary Chinese art discourse and founder of the 798 Artistic District, performed ‘拆那(demolition)/China’ (2010).
Wearing a Taoist costume, a black and white robe bearing the words “China” and “拆那Chai Na” (homophonic of the English word) meaning “that demoli-tion”, was to be understood as ‘Where is the demolition?”, Huang stood in the freezing minus ten degree Beijing cold for more than an hour, motionless, po-sitioned on a painted black and white Ying-Yang symbol holding an umbrella. The umbrella was taken from his on-going ‘I-Ching’ performance series that explores China’s relationship to the West and the difficulties of cultural transla-tion. It is directly based on the ancient Chinese book of divination of the same name, created in the Zhou Dynasty that contains 64 hexagrams signifying the relationship between human life and the natural world, used to predict the fu-ture. Huang produced 64 handmade black and white umbrellas, each adorned with an I-Ching Chinese character and its English translation, inviting vol-unteers to wear black and white and hold one of the umbrellas for the entire 64-minute performance. Following Huang’s cue, as he stands firm on the black and white Ying-Yang symbol, he speaks to each umbrella carrier for 64 seconds and tells participants when they can communicate with each other, aloud or in silence. When the performance had finished, each participant received an um-brella to take home.
‘We speak about the I-Ching, the number and the chance word, I inform him I don’t like “corruption”, the umbrella’s marked number of changes and he tells me it means “powerful”. It prompts me to in turn trigger a process of
Image CourTeSY oF TIme magaZIne l: 13 oCToBer 2014, r: 20 oCToBer 2014
SCreenSHoT From KaCeY wong’S FaCeBooK alBum ‘umBrella moVemenT logo ComPeTITIon’, a ConSTanTlY uPDaTeD onlIne FolDer oF DeSIgnS anD ImageS, oPen SourCe For ‘eVerYone To uSe In THe nexT reVoluTIon’. THe ToP THree PrIZeS are JuSTICe, DeomCraCY anD FreeDom.
‘Yuen CHI KuI‘ anD ‘Donna CHan’ TaKen BY lam YIK FeI, 7 oCToBer 2014
19
different way of seeing their fight, their fear, their dedication, whilst showing the power of photography in providing an insight into the human condition. To me, he clearly articulates that his motivation behind taking the photographs was from a documentary not a propaganda perspective,
‘I believe democracy is not something fought by students and activists only, but all people…They are unique and different, but all are fighting for the democ-racy of Hong Kong…This chapter of my city I worthy of attention from the world.’
- Lam Yik Fei (11 October 2014)Sketches and drawings are another medium that have come to define the
‘Umbrella Revolution’, from illustrations within global newspaper and magazine media, to on location works documenting events as they unfold.
On the 30 September, Urban Sketchers Hong Kong (ushk) (established in April 2013, as part of the global Urban Sketchers network) initiated the online group ‘Sketching Occupy Central’ (https://www.facebook.com/sketchoccupy-central) where members upload and post their images. They see their work as a process of city preservation in the fast-paced urbanisation of China, where ‘art plays an important role in all kinds of movements, giving the audience an opportunity to analyse the situation from a different perspective’, a now global audience. These drawings differ from the photographs of Lam Yik Fei as they involve an extended artistic engagement, described by members of the Urban
Sketchers Hong Kong as a kind of “meditation” in the wake of such unrest.This intimate digital diary approach provided by the Hong Kong sketching
and drawing communities becomes more precious than most general photo-graphs of the protests that have been taken en masse in Hong Kong, flooding online and in-print media streams as if like running water. Furthermore, this over-saturation of photographs shared through global media sources due to the use of mobile phone cameras, social media and the Internet, has the ability to dilute and somewhat glamourize the political situation and position of the people. The more familiarity, the less shock-value. It becomes, well, “normal” or expected. Conversely, the photographs are invaluable in documenting the protests building a necessary visual socio-political historical legacy. As media, photography and drawing both ultimately achieve the same conclusion - they document the political observations of the city as it happens, the human condi-tion and the human connection.
Barely touched upon in this article is the voice and response of Mainland China to the ‘Umbrella Movement’. To my knowledge, there have only been two
key cultural projects that have taken place, both in the Beijing area - ‘Wishing Knots’ (2014) by Ye Yun and Nozomi Kanemitsu as part of Beijing Design Week 2014 (as shown above), and a poster exhibition and poetry reading in the Song-zhuan Artist Village. To date, over thirty-three artists and writers in Mainland China have been detained for showing support. Social media platforms includ-ing Weixin (WeChat) and Instagram, have been censored in Mainland China and Hong Kong. This has not deterred people, rather encouraged them to use other digital online communication and social media platforms such as Face-book, which is not censored in Hong Kong, and to create new ones such as the ‘Stand By You’ project. It has reinforced an importance and need for fluid global networks of communication, especially to create dialogue and exchange with other areas of global conflict, protest and war, and also the need to archive, to create a socio-political historical legacy for future generations. As more pop-up city street public intervention art projects appear in Hong Kong, it feels like there is a clear sense of urgency in the ‘Umbrella Movement’ artistic practice, where it is more about impact rather than contemplation. In the coming months and years, it will be interesting to see how artists continue to respond to the event after having time for reflection and the conceptualisation of ideas.
Hong Kong is a hybrid city, ruled by an authoritarian China yet created on democratic ideals. As the government continues to cancel meetings with the students, it seems that the voice of the people is getting louder and more estab-lished. When interviewed online or by telephone, most artists examined here stated that their work was a documentary, an observation, not propaganda yet politically grounded - documentation of Hong Kong’s fast-pace of change, its ar-chitectures of change and socio-political change. However, I see them as obser-vations and also as part of a developing cultural discourse, that of contemporary
“agitprop”, fundamental to Chinese contemporary culture. “Agitprop”, in my view, is now a multi-dimensional term, redefined in a new global transcultural specificity that has changed its meaning to have a positive effect. The word’s previous historical contexts and negative connotations need to be renegotiated and redefined in the new political, social and cultural parameters.
‘Our city has become an even more complex organization of skin and blood vessels. There are countless categories and systems of materials, production, products, circulation, order, emotion, exchange, belief, individual, family, or-ganization, and society. But the manager of every field is a single thought…I believe that if emotions, organisms, and rationality are interwoven in urban life for a long period of time, you will certainly feel its presence…Ecological re-search, as a synthetic, interdisciplinary, newly established branch of learning, is still maturing…As the Chinese saying goes, “It takes a decade to grow a tree; it takes a century to cultivate a talented person.”’ - Huang Rui (excerpt taken from his essay ‘A City that Abandoned Artists’, 12 February 2010)
“Agitprop” (12 October 2014) by Rachel MarsdenIt is the appropriation of a political event.It is a transcultural ecology specific to place.It is short-lived.It is socialist realism of the 21st Century.It is to challenge and provoke.It is art and culture from, and of, the people. It is “citizen as activist”.It is pro-democracy.It is the next generation. It is the human condition and the human connection.It is an on-going dialogue.It is a (online) global community, network and voice.
It is a series of hashtags: #occupycentral, #hongkongprotests, #democracynow, #umbrellarevolution, #umbrellamovement, #occupyhk, #occupyhongkong, #hongkongdemocracy. It is hope.
rachel marsden is a transcultural curator, art consultant, PhD researcher, lecturer, arts writer and avid blogger in the field of translating Chinese and Asian contemporary culture. Also, a language obsessed text and book artist, and book-binder. Since 2010 living between uk and Shanghai (China). http://rachelmarsdenwords.wordpress.com
alVIn wong, memBer oF THe urBan SKeTCHerS Hong Kong
Image CourTeSY oF Ye Yun anD noZomI KanemITSu
18 eVerYDaY IS lIKe SunDaY. arTworK BY mP5
20 uToPIaS, FuTureS anD DreamS 21
石与稻
胡昉
1 总是太晚的到达。
当我到达京都这
座园林，园门虚
掩着，方
丈已
经离去，只留下矗立在沙砾
之中的一
堆乱石，沙砾
上还
残留着他刚刚
梳耙
过的痕
迹，犹如床单上
余留着的爱
人身体的
印痕。
2 我从一座未来的城市中来，那儿，楼顶、阳台、楼前的空地、街道的两旁，都尽量种上
了蔬菜和植物：苦瓜、小黄瓜、蕃茄、青椒、甘蓝、薄荷、柠檬香蜂草、菠菜、香葱、茼
蒿、紫苏、洋葱、蒜头、莴苣、萝卜、茄子、茴香。人们像迷上宠物一样迷上了蔬菜。
3 来到这儿，我以为是来寻访历史—
—时间在这儿盘根错节，犹如眼前的乱石。与方丈
或相遇，或失之相臂，全靠因缘。
只在此山中，
云深不知处。
1
如果
园林
本身
就是
和山
水一
样广
阔的
存在
的话
，那
么，方
丈也
许
就在“
此山
”的
某处
，宇
宙的
某个
拐角
，只
是我
的肉
眼尚
未得
以辨
识
这种
种相
遇的
暗示
。从
遗留
的沙
砾耙
痕和
石头
的排
列中
，我
分明
能
够感
受到
一种
内心
的躁
动，这
是和
历史
上人
类所
曾经
面临
的危
险相
类似
的一
种躁
动—
—生
命攸
关，厄
运难
逃，乱
石纷
争，暗
潮涌
动。
在这个宇宙的轶序中，潜伏的乱向以石头不规则的排列呈现出来，卷入世俗纷争
的人，会在园林特有的空间轶
序中，体会到能
量始
乱终弃的结局。权力纷
争还会
在幽暗的茶室继续，但终将和茶水一样消融到渐渐衰弱的身体中间。
就像
这些乱石，曾经暗示着纷争不已的心绪，但
对于每
个后来者，它们都已然
达到了一种奇妙的平衡，你能感受到的是它们在相互影响之中的轻微移动。
我将一颗石头掷向沙砾中，掀起阵阵波纹。
4 朋友Ｙ告诉我说，他有一天在龙安寺，看到众多游人正面对着那十五块石头喋喋不
休，仿佛喧哗能掩盖众人内心巨大的不安，这时，夏日最后一抹余光拂过和石头对
峙的人们，人们突然安静下来，坐着，仿佛也在慢慢成为石头。
1 ［唐］贾岛：寻隐者不遇。
他感到不寒而栗，同时，也得到了解脱，从
此，他
感到自己随身携带
着禅园中
的石头。我们身处的时间和松尾芭蕉真的不同吗？依然是危机四伏，灾难
重重。似
乎是为了逃
避，抑或是寻找，从北海道沿着海岸线，他风餐露
宿走了一个月，期间
精神几
近崩溃。在路过一个村时，他看到了一块翠绿的水稻田，它不像一般的稻田
是规则的方形，而是以一个点为中心，扩展成一个圆形，中心是一根竖起的木头。
“这块水稻田击中了我。”
一段时间之后，他再次来到村里，寻访那片稻田，却不经意地走进了自己的未来。
5 另一个离京都不远的村子，已经荒废多年，因为持续的人口老龄化，村里已经再也
没有年轻人。学校广场上的气象
箱成为爬藤植物的乐园，唯一不变的可能是
遍地
的神祗。
几个
年轻的建筑师和他们的朋友们，自己动手，刚刚在村里修建了一个木结构
的厕所。从厕所的窗口望出去，可以看到遗弃多年土地上，到处都是生命力充沛的
野花，土地以自身的肥沃欢庆着人类的遗弃。
这儿遍地都是神祗，不仅承受无人的寂廖，也随时欢迎人类的回归。
6 这条街的尽头通向某座寺庙，来往的人都会
进去祈愿一番。
在这个街区的咖
啡店，我找
到这个
收集
风景的人，他
醉心于
咖啡，也
醉心于
洞穴
探险：“
洞穴
幽暗的内部，就像
人脑内部的空间，它安静得犹如让
人回到
子
宫。” 和幽静的洞穴相反，这个热闹的咖啡店是他的风景收集站，从咖啡店的窗口，
可以看到邻居们正在准备第二天的祭祀游行：“
每个人都是一道风景。”
7 那个发
明了圆
形水
稻田的人教会了同
样是
外来
人的Ｙ种
水稻。不知
不觉
，五年
过去了，虽然
没有
碰到久
违的
方丈，他们却
碰到了一
群驻在村里的朋友：一
个在
研制羊
奶的
奶酪，一
个在学习古
法烧
碳和
手制
味噌，一
个每
年夏
天骑
着白马到
处云
游。也许
要等
到第五个五年
，Ｙ才可能
找到
他自己
的方
式来
表达他
对土
地
的情感，但
至少
现在，他每
年的水
稻收
成可以
用来
和村民
交换一些日常用品。
那个收集风景的人和邻居们一起，动手
做一种可以随时避
难的小屋（Koya）
，它
可以复原我们曾经有过的简单生活：只要
有火，基本的食物，一点点空间，人们就
可以过更有想象力的生活。
在来
到这儿
之前，我
并没有意
识到：我以为
我在寻访历史
，却
不经
意走
进了
未来。
胡昉 小
说家，艺评人，广州维他命艺术空间联合创始人兼艺术总监。
roCKS anD rICehU Fang
1.Always arrive too 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.
2.I came from a city of the future, where vegetables and plants were grown in ev-ery corner of the roofs, balconies, grounds in front of buildings and both sides of the streets: bitter melons, cucumbers, tomato, green peppers, cabbages, mints, lemongrass, spinach, chives, crown daisy, perilla, onions, garlic, lettuces, rad-ishes, eggplants and fennel. People were as fascinated by vegetables as by pets.
I came from a city having just recovered from an earthquake, where vege-tables and plants were grown in every corner of the roofs, balconies, grounds in front of buildings and both sides of the streets: bitter melons, cucumbers, tomato, green peppers, cabbages, mints, lemongrass, spinach, chives, crown daisy, perilla, onions, garlic, lettuces, radishes, eggplants and fennel. People were as by vegetables as by pets.
3. I thought I came to search for history – time here was intertwined like the ran-domly placed rocks in front of me. And it all depended on fate whether to meet or miss the abbot.
He’s here in this very mountainIn the depths of clouds 1
If the garden is an existence as huge as the mountain, then the abbot might be somewhere in “the mountain”, at a certain corner of the universe, only my eyes could not tell the hint for the encounter. From the relation between the remain-ing combed out traces of the sand and the rocks, I felt agitation of emotions, it was an agitation resembled to that felt by people in the past when encountering dangers – life-threatening situations with dangerous undercurrent.
The irregularly arranged rocks revealed the lurking chaos alongside the or-derly universe, people who got involved in worldly turmoil could sense from the specific order of the garden space the abandonment of energy. Power struggle would continue in the dark tearoom till, like the tea, melting inside of the weak body.
The rocks indicated the fighting emotions, but in the eyes of each subse-quent visitor, they would have reached a delicate balance where every slight movement under the influence of the relations among the rocks is felt.
I threw a stone unto the sand and caused a wave of ripples.
1 <Missed the Hermit>, by Jia Dao, Tang Dynasty.
22 uToPIaS, FuTureS anD DreamS CHongqIng. PHoTo BY laura engelHarDT anD nIna gSCHlÖSSl (2014) 23
4.A friend Y told me that one day at Long An Temple, he saw many tourists were looking at the fifteen rocks and chatting about them, as if the noise they made could cover the uneasiness in their heart. Then, the last sunray of the summer swept across them, they quieted down and sat, gradually they were like becom-ing rocks themselves.
He shuddered but was, at the same time, relieved. Ever since then, he felt the weight of the rocks from the zen garden wherever he went.
Is our time different from Matsuo Basho’s? It is still dangerous, disastrous. Either for escape or search, for a month he walked along the coast of Hokkaido. During that time he nearly collapsed. When passing through a village, he saw a jade green rice paddy field, it hadn’t a square shape like the others’, but was circling around a center which was a piece of erected wood.
“The piece of rice paddy hit me.”After some time, he returned to the village to look for the rice field, and in-
advertently walked into his future.
5.There was another village, which was not far from Kyoto, abandoned for years owing to the aging population, and no more young people could be found. The weather box in the school square had become the playground for climbing plants. What hadn’t changed was the ubiquitous gods.
A few young architects and their friends had just built a toilet with wood by themselves in the village. Looking out from the window of the toilet, you could see wild flowers grew vigorously everywhere on the long-abandoned land. The land had celebrated the abandonment from the human beings with its own fertility.
Gods were everywhere, they bore the loneliness from the absence of people but would welcome at any time the return of them.
6.The street led to a temple, whoever passed by would go in and pray.
At the café in the block, I found the scenery collector, he was fascinated by coffee as well as cave exploration: “The innards of a cave is like the inside of human brain, it is so quiet that one feels like he’s returned to the uterus.”
Contrary to the quiet caves, this bustling café was the base for his scenery collection. From the window of the café, you could see the neighbors were pre-paring a worship parade for the next day: “Everyone is a view to watch.”
7.The person who invented the round rice paddies was not from the village either, he taught Y how to grow rice. Five years had passed, though having not met the abbot, they did meet friends stationed in the village: one was studying how to make goat cheese, one was learning ancient charcoal-grilled and handmade miso, and another travelled on a white horse each summer. It might take an-other five years for Y to find his own way to express his feelings towards the land, so far, he was able to exchange daily goods with villagers with the rice he grew.
The scenery collector built Koya with his neighbors, it was a shelter and a place to allow the simple life people used to live: with fire, basic food and a bit of space, people can live a more imaginative life. Before I came, I thought I was searching for the history, I didn’t realize that I would have walked into the future inadvertently.
hu fang (胡昉) is a novelist, art critic, and the co-founder and artistic director of Vitamin Creative Space in Guangzhou.
Translated from Chinese by Fang Liu
All images by Hu Fang.
2524 CHongqIng. PHoTo BY KaTe THaCKara (2013)
2726 CulTural PolICIeS
Da arT
e De
eSTaDo
à arTe
De
emPre
Sa,
ou a S
aÍDa
Pela e
SCala
PreCár
IaJot
a mom
BaÇa
Viv
o no
Nor
dest
e do
Bra
sil.
Num
a ci
dade
a q
ue n
omei
o N
atow
n.1 O
sol
que
ima
perm
anen
tem
ente
por
sob
re a
s ca
beça
s. A
orla
est
á to
mad
a po
r hot
éis,
pré
dios
de
luxo
, qu
iosq
ues,
rest
aura
ntes
e c
lube
s. M
oro
onde
voc
ê pa
ssa
féri
as. N
uma
cida
de d
os tr
ópic
os c
onst
ruíd
a co
mo
pa-
raís
o tu
ríst
ico.
Isso
impl
ica,
mai
s ev
iden
tem
ente
, um
a fo
rma
de o
rgan
izar
o e
spaç
o ur
bano
priv
ilegi
ando
zona
s hi
gien
izad
as p
or o
nde
os tu
rist
as p
assa
m, e
m d
etri
men
-to
de
outr
as p
arte
s da
cid
ade,
mai
s pr
ecar
izad
as. M
as
tam
bém
tem
cons
equê
ncia
s men
os ó
bvia
s. A
o lo
ngo
des -
te te
xto,
gos
tari
a de
refle
tir so
bre
o m
odo
com
o o
cará
ter
turí
stic
o da
min
ha c
idad
e in
terf
ere
nas
polít
icas
cul
tu-
rais
vol
tada
s à
prod
ução
art
ístic
a lo
cal,
por m
eio
da re
-gu
laçã
o do
s tip
os d
e pr
ojet
o qu
e ob
têm
ou
não
finan
cia-
men
to p
úblic
o, v
isib
ilida
de e
cond
içõe
s de
cont
inui
dade
.
1 “N
atow
n” é
pro
test
o ao
adi
amen
to d
o 14
ª Sa
lão
de A
rtes
Vis
uais
de
Nat
al e
sob
re o
mod
o co
mo
os g
esto
res p
úblic
os tê
m tr
atad
o o
artis
ta
e a
arte
loca
l.
Con
sigo
per
cebe
r, pe
lo m
enos
, doi
s ef
eito
s de
sse
proj
eto
de c
idad
e na
form
a co
mo
as p
olíti
cas
cultu
rais
se
art
icul
am e
m N
atow
n. O
pri
mei
ro d
eles
est
á di
reta
-m
ente
vin
cula
do ao
Est
ado
e se
orie
nta
por u
m p
rinc
ípio
es
tétic
o qu
e vi
sa fa
bric
ar e
refo
rçar
um
a id
entid
ade
re-
gion
al. E
ssa
arte
de E
stad
o, c
onfig
urad
a pe
las l
inha
s du-
ras d
o m
emor
ialis
mo
ofici
al, e
stab
elec
e co
m a
s prá
ticas
an
cest
rais
que
coe
xist
em n
o N
orde
ste
Urb
ano
Con
ec-
tado
(rod
as d
e co
co e
de
capo
eira
, cír
culo
s xa
mân
icos
, fe
stas
de
jure
ma,
can
dom
blé
e um
band
a et
c.) u
ma
re-
laçã
o pr
ofun
dam
ente
ass
imét
rica.
Ten
do o
pri
ncíp
io d
a pr
eser
vaçã
o da
s cul
tura
s anc
estr
ais c
omo
part
e de
um
pr
ogra
ma
de c
onst
ituiç
ão d
o “p
atri
môn
io im
ater
ial”
, o
Esta
do o
pera
a a
prop
riaç
ão si
stem
átic
a de
cert
as fo
rmas
cu
ltura
is tr
adic
iona
is, q
ue p
assa
m a
ser
vi-lo
som
ente
na
med
ida
em q
ue p
odem
ser n
eutr
aliz
adas
e in
scri
tas
num
regi
stro
suba
ltern
o de
mat
riz c
olon
ial:
elas
pas
sam
a
repr
esen
tar o
pas
sado
. E q
uand
o ca
ptur
adas
pel
a ló
gi-
ca d
a ar
te d
e Es
tado
, ela
s pas
sam
a re
pres
enta
r o v
alor
do
pas
sado
na
fabr
icaç
ão d
e um
a id
entid
ade
regi
onal
un
icis
ta e
con
serv
ador
a. A
cont
ece
que
ao fa
larm
os d
a cu
ltura
pop
ular
nor
dest
ina
deve
mos
ter e
m m
ente
que
fa
lam
os d
e um
a cu
ltura
viv
a e,
por
tant
o, tã
o an
cest
ral
quan
to c
onte
mpo
râne
a. A
liás,
con
tem
porâ
nea
mes
mo
em su
a an
cest
ralid
ade
que
em n
ada
se d
eixa
redu
zir à
s fo
rmat
açõe
s da
mem
ória
ofic
ial.
É co
mo
mem
ória
ativ
a qu
e as
anc
estr
alid
ades
, se
retr
abal
ham
e c
uida
m d
e su
a pr
ópri
a pr
eser
vaçã
o. P
rese
rvam
-se
por c
onta
min
ação
. Sã
o, n
esse
sent
ido,
mui
to m
enos
ingê
nuas
do
que
supõ
e o
prin
cípi
o es
tétic
o de
Est
ado,
poi
s que
em
ger
al te
m e
m
abun
dânc
ia o
que
à r
acio
nalid
ade
colo
nial
do
esta
do
falta
: gin
ga, q
ue é
a a
rte
de in
fect
ar n
ovos
uni
vers
os d
e re
ferê
ncia
na
via
da m
olec
ular
idad
e.O
seg
undo
, em
bora
sof
ra in
terf
erên
cia
do E
stad
o,
não
oper
a co
nfor
me
o m
esm
o tip
o de
vín
culo
. Fal
o da
po
lític
a de
edi
tais
e s
eu r
egim
e de
apr
ovaç
ões.
Atu
al-
men
te, e
m N
atow
n, n
ão m
ais q
ue u
ma
parc
ela
pequ
ena
dos a
rtis
tas e
pro
duto
res c
ultu
rais
sust
enta
seu
trab
alho
co
m b
ase
em re
curs
os p
rove
nien
tes d
a po
lític
a de
edita
is.
O q
ue n
ão si
gnifi
ca d
izer
que
um
a pa
rcel
a co
nsid
eráv
el
dess
es m
esm
os a
rtis
tas
e pr
odut
ores
cul
tura
is n
ão c
on-
corr
a a
esse
s edi
tais
. Oco
rre
que
essa
técn
ica
de g
over
no
impl
ica
um c
ontr
ole
não
apen
as s
obre
as
form
as d
e es
-cr
ever
pro
jeto
s, c
omo
tam
bém
sobr
e os
tipo
s de
proj
eto
e os
tipo
s de
pro
pone
ntes
cap
acita
dos
a ob
ter r
ecur
sos.
Es
se c
ontr
ole,
no
enta
nto,
é m
uito
mai
s sut
il qu
e o
apre
-se
ntad
o an
teri
orm
ente
. Já
não
se tr
ata
de u
m p
rinc
ípio
esté
tico
de E
stad
o qu
e se
sobr
epõe
à p
rodu
ção
artís
tica,
el
abor
ando
um
uni
vers
o de
refe
rênc
ia e
stát
ico
e co
eren
-te
a c
erto
pro
jeto
de
iden
tidad
e re
gion
al. N
o ca
so d
a po
-lít
ica
de e
dita
is, u
ma
mul
tiplic
idad
e de
pri
ncíp
ios
esté
-tic
os p
ode
coex
istir
. A u
nida
de d
a ar
te d
e Es
tado
não
se
repe
te n
esse
out
ro co
ntex
to e
a fr
agm
enta
ção
radi
cal d
os
univ
erso
s de
refe
rênc
ia se
torn
a in
evitá
vel.
É ce
rto
que
diss
o de
corr
e um
a m
aior
abe
rtur
a pa
ra a
het
erog
enei
-da
de d
a ar
te co
ntem
porâ
nea,
cont
udo,
ao m
esm
o te
mpo
em
que
sig
nific
a um
a ab
ertu
ra à
mul
tiplic
idad
e, a
pol
í -tic
a de
edi
tais
é ta
mbé
m o
mar
co d
e in
venç
ão d
e um
a sé
rie
de n
ovos
dis
posi
tivos
, vol
tado
s à
regu
laçã
o de
ssa
mes
ma
mul
tiplic
idad
e.U
m e
xem
plo
inte
ress
ante
de
com
o a
polít
ica
de e
di-
tais
e a
con
stru
ção
de N
atow
n co
mo
cida
de tu
ríst
ica
se re
laci
onam
é o
pro
jeto
Art
ePra
ia.2 F
inan
ciad
o pe
lo
Banc
o It
aú a
trav
és d
a Le
i Rou
anet
de
Ince
ntiv
o à
Cul
-tu
ra (m
inc)
, o p
roje
to, j
á em
sua
terc
eira
edi
ção,
é u
ma
real
izaç
ão d
a C
asa
da R
ibei
ra,3 e
con
sist
e na
inst
alaç
ão
de o
bras
de
arte
con
tem
porâ
nea
nas p
raia
s urb
anas
de
Nat
own.
A e
diçã
o de
201
4 oc
orre
u du
rant
e o
mes
mo
perí
odo
da C
opa
da F
ifa n
o Br
asil,
qua
ndo
a ci
dade
es-
tava
aba
rrot
ada
de tu
rist
as v
indo
s de
vári
os lu
gare
s do
mun
do. C
om o
bras
am
enas
, em
ger
al c
olor
idas
e lú
di-
cas,
Art
ePra
ia in
dica
um
a te
ndên
cia
à di
luiç
ão d
a ar
te
cont
empo
râne
a no
cald
o da
cultu
ra d
e en
tret
enim
ento
e,
se se
pro
põe
a re
cria
r o e
spaç
o pú
blic
o da
pra
ia, n
ão fa
z m
ais
do q
ue e
ndos
sar a
lógi
ca já
vig
ente
sob
re e
sse
es-
paço
: div
ersã
o e
cons
umo.
Não
há,
ao
men
os n
essa
edi
-çã
o, o
bra
que
entr
e no
mér
ito d
os e
feito
s des
astr
osos
da
ocup
ação
urb
ana
da p
raia
de
Pont
a N
egra
, por
exe
mpl
o;
tam
pouc
o se
not
a qu
alqu
er p
reoc
upaç
ão c
rític
a co
m o
s ef
eito
s da
Cop
a na
cid
ade,
não
obs
tant
e as
dat
as c
oinc
i-da
m; n
em se
cheg
a a
prob
lem
atiz
ar p
ropr
iam
ente
a ló
gi-
ca d
o tu
rism
o qu
e co
nver
te a
s pra
ias,
ass
im co
mo
toda
a
cida
de, e
m e
spaç
os d
e co
nsum
o. N
ão e
nten
do q
ue e
ssas
de
vam
ser q
uest
ões o
brig
atór
ias,
mas
me
perg
unto
: e se
el
as fo
ssem
leva
ntad
as, q
ue e
feito
s iss
o te
ria
sobr
e a
em-
pres
a pa
troc
inad
ora?
Gos
tari
a de
, nes
te p
onto
, rem
emor
ar u
m c
aso
fa-
mos
o en
volv
endo
cen
sura
de
uma
inst
ituiç
ão c
ultu
ral
priv
ada
a um
a ob
ra c
onsi
dera
da p
olêm
ica
no B
rasi
l. A
cont
eceu
em
2010
, por
par
te d
o O
i Fut
uro,
e se
dir
igiu
à
“Bal
ada
da D
epen
dênc
ia S
exua
l”, f
amos
a sé
rie
foto
-
2 Art
ePra
ia: h
ttp:
//w
ww
.cas
adar
ibei
ra.c
om.b
r/ar
tepr
aia
3 Cas
a da
Rib
eira
: htt
p://
ww
w.c
asad
arib
eira
.com
.br/
由国家艺
术到企业
艺术，或许
濒危规模
才是出路
卓塔
蒙巴萨
我生活在巴西的东
北部。一座
我把
她叫做
纳通镇(Natown)1的
城
市。阳光
永恒的晒在人们的头顶。小镇的边
缘是酒店，豪华公寓，
凉亭，餐厅和俱乐部。我，住在您们度假的地方。一座热带城市，旅
游的天
堂。这便不能更
显然地
意味
着，市区的规
划会优先考虑
游
客们所
经过的那一带的卫
生，而牺牲掉另一些更
加破落的市区。
当然还有些不这么显著的效果。在这篇文章中，我想反映的是，我
的城市的旅
游特
色如何影响到政治文化，影响到面向地方的艺术
生产的不同项目，有的获得、有的没有公共襄助，它们的能见度以
及持续发展的条件。
我至少能
够理
解纳通镇
这种政治文化
联系方
式的城市规
划的
两个后果。首先它直接关联到国家，并被一种旨在生产和强化本地
特色的美学原则所指导。这种被官
方记忆的粗线条
勾画出轮廓的
国家艺术，与东北城市联合中普遍存在的祖先的实践活
动，（
珂珂
舞、卡波埃拉舞、萨满圆圈舞、茹莱玛节、坎冬步莱、翁班
达等等，
有着深
刻的非对
称关
系。作为非
物质文化
遗产构成
项目的一个
组
成部分，以保护祖先文化为原则，国家采取行动，系统的占有了某些
传统文化形式，仅仅成了对
它的利用，从而使得
有可能被平庸化，
1 N
atow
n 是
对推迟第4届
圣诞节视觉艺术展厅和公共管理者对待艺术家和地方
艺术的方式的抗议。
From THe arT oF THe STaTe To THe arT oF BuSIneSS, or arTISTIC ouTPuT on a PreCarIouS SCale
Jota momBaÇa I live in North-east Brazil. In a city that I call Natwon1. 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 detri-ment 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.
I see at least two ways in which the city project affects the articulation of cultural politics in Natown. The first is directly linked to the State and is guided by an aesthetic principle that aims to create and re-enforce a certain regional identity. This art of the State is shaped by the harsh lines of official memori-alism, which coexists in the urban North-east with ancestral practices (capoe-ira, shamanic circles, Jurema parties, Candomblé and Umbanda, etc.) in a pro-foundly asymmetrical relationship. By adopting the principle of preservation of ancient cultures as part of a program for the establishment of “spiritual heri-tage”, the State begins to systematically appropriate certain traditional cultural forms, which then serve the State to the extent that they become neutralized and marked as something of the subaltern colonial matrix: they come to repre-sent the past. And once captured by the logic of the art of the State, they repre-
1 “Natown” is a protest about the postponement of the 14th Visual Arts Exhibition of Natal and about the way public managers have treated the artists and the local art.
sent the value of the past in manufacturing a singular conservative and regional identity. Conversely, when we speak about North-eastern popular culture, we must keep in mind that we are talking about a living culture and therefore as ancient as it is contemporary. Contemporary culture and ancestry can in no way be reduced to the format of an official memory. It is as an active memory, ances-try is re-worked, used, disseminated, and as such it is preserved. Contemporary culture and ancestry are, in this sense, much less ingenious than the aesthetic principle of the State supposes, because they usually have in abundance what the rational colonial State lacks: Ginga, which is the art of infecting new uni-verses on the road to molecularity.
The second way in which cultural politics suffers interference from the State does not operate according to the same dynamic; it addresses public tenders and their approvals policy. Currently, in Natown, no more than a small propor-tion of artists and cultural producers manage to sustain their work thanks to resources from public tenders, which is not to say that a considerable portion of these same artists and cultural producers do not compete to win these tenders. It happens that the tenders mechanism implies government control, not only over the writing of projects, but also over the types of projects that qualify to apply for these resources. This control, however, is much more subtle than the above example. It is no longer about the aesthetic principle of the State overlap-ping with artistic production and elaborating a static and consistent universe for a certain project of regional identity. In the case of tenders politics a multiplicity of aesthetic principles can coexist. The unitary art of the State is not repeated in another context and the radical fragmentation of universes of reference be-comes inevitable. It is true that it follows a larger opening for the heterogeneity
2928 CulTural PolICIeS
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7
被登记为殖民主义摇篮的附属品：这
些文化成了过去的代
表。
当它们被国家艺
术的逻辑所俘获，它们在
生产单一而保守的地
方特
性中，便
成为代
表过往时代的价值的东西。往往当我们说
到东北民间文化，我们的头脑中的概
念应该是在谈到鲜
活的文
化，因此，既
是那么古老，又是
这样现代。然而，这种现代恰
恰
是在它的古老上，一点也不减少官方记忆的格式。正像一种活的
记忆，祖先们再现劳动的场景，他们自己来保
护自己的活动。通
过感染来保存。从此种意义上，就不像国家美学原则那么幼稚，
因为它们普遍地富于国家殖民理性所缺乏的：GINGA（
舞步），这
种在分子态的道路上作为参照物的新世界的艺术感染力。
其次
，尽管
遭受国家的
介入，没有
按照自己同
类的联
系操
作。我
所指的是出版政策，和审批制度。目前，在纳通镇，最多
只有很小的一
部分艺
术家
和文化
生产商以来自出版
政策的财
源为基础维持工作。我的意思不是说相当多的同一些艺术家和
文化
生产商不去竞
争这
些出版
机会。问题
是政
府的
这种
技术
意味
着一种控制，不但在于项目的书写方
式，而且在于是何
种
类的项目，乃至申请者是否是有能力获得资助的人。而且，这种
控制比之前被提出的时候更加微妙。已经不是所
谓国家美学原
则，要求艺术生产必须表现有参照性的美学范畴，与某些地方
特色的项目保
持一致性。在出版
政策问题
上，多重美学原则可
以同时并存。国家艺术部门，在这种背景下，不重复出版，作为
参照物的艺术世界于是便不
可避免的碎片化。的确，这样对现
代艺
术的多样性敞
开大门，但
是在意味
着多元化的同时，出版
政策也成了发明一系列新设备的铭牌，转而调控这种多元化。
出版
政策与纳
通镇作为旅
游城市的建设
之间如何相互作用
的一个有趣的事例，便是艺术海滩(A
rtePra
ia)2项目。这一项目
由伊塔乌银行赞助，通过文化部鼓励文化罗瓦内特法实施，已经
是第三
版，是开展河岸之家(Casa da Ribeira)
3活
动，在
纳通
镇的城区海滩
布置现代艺
术作品。
2014年版恰
逢巴西世界杯期
间，城中来自世界四方的
游客云
集，以轻松
愉快，色
彩鲜
艳，充
满趣味的作品，《
艺术海滩》所指的倾向是将现代艺术
稀释在娱
乐文化的肉汤，并且，假使说是要在海滩创造出公共空间，则无
非是给那个空间已存的逻辑锦上添花：娱乐与消费。至少在这一
期没有像
蓬塔内格
拉海滩占
据市区那样堪
称灾
难的作品；也没
有由于城市里世界杯效果而产生什么担忧的批评，虽然时间的重
合。更没有对旅游逻辑产生质疑，将海滩乃至整座城市化为消费
空间。我
并非认为那些问题都是非提出不
可的，但是我自问：倘
若这些问题被提出，对赞助企业该是何种效果？
在这一点，我想重提一件旧事，一个私人文化机构对一件在
巴西有争议的艺术品的查禁。美国著名摄
影家南
高丁，《
性依
赖的叙事曲》摄
影集，在里约热内卢展览开幕前几个星
期被取
2 艺术海滩
(Art
ePra
ia) h
ttp:
//w
ww
.cas
adar
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(Cas
a da
Rib
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):htt
p://
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asad
arib
ieir
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消。由于所产生的反响，成了标志性的事件，可是说
起来，我
更
有兴趣指出存
在无数的小审查，成为私人企业
通过免税
对文化
项目提
供公共资金
程序的一个
组成部分。归根
结底，我们不该
忘记，选择，启动，赞助都是被，此种情况下，企业界所固有的道
德包了装的权力的操作。是国家艺术向企业艺术的过渡。
让我回到那通镇的主题。来叙述旅游如何给文化生产界定领
域，从经济上滋养那些创意，从某种形式上，
生产出与旅游项
目相配合的城市地域
文化。从国家艺术的角度，直到不久前，还
是由北里约格朗德旅游秘书处负责大部分面向地区文化
生产的
资金；至于企业艺术，则是一些大型艺术节，大型演艺节目，巨型
展览，会吸引大投资者。两种情况，大规模的生产都服
从艺术圈
和文化生产商吸引游客的格式。除此之外，就剩下独立生产者特
有的岌岌可危的规模，实验艺术和行为艺术的规模。
我4 想
我的工作属于研究和表演卡塔琳娜
.
桑托斯
5 强烈的
摄影、克里斯塔琳娜
6 和伊萨克
.
璐娜
7 的数字艺术、多拉
.
比尔朔夫斯基不倦的策展工作、ES
3集体
8 以其《山羊回路艺术》
(Circuito
Bode Arte
9 )的坚韧不拔的努力、伊伽伯 .
德阿尔玛
斯10和埃斯吉佐凡客
11的种族迷幻、马哈迈德
12的医疗音乐、卡里拖
的著作式电影、在恰帕斯之家
13和
122工
作室
14的独立空间扩散、在
像马罗卡艺术和回音场那样没有固定空间的独立项目、在类似雷
拉迪尼斯自治集体
15那样的女权行为艺术的合作社… … 正是在
此种濒危的规模上，旅游的限制因素变得薄弱，而一个为数众多
群体，再创造了城市。正是在独立创作的道路上，市区的空间发生
演变，就像灰色的墙壁就该被涂鸦和恶搞的颜料所涂抹得色
彩
斑斓，如同《混沌》、《
爱环愈》、《
和平的科学》，如此众多。空间
会游离。如同艺术家的群体，推测文化政策和旅游套餐。
jota
mom
baça
是一位作家，表演者和自发的研究者。
2014
跨国对话参与者 。
4 卓塔 . 蒙
巴萨:h
ttp:
//ca
rgoc
olle
ctiv
e.co
m/j
otam
omba
ca5 卡塔琳娜 . 桑
托斯:h
ttp:
//w
ww
.beh
ance
.net
/cat
arin
asan
tosp
hoto
s6
克里斯塔琳娜:h
ttp:
//ch
rist
ina-
carb
onm
ade.
com
/pro
ject
os/5
3482
857
伊萨克 . 璐
娜:h
ttps
://w
ww
.flic
kr.c
om/p
hoto
s/jo
atan
_lun
a/8
Es3集
体:h
ttp:
//co
letiv
oes3
.blo
gspo
t.com
.br/
9 山羊回路艺术:h
ttp:
//ci
rcui
tobo
dear
te.b
logs
pot.c
om.b
r/10
伊伽德 . 阿
尔玛斯
:htt
p://
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deal
mas
.ban
dcam
p.co
m/
11 埃
斯吉佐凡客
:htt
p://
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ease
s12 马
哈迈德
:htt
p://
mah
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.ban
dcam
p.co
m/
13 恰
帕斯之家
:htt
ps://
ww
w.fa
cebo
ok.c
om/e
spac
ocas
achi
apas
14 1
22工作室
:htt
p://
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com
/wat
ch?v
=1FO
oVZo
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s15 雷
拉迪
尼斯
自治
集体
:htt
p://
ww
w.m
amu
.net
.br/
?p=
569
#!/
loc-
5.78
9158
0000
0001
3,-3
5.20
8692
,17
of contemporary art, yet, at the same time that means an openness to multiplic-ity, and the tenders politics is the landmark invention of a series of new devices focused on the regulation of that same multiplicity.
The relationship between tenders politics and the building of Natown as a tourist town can be illustrated by the example of the ArtePraia2 project. Funded by Banco Itaú through the Rouanet Law of Promotion of Culture (MINC), the project, now in its third edition, is organized by Casa da Ribeira3, and consists of the installation of contemporary art in Natown’s urban beaches. The 2014 edition took place during the same period of the FIFA World Cup in Brazil, when the city was packed with tourists from various parts of the world. With pleasant works, generally colourful and playful, ArtePraia signified a tendency towards the dilution of contemporary art in the broth of culture and entertain-ment. Its aim to re-create the beach’s public space did nothing more than en-dorse the logic already existing in this space, that of enjoyment and consump-tion. There was no commentary, for example, on the disastrous effects of the urban occupation of Ponta Negra, nor any criticism relating to the effects of the World Cup on the city, despite the dates coinciding; and thus, no one comes to properly question the logic of tourism that converts the beaches, as well as all of the city, into spaces of consumption. I do not intend to say that these issues must be mandatory, but I wonder: if they were raised, how would the sponsor-ing company have reacted?
At this point, I want to recall the famous case involving the censorship by a private cultural institution of a work considered controversial in Brazil. It hap-pened in 2010, on the part of Oi Future, and the censorship was directed to-wards the “The Ballad of Sexual Dependency”, a famous photographic series by the American artist Nan Goldin. The show was cancelled a few weeks before the opening of the exhibition in Rio de Janeiro. This case has become emblematic due to the repercussions that it had, but what interests me is the observation of numerous small censures that are triggered during the process of granting pub-lic funds via tax exemption, from private companies to cultural projects. After all, we must not forget that to select, to enable and to sponsor are operations of power, wrapped up in this case, by the pervasive “ethics” of the business world. A passage from the art of the State to the art of business.
I return then to Natown. And to the narrative about how tourism delimits the cultural production field, nourishing economically the initiatives that some-
2 ArtePraia: http://www.casadaribeira.com.br/artepraia/3 Casa da Ribeira: http://www.casadaribeira.com.br/
how produce a coherent territorialization of the city tourism project. From the point of view of the art of the State, until very recently it was the Department of Tourism that took care of most of the funds directed to local cultural produc-tion; that is to say, with regards to the art of business, big festivals, big shows and big exhibitions that attract large investors. In both cases, the large-scale production is associated with the adhesion of artists and cultural producers to the tourist network format. Outside of that, art remains on a precarious scale, small independent productions, experimental artistic processes and “artivism”.
I think of my own work as an investigator and performer4, in the striking photography of Catarina Santos5, in the digital art of Christalina6 and Isaac Luna7, in the tireless curatorial work of Dora Bielschowsky, in the insistence of the Coletivo ES38 with their Circuito Bode Arte9, in the ethno-psychedelia of Igapó de Almas10 and Esquizophanque11, in the medicinal music of Mahmed12, in the authorial film of Carito, the proliferation of independent spaces such as Casa Chiapas13 and Atelier 12214, and independent projects without defined space such as Maloca Arte and EcoPraça, in the feminist art-action collective such as Coletivo Autônomo Leila Diniz15… It is all on a precarious scale that fails to reach the tourist, and the multitude of artists that work to reinvent this city.
It is the path of independent creation that transforms urban space, when the grey walls get coloured by the paints of graffiti and taggers, such as Chaos, Amar Elo Healing, Peace Science, among others. A space that is nomadic. As the multitude of artists go beyond cultural politics and the tour packages.
jota mombaça is a writer, performer and autonomous researcher. He is a par-ticipant in Transnational Dialogues 2014.
4 Jota Mombaça: http://cargocollective.com/jotamombaca5 Catarina Santos: https://www.behance.net/catarinasantosphotos6 Christalina: http://christalina.carbonmade.com/projects/53482857 Isaac Luna (Isaac T.): https://www.flickr.com/photos/joatan_luna/8 Coletivo Es3: http://coletivoes3.blogspot.com.br/9 Circuito Bode Arte: http://circuitobodearte.blogspot.com.br/10 Igapó de Almas: http://igapdealmas.bandcamp.com/11 Esquizophanque: http://esquizophanque.bandcamp.com/releases12 Mahmed: http://mahmed.bandcamp.com/13 Espaço Casa Chiapas: https://www.facebook.com/espacocasachiapas14 Ateliê 122: http://www.youtube.com/watch?v=lFOoVZoCqVs15 Coletivo Autônomo Leila Diniz: http://www.mamu.net.br/?p=569#!/loc=-5.789158000000013,-35.208692,17
3130 arTISTS anD CITIeS
公共空间
的集体活
动 拉拉 ·
索布拉尔
场所
很多年以来，人们不认为
城市是一座城市，而是，属于不同等
级的两个人
群。相距如
此遥
远，乃至思考的人
感到没有能力
去做，而做的人，机械地去做，对做什么不去思考。
在巴西的圣
保罗，规
划设
计与实
施的不匹
配达
到如
此程
度，乃至
近年来
对城市作直接的介入吸引了越
来越多的支
持
者。公共场所的活动造成市民日常的分裂，引起关于这种行动
所暴露的情况的反思。如果活
动成
为经常的并给城市的需要
产生立竿见影的解决，那么就有变
成集体自发性的行
动的潜
力，换句话
说，人们会自发的加入进来，既然这种解决城市问
题的样板，给公共空间带来快速而明显的改善。
基于这种调查结果，
2014年
1月，我决定在圣保罗马铃薯
广场开展定期演出活动。马铃薯广场是圣保罗市中心扩建的
广场，近
十年
实施城市改
造，工程缓慢而昂贵，结果却没有
城市建设的质量。
2013年
揭幕，是一片荒旱的空间，没有树
木遮荫，没有城市家具，作为现代公共空间的作用明明白白：
是通
道的空间，而不是停留的空间，如同圣保罗的很多空间
一样。我的目的是将广场的一
部分空间改变
成停留空间，利
用GAMBIARRA （替代利用）的方
法。
GAMBIARRA 是将手
头的东西，变
成所需要的东西，或
者说，是临时
利用现有的
条件。这种意义
上相似于黑
客，反
对消费
者的消极角色，建
议以现有的知识，产生
新的解决方案。以这种逻辑，我们把
家具搬到广场，组织文化活
动，在那片荒凉中创造出一个
舒
适的空间。行
动吸引来居民，围观的群众，和认同这项事业
的志愿者。我们的团体
在壮大，发
展成一个
运动，今
天我们
在网络有电子申请
表，针对愿意辅导文化活
动的人员，我们
还在广场上建
造了家具，自己动手制作木桌，还有些支持我
们运动的人捐赠了别的家具。我们占据马铃薯广场已经九个
月，广场明显变得生气活泼，“
一个空间，可以空空如也，也
可以充满一切”。我们清楚地见证了占据那个空间的潜力，并
且推动尚在
初起
阶段的到
城市外边
生活的文化。经
过对
这
个城市介入的注册和系统化，我们的目标是启发别的人去占
据城市的公共空间。
专攻建筑与城市规划。目前专注于和移动性（非机械性的运输）
有关的文化计划以及民主化的文学。
2014
跨国对话参与者
。
张维民译自葡萄牙文
o FaZe
r Col
eTIVam
enTe
em Pú
BlICo
laUra
soBr
alD
uran
te m
uito
s ano
s, q
uem
pen
sava
a c
idad
e nã
o fa
zia
a ci
dade
, era
m d
ois g
rupo
s dis
tinto
s, h
iera
rqui
cam
ente
di-
fere
ntes
. Era
tant
a a
dist
ânci
a qu
e qu
em p
ensa
va, n
ão se
se
ntia
mai
s com
a ca
paci
dade
de
faze
r, e
quem
fazi
a, fa
zia
auto
mat
icam
ente
, sem
pen
sar s
obre
o q
ue e
stav
a fa
zend
o.
Em S
ão P
aulo
, Bra
sil,
o de
scom
pass
o en
tre
proj
eto
e ex
ecuç
ão a
tingi
u ta
man
ho d
esco
mpa
sso
que
a in
terv
en-
ção
dire
ta so
bre
a ci
dade
est
á ga
nhan
do m
ais a
dept
os n
os
últim
os a
nos.
O fa
zer e
m p
úblic
o pr
ovoc
a um
a ru
ptur
a no
co
tidia
no d
os c
itadi
nos,
leva
ndo
à re
flexã
o so
bre
a si
tu-
ação
exp
osta
pel
a aç
ão. S
e es
se fa
zer é
regu
lar e
seu
ato
pr
oduz
sol
uçõe
s im
edia
tas
a ne
cess
idad
es u
rban
as, t
em
pote
ncia
l de
se to
rnar
um
a aç
ão e
spon
tane
amen
te c
ole-
tiva,
ou
seja
, que
agr
egue
as
pess
oas
espo
ntan
eam
ente
, da
do q
ue a
pro
totip
agem
de
solu
ções
urb
anas
traz
em ra
-pi
dam
ente
mel
hora
s vis
ívei
s ao
espa
ço.
Com
bas
e ne
ssas
con
stat
açõe
s, e
m ja
neir
o de
201
4 de
cidi
faz
er u
ma
ocup
ação
per
form
átic
a co
m r
egul
a -ri
dade
no
Larg
o da
Bat
ata,
em
São
Pau
lo. O
Lar
go d
a Ba
tata
é u
ma
praç
a do
cen
tro
expa
ndid
o de
São
Pau
lo
que
nos ú
ltim
os 10
ano
s pas
sou
por u
m p
roce
sso
de re
ur-
bani
zaçã
o, d
e ob
ra le
nta
e ca
ra, e
resu
ltado
sem
alg
uma
qual
idad
e ur
bana
. Foi
inau
gura
do n
o an
o de
2013
um
es -
paço
ári
do se
m á
rvor
es q
ue fi
zess
em so
mbr
a e
nenh
um
mob
iliár
io u
rban
o, d
eixa
ndo
clar
o se
u pa
pel e
nqua
nto
espa
ço p
úblic
o co
ntem
porâ
neo:
um
esp
aço
de p
assa
gem
, e
não
de e
star
, com
o m
uito
s ou
tros
de
São
Paul
o. M
eu
obje
tivo
foi t
rans
form
ar u
ma
part
e do
Lar
go e
m u
m e
s -pa
ço d
e es
tar,
usan
do o
mét
odo
da g
ambi
arra
. Gam
biar
-ra
é q
uand
o se
tran
sfor
ma
o qu
e se
tem
a m
ão n
o qu
e se
pr
ecis
a, o
u se
ja, s
e im
prov
isa
com
o q
ue h
á ao
alc
ance
. Te
m a
ver
com
Hac
king
, no
sent
ido
que
se c
ontr
apõe
o
pape
l pas
sivo
do
cons
umid
or e
pro
põe
que,
com
o c
o -nh
ecim
ento
do
exis
tent
e, s
e pr
oduz
am n
ovas
sol
uçõe
s.
Nes
sa ló
gica
, tod
as a
s sex
tas-
feir
as n
o fin
al d
o di
a, e
u e
quem
se a
nim
asse
a o
cupa
r o L
argo
leva
mos
mob
iliár
io
para
o L
argo
e p
ropu
sem
os a
tivid
ades
cul
tura
is, g
eran
-do
um
esp
aço
de c
onfo
rto
naqu
ele
dese
rto.
A a
ção
foi
atra
indo
mor
ador
es, f
requ
enta
dore
s do
ent
orno
e ta
m-
bém
que
m s
e id
enti
fica
va c
om a
cau
sa. O
gru
po c
res-
ceu,
se to
rnou
um
mov
imen
to, a
s que
des
ejam
con
duzi
r at
ivid
ades
cul
tura
is h
oje
se in
scre
vem
em
um
a pl
anilh
a ab
erta
na
inte
rnet
e já
cons
truí
mos
mob
iliár
io u
rban
o no
pr
ópri
o La
rgo,
que
hoj
e co
nta
com
alg
uns b
anco
s fei
tos
de m
adei
ra p
or n
ós e
out
ros
mob
iliár
ios
que
fora
m d
o -ad
os a
o es
paço
por
sim
pati
zant
es d
o m
ovim
ento
. Faz
9
mes
es q
ue o
cupa
mos
o L
argo
da
Bata
ta e
já é
vis
ível
a
mud
ança
da
dinâ
mic
a no
esp
aço,
com
o “u
m e
spaç
o qu
e nã
o é
nada
, pod
e se
r tu
do”.
Evi
denc
iam
os o
pot
enci
al
de o
cupa
ção
daqu
ele
espa
ço e
fom
enta
mos
a a
inda
inci
-pi
ente
cul
tura
de
se v
iver
a c
idad
e do
lado
de
fora
. Com
o
regi
stro
e si
stem
atiz
ação
des
sa in
terv
ençã
o ur
bana
, te -
mos
com
o ob
jetiv
o in
spir
ar o
utra
s pe
ssoa
s a
ocup
arem
os
esp
aços
púb
licos
das
cid
ades
.
lau
ra
so
bra
l fo
rmou
-se
em A
rqui
tetu
ra e
Urb
anis
mo.
A
tual
men
te t
raba
lha
com
pro
jeto
s cu
ltura
is p
rinc
ipal
-m
ente
com
que
stõe
s lig
adas
à m
obili
dade
(tra
nspo
rtes
nã
o-m
otor
izad
os) e
dem
ocra
tizaç
ão d
a lit
erat
ura.
É p
ar-
ticip
ante
do
Tran
snat
iona
l Dia
logu
es 20
14.
PuBlIC anD ColleCTIVe maKIng laUra soBral For many years, those who thought about the city were not the ones actually involved in making it – two different, hierarchically distinct groups. The dis-tance was such that those who thought the city no longer felt able to make it; and those making it, did so in an automatic fashion, without adding thought to what they were doing.
In São Paulo, Brazil, the discrepancy between project and performance reached such a level that the direct intervention on the city is gaining more and more adepts in the past few years. The act of making in public provokes a rup-ture on the daily life of citizens, thus leading to a reflection on the situation ex-posed by the action. If such making takes place on a regular basis and produces immediate solutions, it bears the potential to become a self-generated collective action, that is to say, something that spontaneously aggregates people, consid-ering that the prototyping of urban solutions brings quick and visible improve-ments to the space.
Based on these findings, on January 2014, I decided to make a regular, per-formative occupation of the Largo da Batata, in São Paulo. The Largo da Batata is a square located in the expanded center of the city, which has been through a re-urbanization process over the last ten years – a slow and expensive work whose results are devoid of urban quality. On 2013, this arid space was inaugu-rated, lacking the shade of trees and street furniture, making a clear statement of its role as a contemporary public space: an area intended for crossing, not for living, just as many other spaces in São Paulo. My goal was to transform part of it in a living space, by using methods of what the Brazilians call ‘gambiarra.’ It consists in transforming what you have in hand into what you need, i.e., to
improvise with what is within reach. It has something to do with hacking, in the sense that the consumer’s passive role is counterposed, suggesting the pro-duction of new solutions based on the knowledge that already exists. Within this logic, every Friday late in the afternoon, me and whomever else was up to occupy the Largo used to take some street furniture and propose cultural activities there, thus generating a comfort space amidst that desert. The action ended up attracting local dwellers, regular goers of the surrounding areas, and also those who identified themselves with this cause. The group grew up and became a movement. Nowadays, people interested in conducting cultural activ-ities there must enroll in an online sheet open for all, and we have already built street furniture there, where one can find wood benches made by us and other items donated to the space by sympathizers of the movement. It has now been nine months since we first occupied the Largo da Batata, and the changes to its dynamics are palpable – how ‘a space that is nothing can be everything.’ The potential of occupation of that space was evidenced, and we keep on fomenting the yet incipient culture of living the city from its outside. By recording and sys-tematizing this urban intervention, our aim is to inspire people to occupy other public spaces on the city.
laura sobral has studied architecture and urban planning. She now works with cultural projects mainly about mobility (non-motorized transport) and de-mocratization of literature. She is a participant in Transnational Dialogues 2014.
Translated from Portuguese by Daniel Lühmann
3332 THe Yellow rIVer Seen From a ConSTruCTIon SITe, Inner mongolIa. PHoTo BY ZHang KeCHun (2010)
3534 arTISTS anD CITIeS
nia:Rio was then created, and more than a Facebook discussion forum,1 it also involved weekly meetings at esdi/uerj in order to collectively build an agenda for further debate with the candidates, possibly generating a later document summing up the main discussed issues. The goals of this initiative were only partially attained, although it brought forth not only the embryo of LaDA, but also some sort of community for thinking and practicing design-related actions requiring room and expression in Rio de Janeiro.
Thereby, it was not by chance that the following year started with some experiences at esdi’s extension (in partnership with the Agency Networks for Youth) and graduation programs with different local partners, notably in the disciplines of Project Representation – Means and Methods, and Development of Visual Programming Project ii. These experiences took place in ‘pacified communities’ controlled by the Pacifying Police Units and in the city center, and are gaining practical systematization and theoretic elaboration since Faperj approved the previously mentioned research project ‘Design and Anthropology Laboratory: Ethnography, drawing, cartography, and project on/of the city.’ The title emphasizes the ‘means’ that anticipate and inform the project’s activ-ity. Yet, before reaching the ‘means’ (processes) and their ‘ends’ (the project), we must approach the ‘urban environment’ that is the Carioca metropolis in profound (and often violent) transformation. The research proposes a reflection regarding the role of the designer amidst the city’s mesh of complexity, starting from the assumption that it is his/her means of action, and simultaneously the major artifact or product of his/her action.
In the past few months, whomever wanders about Rio de Janeiro, whether by foot, car, bike or any public transportation (bus, vans, trains, subways), observes not only one, but several construction sites spread throughout all regions – North, West, South, and Center. Most of these works are directly linked with two major sports events hosted in the city: the fifa World Cup held in 2014, and the Olym-pic Games to take place in 2016. If the imminence of these events created a com-plex agenda of infrastructure works demanded by fifa and the Olympic Com-mittee, alleging the need to create the right conditions for such competitions and everything they encompass, it also incited the speedup of the urban environment
‘transformation’ process. Whether caused by public initiatives of regional scale, like the expansion of the subway network, the ‘pacification’ of favelas, and the ‘revitalization’ of the port area; whether brought by public and/or private initia-tives of local scale, including the demolition of ancient buildings to give room for new ones, expanding towards the ever-increasing overvaluation of real estates, which consequently leads to a rather violent property speculation process. All this urban transformation intends to be justified as a necessary insertion of the post-industrial city in a new productive and so-called ‘creative’ cycle, requiring the creation of new practices and concepts regarding ‘creativity.’ Its sociocultural consequences call for the university participation with thought and action.
2. ENTREMEIOS: MEANS AT THE DESIGNER’S DISPOSAL, DIFFERENT PRACTICES IN-BETWEEN, AND THE DESIGNER HIM/HERSELF IN THE MIDDLEThe research project ‘Design and Anthropology Laboratory: Ethnogra-phy, drawing, cartography, and project on/of the city’ comes up in this context of major transformation in the urban field and in the perception that the moment requires the university to take part on the public debate and the pre-sentation of alternatives that, on their turn, devise instances of dialogue with the city, whether occupying the territory (the city as metropolis) or exercising politics (the city as polis). From this guise, the Entremeios seminar rises as the LaDA�s proposal to the Pró-Design call of the Rio Heritage of Mankind Institute. The Design and Anthropology Laboratory of the ESDI/UERJ faced the discussions held on the Carioca Center for Design, an institution managed by the Rio de Janeiro City Hall, as a possibility of opening the dialogue with the public authorities and the society, rather as concrete possible partnerships than as an abstraction, all its convergences and divergences considered.
Thought as a ‘trigger for dialogue,’ the Entremeios seminar occupied the CCD for four days. The arrangements had started long before, since the LaDA aimed at mapping, contacting, and composing a wide network of kinship among design thinkers and professionals in Brazil. In order to fulfill this ob-jective, a lot of attention was given to the creation of the event’s visual identity and website, as well as to the release of the schedule through the website and
1 https://www.facebook.com/groups/343854719032671/
enTremeIoS: waYS oF lIVIng anD CreaTIVe PraCTICeS In rIo De JaneIroBarBara szanieCKi | zoy anastassaKis
Entremeios: Ways of living and creative practices in the city is the title of the sem-inar organized by the LaDA (Design and Anthropology Laboratory) of ESDI/UERJ, held from August 8-11, 2014, at the Carioca Center for Design (CCD) under the Pró-Design call of the Rio Heritage of Mankind Institute. However, Entremeios is much less and much more than a mere seminar.
It is much less because it is transected by the thought of a ‘minor design,’ something less pretentious than the modern design based on formal knowledge and practices, which distanced itself (when not just simply ignoring) from the in-formal knowledge and practices, many of them coming from the ‘popular field.’
It is much more due to the fact that it does not constrain itself to the four-day seminar, quite the opposite. It falls on the ongoing research ‘Design and Anthropology Laboratory: Ethnography, drawing, cartography, and project on/of the city,’ held in partnership with the College of Industrial Design of the Universidade do Estado do Rio de Janeiro (esdi/uerj), with the professors and
researchers Zoy Anastassakis (designer and anthropologist) and Barbara Sza-niecki (designer), along with the Institute of Philosophy and Social Sciences of the Universidade Federal do Rio de Janeiro (ifcs/ufrj), with the professor and researcher Karina Kuschnir (anthropologist).
Entremeios intends to be, more than a seminar, a ‘trigger for dialogue’ with other research and educational institutions and professionals, holding partner-ships with different subjects and the public authorities as from the interaction between urban design and anthropology. Still, we cannot foresee this reach; we can only indicate a few points of departure, the concrete accomplishment of the seminar, and some of its findings, so then we can indicate possible directions to the adventure of a 21st century design, with a particular mix of boldness and cautiousness.
1. RIO DE JANEIRO: A LABORATORY FOR LADALaDA was born a year ago in Rio de Janeiro. In a certain way, the city stands as LaDA’s magnified laboratory: the Carioca metropolis is its experimentation space. Without any ambition to encompass its whole extension nor to provide a full solution to the heterogeneity of the city, the LaDA only states the need of the designer to leave the comfort of his or her office and head to the field, just as the anthropologist does. With both feet on the floor, the designer goes through the urban territory to recognize its roaming and existing ways of living, to try out several manners of representation, as well as to sustain such experimenta-tion over time before actually starting to design. Such is LaDA’s footprint: the assumption that, by extending its process, the design project ensuing from this support/suspension of the objectified time of the contemporary city – a place where we produce and are produced in return – might avail itself of the existing (and resisting) subjects and subjectivities, thus rendering new ways of living with creative practices amidst this suspension.
The first steps had already been made on the mayoral elections two years ago. Designers were invited to talk to mayor Eduardo Paes – elected in 2008 and candidate for re-election in 2012. The discussion engendered the percep-tion that it was mandatory to present thoughts on what is design today for all mayoral candidates, and, after this daredevil definition, to present proposals of public policies for and with design to the city. The group Design + Cidada-
3736 arTISTS anD CITIeS
a Facebook page, insisting especially on the calls for registration on some ex-pected activities: exhibition of panels on the gallery and their respective pre-sentation, workshops, and the Lab. For the roundtable, designers from different states were invited (coming from São Paulo, Maranhão, and Pará, in addition to the Carioca ones) along with two international researchers: Wendy Gunn and Eeva Berglund. The four days were highly attended, with vibrant participation on the debates. It is important to note that, while the presentation activities and the debates were held in the CCD, the workshops and the Lab occurred mainly outside of it, on the streets and squares of the city center. This immediate re-lation with the urban surroundings beyond the institutional space, became a central feature of Entremeios. The questions mapped by the participants, the panels exhibited on the gallery, and the results of the workshops and the Lab were all taken to Praça Tiradentes, a square located in front of the CCD. The last activity was then the ‘occupation’ of the square. Its bars were removed in 2011, an initiative of the City Hall meant to stimulate the citizens to reclaim the pub-lic spaces of the city center. There, the festive activity promoted by Entremeios called the attention of passersby at the same time it displayed the boundaries of design in relation with the population that visits or even lives on the square. The incitements made by the Lab on the square highlight these contradictions,2 recalling that the city center is a historical and current stage for demonstrations. Several are the challenges faced by the design in such an unequal city like Rio de Janeiro, undergoing transformation processes that might as well dissolve and intensify such inequality. For this reason, LaDA expects the network articulated through Entremeios to keep on its expansion and consolidation motion.
Now allow us to go back a little to formulate some of the first perceptions of these intense days without the ambition to embrace everything that was pre-sented and debated. We offer here a few considerations on three important top-ics: (1) the first one concerns the ‘means’ we have to research, represent, and act upon this urban environment that is the city; (2) the second one presents what is ‘in-between’ different creative practices, but not only; (3) the third one proposes
2 Some of them are listed on the ‘Entrada 64’ page on Facebook: https://www.facebook.com/pages/Entrada-64/357513604401330
the designer him/herself (or whatever self-recognized ‘creative’ agent) in the middle, as a mediator, articulator or as something yet to be formulated.
First of all, a lot was said regarding the ‘means’ of research, representation, and action on the city, whether bearing a purpose of design project or not. Some of the panelists presented design projects based on photography and cartogra-phy to anticipate the project itself. Others – some of them students of the Ur-ban Anthropology Laboratory3 of the IFCS/UFRJ, under coordination of Karina Kuschnir – approached ethnographic practices, including the use of drawing as an important tactics for teaching anthropology to persist on the territory and to dialogue with the local population to produce knowledge. Although anthropol-ogy students are not worried about ‘objectifying’ their researches with a design proposal, this perception of drawing as an observation technique and knowledge tactics – it seems to slow down the urban time, as well as to give room for human exchanges – brings important contributions for design students. The latter, on their turn, offer the anthropology students some tools to ‘stretch’ their researches until the project, even if rudimentarily so. What stood out of these exchanges be-tween designers and anthropologists is how much the chosen ‘means’ relate with the way we live and act on this time-space that is the contemporary city.
If, at first place, LaDA’s proposal and the answers obtained over the semi-nar effectively refer to the ‘means’ of research, representation, and action on the city, secondly it invites for the possible places ‘in-between’: either in the city or among ‘ways of living’ and ‘creative practices,’ thus drawing in not only design-ers and anthropologists. These in-between situations are not always easy to han-dle, since it is much easier for each knowledge and practice to remain in its own
‘box.’ Add the fact that these ‘boxes’ are hierarchized, which indicates just how political these issues are. Research institutions, for instance, consider design to be an ‘applied social science’ – and by ‘applied’ it means an activity that applies scientific knowledge, although it is incapable of generating them. It looks like En-tremeios came and, with its name and the several formats embraced, it allowed dialogues and the dismantling of hierarchies, something otherwise impossible among different areas of expertise and practices of/on the university and of/on the city. For a few days, they became pervious to one another, perhaps even more than that. Besides the designers, the seminar also counted on the participation of architects and urbanists, as well as contributions from visual artists, audiovi-sual professionals, and dancers. This way, Entremeios managed to acquire other expressive media and even a body for itself on the city.
In the third place, the seminar brought, as from the previously mentioned topics, a questioning on the attitude and the position of the designer. A designer (or a ‘creative,’ speaking generally) leaves the office and adopts the pedestrian perspective. In this movement of going to the field and experimenting several ways and means, one is displaced from the project to the process. Yet, one also is displaced from the center to the middle, becoming more of an articulator (one among many, eventually) than the only responsible for project-related activi-ties. This way, projects tend to be more collaborative. Such displacements of the designer also open possibilities for his action as an interlocutor of the society towards the public authorities – both of them equally abstract entities that are capable of achieving materialness with the cartographies of its actors and re-lations –, whether forging public policies FOR design or general public policies WITH design. We are talking about the design professional as much as about the design researcher, although, the City Hall needs to be informed by all of them: design offices and autonomous designers, but also by the university. Ultimately, all of the designer’s displacements are essential not only to understand the crisis of the modern project, but also to highlight the direction to overcome it.
3. FINAL REMARKS AND NEW ADVENTURESLet us then consider that the seminar Entremeios: Ways of Living and Creative Practices contributed for at least three topics of reflection. The first one stands for the ‘means’ of research, representation, and action on the city; the second one concerns the places of the city in-between the ‘ways of living’ and the ‘creative practices,’ among different practices and knowledge (the dismantling of hierarchies existing between the sciences and the practices); and ultimately the articulation of this know-how along with public authorities. Many were the spaces identified in-between, and much more is yet to come. The third aspect – the designer in the middle – corresponds to the designer’s own
3 http://lau-ufrj.blogspot.com.br/2012/04/gilberto-velho-1945-2012.html
status, which relinquishes the pretension and becomes more cautious, accord-ing to a concept coined by Bruno Latour.4
During the seminar, it was curious to observe the displacement of questions from space to time. Or at least the swinging between these coordinates of our existence. In the field, we approached the longer time of permanence offered by means such as drawing. Once back to the institutional space, we approached the time necessary to discover the spaces in-between, that is, the collaborations and partnerships. We even approached the gap between the time of research and the time of politics (either the time of protests or that of the elections), considering that the latter often runs down the former. When handling all these different temporalities, the university tries to play its part. The LaDA wishes Entremeios to become a book and a platform (combining website and other forms), thus ar-ticulating analogic and digital, material and virtual aspects. At last, reckoning that despite the remarks regarding time, the space remains as important, LaDA studies the possibility of making an itinerant seminar.
Translated from Portuguese by Daniel Lühmann
barbara szaniecki has graduated in Visual Communication from the École Nationale Supérieure des Arts Décoratifs and holds a master and a doctorate in Design from the Pontifícia Universidade Católica. She is author of the book
“Estética da Multidão”.zoy anastassakis has graduated in Industrial Design from the Escola Supe-rior de Desenho Industrial and holds a master and a doctorate in Social Anthro-pology from the Universidade Federal do Rio de Janeiro.
4 latour, Bruno. “A cautious Prometheus? A few steps toward a philosophy of design (with special attention to Peter Sloterdijk)”. In: glynne, Jonathan; hackney, Fiona; minton, Viv (org.). Network of Design – Proceedings of the 2008 Annual Intrenational Conference of the Design History Society (uk). University College Falmouth. Boca Raton: Universal Publishers, 2009.
3938 CulTural PolICIeS
a PolÍ
TICa
CulTur
al CHI
neSa e
a arTe
Con
TemPor
ânea
wang
dong
Po
lític
a cu
ltura
l é u
ma
polít
ica
de n
ação
des
tinad
a à
cul-
tura
, art
es, p
ublic
açõe
s, t
rans
mis
sões
rad
iofô
nica
s, t
e-le
visi
vas
e au
diov
isua
is q
ue s
egue
m u
ma
dete
rmin
a-da
lin
ha d
e de
man
das
e re
gula
ções
adm
inis
trat
ivas
. N
o co
ntex
to d
a glo
baliz
ação
, ana
lisam
os a
forç
a de u
m p
aís
atra
vés d
e crit
ério
s orig
inal
men
te ad
otad
os, o
“ha
rd p
ower
” ba
sead
o no
pod
er m
ilita
r, po
der t
ecno
lógi
co e
pod
er e
co-
nôm
ico
que
grad
ualm
ente
fora
m s
ubst
ituíd
os p
elo
“sof
t po
wer
”, ou
a in
fluên
cia e
xerc
ida p
ela c
ultu
ra, a
trav
és d
a art
e.
A co
mbi
naçã
o de
ssas
dua
s for
ças t
orna
m-s
e a m
elho
r e m
ais
bem
suce
dida
tátic
a. M
otiv
o pe
lo q
ual o
cen
ário
mun
dial
at
ual é
apr
esen
tado
atr
avés
da
cultu
ra, a
pro
moç
ão e
o d
e -se
nvol
vim
ento
da a
rte,
com
paíse
s for
mul
ando
e di
sput
ando
a l
ider
ança
cultu
ral c
om su
as p
rópr
ias p
olíti
cas c
ultu
rais
.Em
vir
tude
das
suas
esp
ecifi
cida
des e
por
sua
hist
ória
, a
polít
ica
cultu
ral c
hine
sa a
pres
enta
nat
urez
a so
cial
ista
co
m c
arac
terís
ticas
cap
italis
tas.
Em
1921
, hou
ve o
est
abe -
leci
men
to d
o Pa
rtid
o C
omun
ista
Chi
nês e
a in
trod
ução
à
filos
ofia
mar
xist
a na
Chi
na, q
ue v
iria
a se
r a b
ase
teór
ica
do p
artid
o no
paí
s e m
otiv
o de
cont
rové
rsia
ideo
lógi
ca p
ara
com
paí
ses e
stra
ngei
ros.
Por
isso
, a p
olíti
ca c
ultu
ral d
esse
pe
ríodo
uso
u ba
sicam
ente
pub
licaç
ões e
gra
vaçõ
es ra
diof
ô -ni
cas p
rodu
zida
s por
out
ros p
aíse
s com
unis
tas.
Em
segu
i-da
, com
a in
tens
ifica
ção
das d
iver
gênc
ias p
olíti
cas d
uran
te
o pe
ríodo
da r
evol
ução
agr
ária
, o p
artid
o co
mun
ista c
hinê
s es
tabe
lece
o re
gim
e de
moc
rátic
o op
erár
io-c
ampo
nês,
que
di
fere
ntem
ente
do
Kuo
mita
ng (P
artid
o N
acio
nal)
proc
la-
mou
a in
stau
raçã
o de
um
nov
o m
undo
. Naq
uele
mom
ento
a po
lític
a cul
tura
l foi
a de
bus
car a
coes
ão d
as p
esso
as p
ara o
s de
bate
s int
erno
s e e
xter
nos,
par
a qu
e, e
m 19
49, c
om a
fun -
daçã
o da
Rep
úblic
a Po
pula
r da
Chi
na, a
s mas
sas t
ives
sem
co
ndiç
ões d
e uni
ficar
em-s
e. D
e 195
0 a 1
978 f
oi co
nsol
idad
o o
novo
regi
me
do P
artid
o C
omun
ista
Chi
nês.
Nes
se m
o -m
ento
a p
olíti
ca c
ultu
ral e
ra d
e en
fatiz
ar p
riorit
aria
men
te
a lid
eran
ça d
o pa
rtid
o, te
ndo
a pr
oduç
ão d
os a
rtist
as co
mo
“rec
urso
s nac
iona
is” p
ara
a cr
iaçã
o e
prom
oção
de
mat
eria
l qu
e tin
ha co
mo
prin
cipa
l obj
etiv
o co
nduz
ir a
luta
pol
ítica
e
a lu
ta d
e cl
asse
. Em
1978
, dep
ois d
a re
form
a de
abe
rtur
a, a
C
hina
teria
com
o pr
inci
pal o
bjet
ivo
o de
senv
olvi
men
to d
a su
a “co
nstr
ução
econ
ômic
a”, m
omen
to em
que
hou
ve u
ma
tent
ativ
a de
pro
mov
er a
pol
ítica
cul
tura
l, a
arte
, o c
ompo
r -ta
men
to e
mpr
eend
edor
, bus
cand
o qu
alid
ade
e in
tens
ifi-
cand
o os
esf
orço
s par
a co
nqus
itar o
mai
s ráp
ido
poss
ível
a
deco
lage
m e
conô
mic
a. D
e 19
93 a
té h
oje,
com
o d
esen
vol -
vim
ento
cont
ínuo
da
econ
omia
chin
esa,
a p
olíti
ca c
ultu
ral
do p
aís v
agar
osam
ente
tam
bém
vai
se c
onst
ituin
do c
omo
“cul
tura
” e
cons
olid
ando
-se
na co
nstr
ução
do
“sof
t pow
er”.
Em to
do o
terr
itório
chin
ês, e
m d
ifere
ntes
épo
cas,
a p
o-lít
ica
cultu
ral f
oi g
anha
ndo
form
a, e
car
rega
ndo
ao lo
ngo
dos a
nos a
his
tória
da C
hina
, com
seus
pro
blem
as p
olíti
cos
e id
eoló
gico
s. S
em d
úvid
a, e
ste
é o
perío
do d
o su
rgim
en-
to d
a ar
te c
onte
mpo
râne
a na
Chi
na, o
des
envo
lvim
ento
e
o cr
esci
men
to p
ropo
rcio
nam
um
terr
eno
espe
cial
e fé
rtil,
co
ncat
enan
do e
m fo
rmas
e ca
ract
erís
ticas
sing
ular
es.
Ant
es d
o m
ovim
ento
new
wav
e de
van
guar
da d
e 85
, a
rela
ção
entr
e a
arte
con
tenp
orân
ea c
hine
sa e
a p
olíti
ca e
ra
ambí
gua,
exp
rim
ia u
m te
or p
olíti
co, c
om c
arac
terís
ticas
de
apa
rato
s do
cotid
iano
. A a
rte
esta
va a
serv
iço
da p
olíti
-ca
, ser
vind
o ao
s int
eres
ses d
o pa
ís. D
epoi
s de
85, o
s art
istas
le
ntam
ente
com
eçar
am a
tent
ar se
des
venc
ilhar
des
sa a
rte
auto
ritár
ia b
em co
mo
das h
eran
ças d
o pe
ríodo
da
revo
luçã
o cu
ltura
l, ho
uve e
sse o
lhar
à pe
rcep
ção
das o
utra
s pes
soas
do
mun
do, d
eu-s
e en
tão
o co
meç
o do
hum
anism
o e
da b
usca
da
nat
urez
a hum
ana.
Luo
Zho
ngli
( Pai
), G
ao X
iao
Hua
(Por
-qu
ê), t
odas
as i
dent
ifica
ções
das
obr
as d
e ar
te co
meç
aram
a
part
ir do
idea
lism
o e h
eroí
smo,
o p
opul
ismo
e o re
alism
o to
r -na
ram
-se
trag
édia
s. Em
1984
, a ex
posiç
ão d
e ar
te re
aliz
ada
nos j
ardi
ns e
xter
nos d
o M
useu
Nac
iona
l de
Art
es d
a C
hina
já
mar
ca a
art
e de
van
guar
da ch
ines
a e
a co
ntra
diçã
o en
tre
a for
ma d
e art
e tra
dici
onal
. Em
1987
, dep
ois d
a ref
orm
a e d
a ab
ertu
ra, c
om a
eco
nom
ia d
e m
erca
do, o
des
envo
lvim
ento
da
art
e co
ntem
porâ
nea
chin
esa
prop
orci
onou
cond
içõe
s fa -
vorá
veis.
Ant
erio
rmen
te, a
influ
ênci
a e
as o
pera
ções
ofic
iais
na
cul
tura
dom
inan
te e
a c
riaçã
o de
inst
ituiç
ões c
ultu
rais
eram
tam
bém
um
tipo
de e
xpre
ssão
no s
istem
a de e
cono
mia
pl
anifi
cada
. Ant
es d
o mov
imen
to d
e van
guar
da ch
ines
a, n
ão
havi
a ou
tras
pos
sibili
dade
s, a
arte
est
ava
limita
da a
um
a va
-rie
dade
atr
elad
a ao
sist
ema
de g
over
no e
à p
olíti
ca c
ultu
ral.
Com
o a
dven
to d
a ec
onom
ia d
e m
erca
do, a
art
e co
ntem
po-
râne
a gr
adua
lmen
te g
anha
nar
rativ
as co
letiv
as, a
brin
do v
a-ga
rosa
men
te u
m e
spaç
o em
dire
ção
à ex
pres
são
pess
oal d
o ar
tista
e à
exi
biçã
o. C
onst
itui,
assi
m, a
art
e po
pula
r na
cul -
tura
con
tem
porâ
nea
chin
esa
(art
e de
term
inad
a po
r líd
eres
ofi
ciai
s) e
art
e co
ntem
porâ
nea
(a a
rte
orie
ntad
a pe
la e
cono
-m
ia d
e m
erca
do) u
ma
situa
ção
atua
l com
doi
s dife
rent
es si
s-te
mas
de c
oexi
stên
cia.
A ec
onom
ia pl
anifi
cada
e a e
cono
mia
de
mer
cado
na
Chi
na in
tera
gem
gra
ças a
o sis
tem
a ec
onôm
i -co
sing
ular
de
duas
via
s. D
e pa
lpáv
el n
o as
pect
o da
pol
ítica
cu
ltura
l, obs
erva
-se o
ince
ntiv
o à d
iver
sidad
e cul
tura
l, ao s
eu
flore
scim
ento
, e pa
ra fa
zer u
ma r
etifi
caçã
o m
oder
ada,
a ar
te
cont
empo
rêne
a tem
apre
sent
ando
prog
ress
os co
nsta
ntes
em
funç
ão d
a po
lític
a de
“pl
anej
amen
to”.
Não
rest
am d
úvid
as
que
nest
e m
omen
to a
pol
ítica
cultu
ral j
á nã
o é
mai
s um
a in
-te
rven
ção
linea
r, e
que
o de
senv
olvi
men
to d
a ar
te c
onte
m-
porâ
nea
envo
lve
ideo
logi
a, in
fluen
cia
a es
tabi
lidad
e so
cial
e,
ao lo
ngo
do te
mpo
, é ad
apta
do. U
m ex
empl
o é o
trab
alho
do
artis
ta X
u Bi
ng, q
ue ao
s pou
cos d
eixo
u de
abor
dar q
uest
ões
de id
eolo
gia p
olíti
ca. E
le q
ue se
mpr
e est
eve a
trel
ado
aos p
ro-
pósit
os d
a “ar
te pa
ra o
povo
”, ol
hand
o inc
essa
ntem
ente
para
os
pro
blem
as so
ciai
s e ex
tern
aliz
ando
tais
ques
tiona
men
tos.
e re
aliz
ou in
úmer
as e
xpos
içõe
s tan
to n
o ex
terio
r com
o na
C
hina
, hoj
e é
bene
ficia
do p
or ó
rgão
s ofic
iais
e at
ua co
mo
vi-
ce-p
resid
ente
da A
cade
mia
Cen
tral
de B
elas
Art
es. O
artis
ta
Ai W
ei W
ei te
m tr
ansit
ado
entr
e a
fron
teira
da
arte
e d
a po
lí -tic
a, d
efen
dend
o in
cess
ante
men
te o
idea
l de u
ma s
ocie
dade
in
clus
iva,
livr
e e
dem
ocrá
tica.
Ent
reta
nto,
em
vir
tude
das
su
as c
riaçõ
es a
rtís
ticas
apr
esen
tare
m te
mas
sens
ívei
s, su
a vi
da p
esso
al e
suas
obr
as d
espe
rtam
nas
aut
orid
ades
gov
er-
nam
enta
is um
a “at
ençã
o es
peci
al”.
Pode
-se
dize
r que
o “
enco
raja
men
to”
e a
“int
erfe
rên-
cia”
são
as
cara
cter
ístic
as m
ais
mar
cant
es e
óbv
ias
da
polít
ica
cultu
ral c
hine
sa. E
ste
retr
ato
sobr
e a
situ
ação
da
arte
con
tem
porâ
nea
na C
hina
pre
cisa
ser a
com
panh
ado,
be
m co
mo
o en
tend
imen
to so
bre
as b
ases
teór
icas
e m
os-
tras
vis
uais
ofe
reci
das p
ela
arte
cont
empo
râne
a ch
ines
a!
wa
ng
do
ng
é c
urad
or n
o H
e X
iang
ning
Art
Mus
eum
, em
She
nzhe
n. É
par
ticip
ante
do
Tran
snat
iona
l Dia
logu
es
2014
.
Tran
slate
d fr
om C
hine
se b
y Fer
nand
a R
amon
e
浅析中国
文化政策
与当代艺
术 王东
文化
政策是一个国家对文化、艺术、新闻出版、广播影
视等领
域进行行
政管
理的
规定与要求。在
全球化的
语境中，评
估一
个国家国力与影响的标准已经由原来单一的对军事、科技、经
济“硬
实力”的
考虑，慢
慢演
变对文化、艺
术“软
实力”的关
注。如此一来，软硬实力的结合便成为一个国家繁荣昌盛的最
佳方
法。因此，在当下全
球都呈现出对文化、艺术的培植与发
展，每
个国家也都纷纷致力于制定各自的文化
政策，以争夺文
化领导权。
中国的文化政策因其特有的历史与国情，呈现出了具有中
国特
色社会主义的专有属性。
1921年，伴随着中国共产党的
正式
成立，马克思的共产主义理论传入中国，并成
为中国共
产党
对外论战的理论依据。因此，这一时期的文化
政策
主要
表现
为利用文化的传
播及
影响来
对外宣读共产党的建
党之
本。在
此之
后，随
着政
治斗争的
深入，在
土地
革命
时期，中
国共产党建立起了工农民主政
权，以此
对外宣称其所营造的
不同于国民党政
权的新世界。此时的文化政策则由原来的对
外论战转向了对内凝聚人心，以为
1949
年中华人民共和国的
正式
建立奠
定群
众基
础。
1950
至19
78年是中国共产党巩固
新生政
权的阶段。此时的文化
政策首先强调党的领导，而艺
文工作者则作为“国家资源”进行以国家
政治与阶
级斗争为
主要目的创作与宣传。
1978
年改革开放以后，中国将“经济建
CulTural PolICY anD ConTemPorarY arT In CHInawang dong Cultural policy is the administrative regulations and requirements of a nation over culture, art, the press and the media, etc. In the context of globalization, the standard to evaluating the power and influence of a nation has evolved from considerations over the ‘hard power’ such as military, technology and economy to the attention over the ‘soft power’ such as art and culture. Thus, the ability to combine hard and soft powers has become the best way for a nation’s prosperity. At present, the entire world is trying to cultivate and develop art and culture, and every nation has its own cultural policy to fight over cultural dominance.
The cultural policy in China shows the socialistic traits that are unique to the country. In 1921, along with the establishment of the Chinese communism, Marxism was introduced into China and became theoretical basis for the Chinese commu-nism. The cultural policy during this period was used to claim the founding of the communism. With the deepening of political struggle, Chinese Communist Party founded the workers and peasants democratic regime during the agrarian revolu-tion, as opposed to the new world established by the Nationalist Party, cultural policy turned from making claims to building solidarity for the founding of the People’s Republic of China. The years from 1950 to 1978 were the stage when the Chinese Communist Party tried to consolidate the new regime. The cultural policy at this time exaggerated the leadership of the Party, art workers, as ‘resource of the nation’, create and publicize with the goals of advancing national politics and class struggle. After the reform and opening up in 1978, “economic construction” was considered a core development, the cultural policy then focused on developing culture, art and education, in order to raise the quality of the people and to achieve the economic take-off. Since 1993, with the rapid development of the economy in China, cultural policy has gradually prioritized ‘culture’ and turned to the creation of “soft power”.
The cultural policy in China has always carried historical, political and ideological issues that are unique to China, and which has happened to be-come a rich breeding ground for the birth and growth of Chinese contempo-rary art and make them show unique cultural traits and forms. Before the 85’ New Tide Art appeared, the relation between the contemporary art and poli-tics was pretty ambiguous, with the characters of being political, instrumental and pragmatic. Art, at the time, tended to be a tool that served politics and the nation. Since the 85’ New Tide Art was born, artists started to try to break away from the cultural claims of the authority, and demanded to reexamine the world and pursue humanistic values. <Father> by Luo Zhongli and <Why>
设”作为核心发展之一，此时的文化政策则为努力发展文化、
艺术、教育等事业，积极提高全民素质，力争尽快实现经济腾
飞。
1993年至今，随着中国经济的不断发展，中国的文化政策
也慢慢将“文化”提到了首位，转向了“软实力”的建设。
纵观中国不同时期文化
政策的基本形
态，期间一直
裹挟
着中国所特有的历史、政治与意识形态的问题。当然，这也恰
恰为中国当代艺术的诞
生、发展与成长提
供了特
殊而肥沃的
土壤，使其呈现出独有的文化特
色与形
态。八
五新潮之前，
中国当代艺
术与政治的关
系比较暧昧，具有
政治化、工具化
和实用化的特点。当时的艺
术更多地是
服务于政治、服务于
国家的利益。八
五新潮之后，艺术家慢慢试图摆脱文革时期
专制的文化
主张，并
要求重
新审视人所处的世界，开始
追求
人本
与人性。罗中立的《父
亲》、高小华的《为什么》都
标识
着艺
术作品开始由原来的理想主义、英雄
主义，转向悲情
现
实主义与平民主义。而
1984
年星星美展在中国美术馆外的公
园举办也标志着中国前卫艺术与主流艺术之间的矛盾已经初
现雏形。
1987
年改革开放后，市场经济出现，为中国当代艺术
后期的发展提
供了有力的条件。因为在此
之前主流文化的话
语权在官
方，且官
方文化机构的设
立与运营也是计划经济
体
制存
在的一种表现与结果。在此
之前的中国前卫艺术因没有
其他
路可以走，一直受限于种种现实的体制与文化
政策。因
此市场经济的出现使得当代艺术逐步脱离集体叙事的基调，
慢慢
走向艺
术家的个人
表达与展
示。从而构成了中国当下文
化中主
流艺
术（官
方主导的艺
术）与当代艺
术（市场
经济导
向的艺
术）两
种不同体系并存的现
状。中国计
划经济与市场
经济的并存导致中国具有特殊的经济双轨制度。具体体现在
文化
政策方面则是既
鼓励文化多元、百花齐放，又要适
度进
行整风，让当代艺术在“计划”政策中稳步前进。当然，此时
的文化
政策已经不再是线性的文化干预，而是在当代艺术蓬
勃发
展过
程中
涉及
意识
形态、影
响社会
稳定团结
时适
时调
节。例如艺
术家徐
冰的艺
术创造，会较
少涉及政治及意识形
态的问题。他一直以来都对秉
承着“艺术为人民”的宗旨，不
断审视当下社会的问题并
提出质疑。因此在国内外的展览都
不胜枚举，且受到官方机构的青睐并聘为中央美术学院副院
长。而艺
术家艾
未未，则一直行
走于艺
术与政治的交界处，
不断探寻着
一个
理想社会所应
有的包容、自由与民主。但由
于他艺术创作所包含的敏感因素，他的个人
生活与艺术创作
都受到了当局政府的“特殊关照”。
可以说“鼓
励”与“干涉”的交错上演是当下中国文化
政
策的一个较为明显的特点。这不仅
呈现出了中国当代艺术所
处的真实境
遇，也为
我们更好地
观看、解读中国当代
文化
提
供一种理论依据与视觉样本！
王东 深
圳何香凝美术馆策展人，
2014
跨国对话参与者。
by Gao Xiaohua marked the turn from idealism and heroism to sentimental realism and populism. The Stars Art Exhibition held in the park outside of the National Art Museum of China in 1984 has also started to show the contradic-tion between the avant-garde art and the mainstream art. Since the reform and opening up in 1987, market economy has provided a powerful environ-ment for the later stage of Chinese contemporary art. Previously, mainstream culture was dominated by the State, and the establishment and operation of the state-owned cultural institutions were the result of planned economy, Chinese avant-garde art had no way to go but was limited by the system and cultural policy. The appearance of market economy has allowed the contem-porary art to divorce itself from collective narratives and to slowly move to in-dividualistic expression. The result is the current co-existence of mainstream art (State-dominated) and contemporary art (market-oriented). The co-ex-istence of planned economy and market economy is unique to China. The cultural policy now encourages cultural diversity, at the same time moder-ately rectifies it, to allow contemporary art move forward under the ‘planned’ policy. Therefore it is no longer simple intervention, but to moderate when issues involving ideology or social stability rise along the development of con-temporary art. Take for example the artist Xu Bing, he constantly examines and questions the society under the principle of “art for the people” without involving issues related to politics or ideology, he is therefore favored by state-owned institutions and becomes a regular in exhibitions at home and abroad, now he is the vice-president of the Central Academy of Fine Arts. In the other hand, artist Ai Weiwei has been treading on the border between art and poli-tics, looking for values of tolerance, freedom and democracy an ideal society shall allow. Because his art creation contains sensitive factors, his personal life and artistic creation have acquired “special attention” from the authority.
The alternate measures of “encouragement” and “intervention” are an ev-ident trait of the cultural policy of China, which not only reflects the true situ-ation of the Chinese contemporary art, but also offers a theoretical basis and literal depiction for Chinese contemporary culture.
wang dong is curator at He Xiangning Art Museum in Shenzhen. He is a par-ticipant in Transnational Dialogues 2014.
Translated from Chinese by Fang Liu
4140 Free anD eaSY wanDerIng. xIng xIn (2008)
42 nImBo oxalá. arTworK BY ronalD DuarTe (2014)
4544 CulTural PolICIeS
Como a
CulTu
ra É FI
nanCIa
Da no
Bra
SIl?ma
riana
loren
ziH
oje
no B
rasi
l, o
cam
inho
mai
s us
ado
por
prod
utor
es,
artis
tas e
cri
ador
es p
ara
que
um p
roje
to c
ultu
ral s
aia
do
pape
l se
dá p
or m
eio
da c
apta
ção
de re
curs
os v
ia L
ei d
e In
cent
ivo
à C
ultu
ra, m
ais p
opul
arm
ente
conh
ecid
a co
mo
Lei R
ouan
et. A
trav
és d
e um
mec
anis
mo
de u
ma
polít
ica
de in
cent
ivos
fisc
ais,
pes
soas
físi
cas
e ju
rídi
cas
pode
m
opta
r por
apl
icar
par
te d
e se
us Im
post
os d
e R
enda
1 em
aç
ões c
ultu
rais
apr
ovad
as p
elo
gove
rno,
com
o ex
posi
ções
, sh
ows,
pub
licaç
ões,
esp
etác
ulos
de
danç
a e
teat
ro, e
ntre
di
vers
as o
utra
s. A
lém
da
Lei R
ouan
et, h
á ou
tros
art
ifíci
os
disp
onív
eis
para
o fi
nanc
iam
ento
de
proj
etos
cul
tura
is:
prog
ram
as d
e ed
itais
púb
licos
fede
rais
, est
adua
is e
mu-
nici
pais
; lei
s de
fom
ento
a d
eter
min
adas
áre
as c
ultu
rais
; pr
êmio
s ofe
reci
dos p
ela
inic
iativ
a pr
ivad
a; fi
nanc
iam
ento
co
letiv
o; a
poio
s ins
tituc
iona
is e
tc. A
inte
nção
des
te te
xto
é ap
rese
ntar
com
o a
Lei R
ouan
et, a
o m
esm
o te
mpo
em
qu
e fo
i res
pons
ável
por
um
impo
rtan
te sa
lto n
a pr
oduç
ão
cultu
ral n
o pa
ís n
os ú
ltim
os 20
ano
s, ta
mbé
m a
pres
enta
1 Pes
soas
físi
cas p
odem
des
tina
r até
6%
, e P
esso
as Ju
rídi
cas a
té 4
% d
e se
u Im
post
o de
Ren
da a
nual
.
um la
do e
xtre
mam
ente
pro
blem
átic
o ao
ope
rar e
m u
ma
lógi
ca fo
cada
em
mar
keti
ng, l
imita
ndo
a va
ried
ade
da
prod
ução
cul
tura
l.A
Lei
de
Ince
ntiv
o à
Cul
tura
foi a
prov
ada
pelo
Con
-gr
esso
Nac
iona
l Bra
sile
iro
em 1
991
e su
bstit
uiu
a Le
i Sa
rney
, que
tam
bém
per
miti
a qu
e em
pres
as f
inan
cias
-se
m p
roje
tos
via
renú
ncia
fis
cal,
poré
m c
onti
nha
algu
-m
as c
arac
terí
stic
as b
asta
nte
polê
mic
as, c
omo
o fa
to d
e o
orça
men
to d
o pr
ojet
o se
r apr
esen
tado
som
ente
na
pós
-pro
duçã
o, o
u a
não-
obri
gato
ried
ade
do p
rodu
to c
ultu
ral
ser d
e ci
rcul
ação
púb
lica,
mes
mo
utili
zand
o di
nhei
ro d
e im
post
os. A
Lei
Rou
anet
cor
rigi
u es
sas f
alha
s e a
judo
u a
impu
lsio
nar a
pro
duçã
o cu
ltura
l nac
iona
l, fa
zend
o co
m
que
dive
rsos
pro
jeto
s fos
sem
fina
lmen
te re
aliz
ados
, alé
m
de h
aver
col
abor
ado
para
a p
rofis
sion
aliz
ação
do
mei
o ar
-tís
tico.
Cri
ada
para
est
imul
ar u
ma
parc
eria
púb
lico-
priv
a-da
, ond
e o
empr
esar
iado
col
ocar
ia p
arte
dos
recu
rsos
do
próp
rio b
olso
e a
out
ra p
arte
vir
ia d
o in
cent
ivo
fisca
l, a
lei
foi s
e m
odifi
cand
o ao
long
o do
s ano
s, c
hega
ndo
ao p
onto
em
que
, na
mai
oria
dos
cas
os, t
odo
o re
curs
o in
vest
ido
pela
em
pres
a ap
oiad
ora
advé
m d
e is
ençã
o fis
cal,
ou se
ja,
o di
nhei
ro a
caba
vol
tand
o pa
ra a
em
pres
a em
form
a de
im
post
os n
ão p
agos
, tud
o is
so co
m o
resp
aldo
da
lei.
Ao
deix
ar d
e re
cebe
r es
ses
trib
utos
, que
m a
caba
na
prát
ica
finan
cian
do o
s pr
ojet
os é
o p
rópr
io G
over
no F
e-de
ral,
poré
m, q
uem
tem
o p
oder
de
deci
são
sobr
e qu
ais
proj
etos
rec
eber
ão o
s re
curs
os s
ão a
s em
pres
as, m
ais
espe
cific
amen
te s
eus
depa
rtam
ento
s de
mar
keti
ng. A
o M
inis
téri
o da
Cul
tura
cab
e ap
enas
o p
apel
de
apro
var
quai
s pr
ojet
os p
odem
bus
car t
ais
recu
rsos
e fi
scal
izar
a
pres
taçã
o de
con
tas d
os p
ropo
nent
es. D
essa
form
a, a
Lei
R
ouan
et p
assa
a s
er u
m m
ecan
ism
o po
dero
so d
e m
arke
-tin
g cu
ltura
l das
em
pres
as, g
anha
ndo
a co
ntra
part
ida
de
vinc
ular
sua
mar
ca a
inic
iativ
as a
rtís
ticas
e c
ultu
rais
. Ob-
viam
ente
ess
as e
mpr
esas
e s
eus
dire
tore
s de
mar
ketin
g se
mos
tram
mui
to m
ais i
nter
essa
dos e
m a
poia
r pro
jeto
s de
gra
nde
repe
rcus
são
mid
iátic
a, o
u se
ja, p
roje
tos
que
perm
item
que
sua
s m
arca
s se
jam
am
plam
ente
div
ulga
-da
s. A
lém
dis
so, o
s pro
jeto
s pat
roci
nado
s par
ecem
serv
ir
às e
mpr
esas
com
o um
a fo
rma
mai
s sofi
stic
ada
de e
xerc
er
suas
rela
ções
inst
ituci
onai
s, é
mui
to c
omum
que
o p
ropo
-ne
nte,
em
troc
a de
pat
rocí
nio,
ofe
reça
com
o co
ntra
par-
tida
loun
ges p
ara
o pa
troc
inad
or le
var s
eus c
lient
es, c
ota
de in
gres
sos e
até
mes
mo
even
tos f
eito
s sob
enc
omen
da
para
a em
pres
a. É
tam
bém
freq
uent
e ob
serv
ar p
rodu
tore
s cu
ltura
is m
ais p
reoc
upad
os em
agr
adar
o p
atro
cina
dor d
o qu
e o
públ
ico.
Is
so g
era
uma
séri
e de
sin
tom
as q
ue e
nfra
quec
em a
di
vers
idad
e da
pro
duçã
o cu
ltura
l: ce
ntra
lizaç
ão d
a pr
o-du
ção
nas
regi
ões
mai
s ri
cas
e po
pulo
sas,
no
caso
São
Pa
ulo
e R
io d
e Ja
neir
o; fa
lta d
e in
tere
sse
em a
poia
r pro
-je
tos e
xper
imen
tais
de
arte
em
con
trap
onto
ao
alto
inve
s-tim
ento
em
inic
iativ
as d
e ap
elo
com
erci
al; u
tiliz
ação
de
recu
rsos
em
pro
jeto
s de
cunh
o du
vido
so; f
alta
de
diál
ogo
entr
e em
pres
as e
age
ntes
da
cultu
ra. Q
uem
sai p
erde
ndo
com
ess
e m
odel
o, a
lém
dos
art
ista
s e p
rodu
tore
s que
não
co
nseg
uem
via
biliz
ar se
us p
roje
tos,
é o
púb
lico,
que
acab
a co
nsum
indo
um
reco
rte
cultu
ral p
auta
do p
elos
inte
ress
es
das e
mpr
esas
. N
ão q
uero
aqu
i dem
oniz
ar o
pat
rocí
nio
via
Leis
de
In-
cent
ivo
Fisc
al, s
ão in
egáv
eis o
s gan
hos p
ara
a C
ultu
ra p
or
mei
o de
ssa
inic
iativ
a. P
orém
, acr
edito
ser i
mpo
rtan
te u
ma
refle
xão
sobr
e es
se m
odel
o qu
e pa
rece
est
ar v
icia
do e
m
um p
roce
sso
onde
as
gran
des
empr
esas
apo
iam
ape
nas
gran
des p
roje
tos.
Par
a is
so, c
itare
i doi
s exe
mpl
os d
e pr
oje -
tos v
incu
lado
s às a
rtes
vis
uais
que
util
izar
am v
erba
adv
in-
da d
a Lei
e qu
e são
, a m
eu ve
r, ap
licaç
ões p
robl
emát
icas
da
Rou
anet
, um
por
ser d
e gra
nde a
pelo
e in
tere
sse c
omer
cial
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o ou
tro
por u
sar a
art
e co
ntem
porâ
nea
para
val
idar
um
em
pree
ndim
ento
imob
iliár
io. S
ão e
sses
a S
P-A
rte e
a e
x -po
siçã
o M
ade b
y...
Feito
por
Bra
silei
ros,
resp
ectiv
amen
te.
A S
P-Ar
te é
a m
aior
feir
a de
art
e da
Am
éric
a La
tina,
re-
aliz
ada
desd
e 20
05,
e bu
sca
apoi
o vi
a Le
i Rou
anet
des
de
2008
, qua
ndo
capt
ou R
$500
.000
,00
dos
R$6
85.0
89,5
2
apro
vado
s naq
uele
ano
. Em
sua
10ª e
diçã
o qu
e ac
onte
ceu
em 20
14, o
eve
nto
cont
ou c
om 13
6 ga
leri
as n
acio
nais
e in
-te
rnac
iona
is, e
com
um
orç
amen
to d
e R
$6 m
ilhõe
s, d
os
quai
s, se
gund
o co
nsul
ta fe
ita n
o Sa
lic,2 R
$3.0
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ram
cap
tado
s vi
a Le
i Rou
anet
, ten
do c
omo
seus
“pa
-tr
ocin
ador
es m
aste
r” (c
omo
apar
ece
no s
ite d
a fe
ira)
, o
Banc
o It
aú, a
com
panh
ia d
e te
lefo
nia
celu
lar O
i e o
Sho
-pp
ing
Igua
tem
i, to
dos g
igan
tes e
m se
us ra
mos
de
atua
ção.
D
uran
te o
s qua
tro
dias
de
feir
a er
a po
ssív
el e
ncon
trar
di-
vers
os e
spaç
os V
IPs d
estin
ados
aos
clie
ntes
e co
nvid
ados
de
ssas
em
pres
as, a
lém
de
inúm
eras
logo
mar
cas e
spal
ha-
das
pelo
esp
aço.
Nad
a m
uito
ano
rmal
par
a um
eve
nto
dess
e po
rte,
que
con
ta c
om g
rand
e pr
esen
ça d
e pú
blic
o e
de m
ídia
, e a
inda
exer
ce u
m fa
scín
io ao
trat
ar a
art
e co
mo
um b
em d
e lu
xo, q
ue m
uito
s alm
ejam
mas
ape
nas p
ouco
s tê
m o
pod
er d
e aq
uisi
ção.
N
ão é
nov
idad
e qu
e a
ativ
idad
e pr
inci
pal d
a fe
ira se
ja a
co
mer
cial
izaç
ão d
e obr
as d
e art
e. S
alvo
um
pro
gram
a par
a jo
vens
cur
ador
es e
um
pro
gram
a de
pal
estr
as, o
eve
nto
é ba
sica
men
te v
olta
do a
o lu
cro
– est
e an
o es
tima-
se q
ue
o va
lor t
otal
de
vend
as te
nha
cheg
ado
a R
$136
milh
ões.
3 A
lém
dis
so, o
val
or d
o in
gres
so p
ara
visi
tar
a fe
ira
é de
R
$40,
00 in
teir
a e
R$2
0,00
mei
a, c
onsi
dera
ndo
que
pas -
se p
or lá
um
a m
édia
de
22.0
00 v
isita
ntes
, des
ses,
cerc
a de
15
.000
pag
ante
s, d
eve-
se a
rrec
adar
, ape
nas
com
o v
alor
de
ent
rada
, ao
men
os R
$500
.000
,00.
Sem
con
tar o
val
or
pago
por
cada
gal
eria
com
o ta
xa d
e pa
rtic
ipaç
ão, q
ue d
eve
vari
ar en
tre
R$1
0.00
0,00
e R
$40.
000,
00. C
oloc
ando
es -
ses n
úmer
os e
m p
auta
, fica
difí
cil e
ncon
trar
just
ifica
tivas
de
por
que
mai
s da
met
ade
do o
rçam
ento
da
SP-A
rte u
tili -
za re
curs
o pú
blic
o, já
que
nem
a c
ontr
apar
tida
da e
ntra
da
2 Pla
tafo
rma
de c
onsu
lta n
o si
te d
o M
inis
téri
o da
Cul
tura
que
apr
esen
ta
os p
roje
tos,
pro
pone
ntes
e in
cent
ivad
ores
que
uti
lizam
o m
ecan
ism
o da
Le
i de
Ince
ntiv
o à
Cul
tura
(sis
tem
as.c
ultu
ra.g
ov.b
r/sa
licne
t)
3 Fon
te: h
ttp:
//en
tret
enim
ento
.uol
.com
.br/
notic
ias/
reda
cao/
2014
/04/
10/
vend
as-d
e-ob
ras-
na-fe
ira-in
tern
acio
nal-d
e-ar
te-d
e-sa
o-pa
ulo-
cres
cem
-25.
htm
How IS CulTure FunDeD In BraZIl?mariana lorenziIn Brazil today the most common way to realize a cultural project if you are a producer, artist or creator, is through the Brazilian Cultural Incentive Law, better known as the Rouanet Law. This uses the political mechanism of tax-de-duction incentives, giving citizens and companies the option to invest a certain amount of their income taxes1 in cultural activities which have already been approved by the Government, such as exhibitions, concerts, publications, dance and theatre performances. Besides this law, there are other devices available for financing cultural projects: federal, state and municipal public tenders; leg-islation to promote certain cultural areas; prizes offered by the private sector; collective financing; institutional support; etc. The intention of this article is to present both how the Rouanet Law has been responsible for an important leap in cultural production in Brazil in the last 20 years, but also how it has been highly problematic, focusing on a marketing logic which has put limits on the variety of cultural production in Brazil today.
The Brazilian Cultural Incentive Law was approved by the Federal Congress in 1991, replacing a previous law named Sarney’s Law2, which also allowed com-panies to support cultural projects via tax deductions, but which, however, did not demand that the project be of public circulation. The Rouanet Law rectified the loopholes of the former law and helped to boost national cultural production, managing to activate a number of projects that had been on standby, as well as working to professionalize the arts sector. Created to stimulate a private-public partnership, the business community would pay part, from their own pocket, and the other part would come from taxes. The law suffered several modifi-cations over the years, reaching a point in which, in most of the cases, all the resources given by the support company came from tax exemption money: in other words, the money went back to the company in the form of unpaid taxes, all with the backing of the law.
When these taxes are not received, it is in practice the Federal Government itself that ends up financing the projects, despite the fact that those that have the power to select the project to receive the resources, are the companies, or more precisely, their marketing departments. The Cultural Office takes only the role of approving which projects can request the resources, as well as overseeing the proponent’s accountability. As a result, the Rouanet Law turns into a power-ful mechanism of companies’ marketing strategy, giving them the possibility of linking their brands to artistic and cultural initiatives. For obvious reasons the
1 Citizens can give 6%, and companies can give 4% of their income taxes.2 The law is named after José Sarney, who was the first Brazilian President of Republic after 20 years of military dictatorship.
companies and their marketing directors are much more interested in support-ing big projects that call much media attention, that is, projects that allow the broad publicizing of their brands. Besides this, the projects that receive support seem to often serve companies in managing their institutional relationships, since it is common to offer, for example, in exchange for the sponsorship, VIP lounges for company clients, a quota of tickets, private events developed exclu-sively for the company. It is also frequently observed that producers become more concerned with pleasing the sponsor than pleasing the public.
All this generates a series of symptoms that undermine the diversity of cul-tural production: there is a concentration of cultural production in the most rich and dense areas of the country, like São Paulo and Rio de Janeiro; there is a lack of interest by the sponsors in supporting experimental art projects, while there is high-level investment in commercial-based activities; and there is a lack of di-alogue between companies and cultural agents. Those who lose, following this model, are not only the small producers and artists, but also the public, who end up consuming a narrow form of culture, guided above all by company interests.
I do not however intend to demonize the sponsorship made through the Cul-tural Incentive Law, as it is undeniable that it has also brought much to Brazilian Culture, but it is necessary to reflect on this model, which appears to be hooked in a process in which big companies merely support big projects. To illustrate my point, I present two visual art projects that used funds arising from the law, and which for me, epitomise the problematics above-described. The first of these projects is SP-Art Fair, which has a widely commercial character, and the sec-ond project is the exhibition Made by Brazilians, which uses a contemporary art status to validate a Real Estate venture.
SP-Art Fair is the biggest art fair in Latin America. It takes place on an an-nual basis since 2005, but has sought funds from the Rouanet Law since 2008. In 2008 it received an estimated U$200.000,00 of the U$290.000,00 desig-nated that year. In its tenth edition in 2014, the event gathered 136 art galler-ies from all over the world. With a budget of almost U$2,5 million, half of this amount (U$1,2 million) was fundraised via the Rouanet Law. Its main sponsors were Itaú Bank3, the phone company Oi4 and the Iguatemi Comercial Center5. During the four days of the fair it was common to see a number of VIP areas, to which the clients and guests of the companies were directed. Certain logos were also spread all over the building where the fair was taking place. This is not an unusual scenario when we talk about events like SP-Art Fair, which re-ceives much public attention and media coverage, especially because it treats art as such a luxury item; something that many aspire to own, but few are able to purchase.
It is understood by all that the most important activity of the fair is the com-mercialization of artwork. Besides a program made for young curators, and a se-ries of talks, the event is primarily profit-driven. This year it is estimated that the total value of sales reached U$56 million6. Furthermore, the cost of the ticket to attend the fair is approximately U$20,00 – in Brazilian currency R$40,00
3 Itaú Bank is the largest Latin America bank. In 2013 it had the largest profit for a Brazilian bank in the history of the country. 4 Oi, formerly known as Telemar, is the largest telecommunications company in Brazil and South America, both in terms of subscribers and revenues. 5 Iguatemi is a São Paulo-based shopping center. It is known for having stores of luxury brands like Louis Vuitton, Armani etc.6 http://entretenimento.uol.com.br/noticias/redacao/2014/04/10/vendas-de-obras-na-feira-inter-nacional-de-arte-de-sao-paulo-crescem-25.htm
4746 CulTural PolICIeS
fran
ca o
u a
preç
o po
pula
r é o
fere
cida
pel
o ev
ento
. Ess
e é
um c
aso
que
mos
tra
com
bas
tant
e cl
arez
a as
falh
as d
a Le
i de
Ince
ntiv
o à
Cul
tura
em
toda
s as s
uas i
nstâ
ncia
s. A
co
meç
ar p
ela
apro
vaçã
o do
Min
isté
rio
da C
ultu
ra d
e um
al
tíssi
mo
orça
men
to p
ara
um p
roje
to m
ajor
itari
amen
te
com
erci
al; a
rela
ção
com
os p
atro
cina
dore
s, q
ue, e
m tr
o -ca
de
apoi
os m
ilion
ário
s (só
o It
aú e
ntro
u co
m u
ma
cota
de
R$1
.680
.000
,00)
, util
izam
o e
vent
o co
mo
espa
ço d
e pr
opag
anda
; a p
ostu
ra d
o ev
ento
, que
mes
mo
com
plet
an-
do m
etad
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seu
orç
amen
to c
om d
inhe
iro
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ico,
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of
erec
e co
ntra
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fort
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enta
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ais j
usta
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te.
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da m
ais c
ompl
exo
que
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empl
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tado
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ma
é o
caso
rece
nte
da e
xpos
ição
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.. Fe
ito p
or B
rasil
eiro
s. R
ealiz
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ntig
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m 20
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ress
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stór
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com
o ar
quite
tôni
co –,
a m
ostr
a é
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imei
ra in
icia
tiva
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um m
ega
proj
eto
que
pret
ende
tran
sfor
mar
o a
ntig
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s -pi
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m c
ompl
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xo q
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onta
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om u
m h
otel
de
20 a
ndar
es, u
m sh
oppi
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nter
e u
m ce
ntro
cultu
ral.
O
valo
r do
inve
stim
ento
che
gará
a R
$1,4
bilh
ão. T
odo
esse
pr
ojet
o im
obili
ário
por
si só
já é
pol
êmic
o, p
rinc
ipal
men
te
pelo
fato
do
Con
deph
at (C
onse
lho
de D
efes
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Patr
imôn
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His
tóric
o, A
rtís
tico
e Tur
ístic
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rgão
esta
dual
de d
efes
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patr
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er a
ltera
do o
tom
bam
ento
do
conj
unto
, per
-m
itind
o qu
e um
a da
s ala
s do
antig
o ho
spita
l sej
a de
mol
ida
para
a c
onst
ruçã
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um
a to
rre
e po
r tra
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iver
sas q
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tões
liga
das a
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men
to u
rban
o po
r mei
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esp
ecul
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obili
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, fat
o qu
e vem
tran
sfor
man
do o
s cen
tros
das
m
aior
es ci
dade
s do
mun
do e
m re
duto
s de
gent
e m
uito
rica
. A
exp
osiç
ão q
ue in
augu
ra e
sse
proj
eto
cont
ou c
om a
pa
rtic
ipaç
ão d
e m
ais d
e 10
0 ar
tista
s do
mun
do in
teiro
que
pr
oduz
iram
obr
as q
ue d
ialo
gava
m c
om o
esp
aço.
O o
rça -
men
to to
tal d
o pr
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o fo
i de
R$1
5 milh
ões,
dos
qua
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co m
ais d
e R
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milh
ões f
oram
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ara
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endo
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R$3
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ilhõe
s for
am
de fa
to c
apta
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via
ince
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A p
rinc
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é le
gíti -
mo
que
o pr
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nha
se u
tiliz
ado
da L
ei d
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cent
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à C
ultu
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á qu
e se
enq
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s pr
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quis
itos
para
rece
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r tal
ben
efíc
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orém
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de o
seu
anún
cio
a in
icia
tiva
vem
mob
iliza
ndo
part
e da
com
unid
ade
das
arte
s vi
suai
s qu
e co
nsid
erou
o p
roje
to a
busi
vo, o
port
unis
ta e
per
vers
o.
Prin
cipa
lmen
te p
or s
e va
ler d
a ar
te c
onte
mpo
râne
a pa
ra
legi
timar
um
pro
jeto
imob
iliár
io q
ue, u
ma
vez
oper
ante
, se
rá g
rand
e fon
te d
e luc
ro p
ara o
s em
pres
ário
s. A
lém
dis
so,
na re
daçã
o do
pro
jeto
dis
poní
vel n
o si
te d
o Sa
lic a
pare
ce
uma
lista
com
um
a sé
rie d
e ar
tista
s con
vida
dos a
inte
grar
a
expo
siçã
o. N
o en
tant
o, v
ário
s del
es n
ão a
ceita
ram
o c
on-
vite
por
con
side
rare
m q
ue a
mos
tra
seri
a ut
iliza
da c
omo
obje
to d
e m
arke
ting
cultu
ral p
ara
o em
pree
ndim
ento
futu
-ro
. Mes
mo
assi
m a
míd
ia d
ivul
gou
essa
list
a ini
cial
e vá
rios
artis
tas t
iver
am se
us n
omes
vin
cula
dos a
o pr
ojet
o m
esm
o ha
vend
o re
cusa
do o
con
vite
, é o
cas
o de
Mau
rício
Ianê
s,4
que
cheg
ou a
inic
iar u
m d
iálo
go c
om o
s org
aniz
ador
es d
o ev
ento
, mas
des
istiu
de
part
icip
ar a
o te
r con
heci
men
to d
o pr
ojet
o m
egal
oman
íaco
pre
vist
o pa
ra se
r con
stru
ído
ali.
Já
algu
ns a
rtis
tas d
izem
ter a
ceita
do se
m sa
ber q
ue o
hos
pita
l vi
rari
a um
gra
nde
cent
ro c
omer
cial
e se
mos
trar
am a
rre -
pend
idos
com
a p
artic
ipaç
ão. S
ônia
Gom
es,5 q
ue p
artic
i-po
u da
Mad
e by.
.. Fe
ito p
or b
rasil
eiro
s fez
a se
guin
te d
ecla
-ra
ção
à im
pren
sa: “
Eu v
im co
mo
artis
ta, e
sta
part
e po
lític
a do
em
pree
ndim
ento
eu
não
esta
va sa
bend
o. F
ique
i tri
ste
com
a in
tenç
ão d
a cr
iaçã
o do
hot
el e
do
shop
ping
. Se
sou -
bess
e an
tes,
teri
a re
cusa
do p
artic
ipar
”.6 O
ra, n
ão d
ever
ia
ser u
ma
exig
ênci
a do
Min
isté
rio
da C
ultu
ra q
ue p
roje
tos
que d
ivul
guem
art
ista
s con
vida
dos,
apre
sent
em ju
ntam
en-
te u
ma
decl
araç
ão d
os m
esm
os d
izen
do q
ue e
stão
cie
ntes
4 M
aurí
cio
Ianê
s é
um a
rtis
ta b
rasi
leir
o re
pres
enta
do p
ela
Gal
eria
Ver
-m
elho
(São
Pau
lo),
que
dese
nvol
ve u
m im
port
ante
trab
alho
liga
do à
lin-
guag
em e
per
form
ance
.5 S
ônia
Gom
es é
um
a ar
tista
bra
sile
ira
repr
esen
tada
pel
a G
aler
ia M
ende
s W
ood
(São
Pau
lo).
6 Fo
nte:
htt
p://
cmai
s.co
m.b
r/ar
te-e
-cul
tura
/not
icia
s/ar
tist
as-p
rote
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ontr
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ivid
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de d
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pena
s par
a te
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ais f
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m m
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O
pro
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omin
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por
Ale
xand
re A
llard
com
o in
vasã
o cr
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a, c
lara
men
te te
nta
se a
prop
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stat
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berd
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expe
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rópr
io A
llard
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se e
m m
atér
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ara
a Fo
lha
de S
ão
Paul
o qu
e “c
ultu
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stim
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e p
reci
sa g
erar
reto
rno,
m
as n
ão ve
jo b
rasi
leiro
s ven
dend
o cu
ltura
, tra
nsfo
rman
do
isso
em
bus
ines
s”.7 E
m o
utra
mat
éria
par
a a
revi
sta
Cas
a Vo
gue
o em
pres
ário
dis
se q
ue c
onsi
dera
que
“o
mai
or a
r -tis
ta d
o Br
asil
é o
Bern
ardo
Paz
”8 – Pa
z é
um e
mpr
esár
io
e co
leci
onad
or b
rasi
leir
o qu
e co
nstr
uiu
Inho
tim, u
m d
os
mai
ores
cen
tros
de
arte
con
tem
porâ
nea
do m
undo
. Con
si-
dero
bas
tant
e em
blem
átic
a es
sa d
ecla
raçã
o, já
que
reve
la a
in
stru
men
taliz
ação
da
arte
e a
qua
se re
ivin
dica
ção
de su
a au
toria
por
par
te d
e qu
em a
fina
ncia
. Em
exc
elen
te a
rtig
o de
Rac
hel S
penc
e pa
ra o
Fin
anci
al T
imes
, int
itula
do “
Who
fu
nds t
he a
rts a
nd w
hy sh
ould
we
care
”,9 h
á um
a de
clar
a-çã
o de
Cha
rles E
sche
– cu
rado
r da 3
1ª B
iena
l de S
ão P
aulo
–,
em q
ue d
iz q
ue “
cria
tivid
ade
se to
rnou
inst
rum
enta
lizad
a ta
nto
pelo
capi
talis
mo
quan
to p
ela
noçã
o de
Est
ado”
.
Não
que
ro a
qui a
pena
s cul
pabi
lizar
os o
rgan
izad
ores
e
os p
atro
cina
dore
s dos
pro
jeto
s cita
dos a
cim
a, d
e ce
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ma e
les e
stão
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m m
ecan
ism
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m p
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men
-to
e p
ress
ão p
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asse
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e se
opo
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7 Fo
nte:
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ttp:
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mod
o co
mo
a ar
te ve
m se
ndo
finan
ciad
a. O
pon
to aq
ui n
ão
é ne
gar e
sse
tipo
de a
poio
aos
pro
jeto
s cul
tura
is, m
as se
r cr
ítico
em
rela
ção
a co
mo,
par
a qu
em e
por
que
m e
sse
fi -na
ncia
men
to se
dá.
Par
a Rac
hel S
penc
e, “A
rte e
pat
rocí
nio
são
parc
eiro
s ant
igos
, que
sem
pre
prov
ocar
am in
dign
ação
. Po
rém
, o p
eso
do d
esco
nten
tam
ento
atu
al su
gere
que
est
a -m
os c
hega
ndo
em u
m p
onto
de
infle
xão”
. No
caso
da
Lei
de In
cent
ivo
à C
ultu
ra v
igen
te n
o Br
asil,
ond
e há
uso
de
recu
rso
públ
ico,
é pr
imor
dial
que
se co
bre d
o G
over
no u
ma
revi
são
da le
i,10 p
ara
que
esta
tenh
a co
mo
obje
tivo
prim
or-
dial
serv
ir a
todo
s, n
ão ap
enas
às g
rand
es p
rodu
ções
. A L
ei
Rou
anet
dev
e ex
istir
par
a in
cent
ivar
a p
rodu
ção
artís
tica,
pr
inci
palm
ente
pro
duçõ
es in
depe
nden
tes q
ue n
ão te
nham
pr
eocu
paçã
o m
eram
ente
com
erci
al, e
não
com
o um
a fo
r -m
a de
pub
licid
ade
para
as m
arca
s pat
roci
nado
ras.
Por
fim
, qu
anto
mai
s os p
roje
tos e
as p
eque
nas i
nstit
uiçõ
es, q
ue se
es
forç
am n
o se
ntid
o de
man
ter v
ivo
o ca
ráte
r lib
ertá
rio d
a ar
te, d
ando
esp
aço
para
a e
xper
imen
taçã
o, a
refle
xão
e a
liber
dade
de
cria
ção,
fore
m d
eixa
dos d
e la
do, c
orre
mos
o
sério
risc
o de
test
emun
har a
cultu
ra e
a a
rte
cada
vez m
ais
obje
tifica
das e
mol
dada
s par
a at
ende
r ape
nas a
os in
tere
s -se
s dos
pat
roci
nado
res e
dos
gra
ndes
em
pres
ário
s.
ma
ria
na
lo
ren
zi d
e a
zev
edo
é c
urad
ora
e re
spon
-sá
vel p
ela
prog
ram
ação
de
proj
etos
da
Cas
a do
Pov
o, e
m
São
Paul
o. A
Cas
a do
Pov
o se
diou
e c
o-or
gani
zou
a co
n-fe
rênc
ia “A
uto-
gest
ão, e
spaç
os d
e ar
te c
omun
itário
s e in
-de
pend
ente
s” n
o di
a 18
de
feve
reiro
de
2014
, por
oca
sião
da
Pri
mei
ra C
arav
ana
do T
rans
natio
nal D
ialo
gues
2014
.
10 H
á um
nov
o pr
ojet
o de
Lei
par
a a
Cul
tura
que
, des
de 2
010,
esp
era
apro
vaçã
o no
Con
gres
so.
- a high price, compared to, for example a museum ticket, which costs around U$5,00. Considering that the attendance at the fair was estimated at twenty thousand visitors, ticket sales alone will have raised at least U$300.000,00. This is not to mention the participation fee paid by each gallery, that ranges from U$5.000,00 to U$15.000,00. And so when we put these numbers in per-spective, it is hard to find reason why more then half of the SP-Art Fair budget comes from public resources, since not even the advantage of free admission, or a popular ticket price, is offered.
This case thus clearly shows the flaws of the Brazilian Cultural Incentive Law, firstly because the Cultural Office has funded an essentially commercial project; second because the sponsors use the event as a free space, reflecting the skewed power relations (Itaú only gave almost U$700.000,00); third because the event, despite half of its budget coming from public resources, does not offer strong public initiatives to justify this support; fourth because there are a lack of reg-ulations that call for the application of the law in a more fair and coherent way.
Even more complex than the previous example is the recent episode of the art exhibition Made by Brazilians7. It was held in the old Matarazzo Hospital, built in the beginning of the xx century and bought in 2011 by the French busi-nessman Alexandre Allard for U$48 million. An heritage-listed building, for its historic and architectural significance, this show was the first initiative of a mega-project that intends to transform the old hospital into a luxury centre that will include a twenty-story hotel, a commercial centre and a cultural centre. The investment cost will reach U$580 million. This Real Estate project has been in itself controversial, especially for the fact that the Condephat (the Counsel for Protection of Historic, Artistic and Touristic Patrimony) has modified the historic heritage license, allowing that one of the wings of the building be de-molished, opening a space for the construction of a tower. The project has also raised questions concerning urban growth and gentrification, as central areas of some of the biggest cities in the world are becoming transformed into places where only the very rich can afford to live.
The exhibition that opens this project had the participation of more than one hundred artists from different countries, all of whom has produced works especially for the occasion. The total budget of the project was approximately U$6 million, of which almost U$5 million had been approved for funding via the Rouanet Law, but in reality “only” U$1,3 million was raised by taxes. At first it would seem that it is legitimate for the project to have used the Brazilian Cul-tural Incentive Law, as it fits the prerequisites. However, since its announcement, the initiative has mobilised against those of the visual arts community that have considered the project to be abusive, opportunist and perverse. It basically uses contemporary art to legitimize - once it is inaugurated – a project that will be, more than anything else, a profit-making scheme for entrepreneurs. In addition, it was publicized in the media a list of artists’ names who had decided not to participate in the exhibition, because they considered it to be a project of cul-tural marketing. Some artists, like Maurício Ianês8, started a dialogue with the organizers, but withdrew the invitation when he became aware of the megalo-maniac project slated to be built. Other artists said that they accepted participa-tion without knowing that the hospital would become a huge commercial centre, and regretted their decision to participate. Sônia Gomes9, one of the participant artists, declared to the press: “I came as an artist, I wasn’t aware of the political
7 www.feitoporbrasileiros.com.br8 Maurício Ianês is a Brazilian artist who has developed an important work focused on language and performance, he is represented by Vermelho Gallery (São Paulo).9 Sônia Gome is a Brazilian artist represented by Mendes Wood Gallery (São Paulo).
part of the entrepreneur. I was sad with the intention to build a hotel and a com-mercial centre. If I had known about this beforehand, I would have turned down the invitation.”10 And thus we wonder, shouldn’t the exhibition organizers have been clearer with the guest artists, regarding the future project for the building?
The project, described by Alexandre Allard as a “creative invasion”, clearly tries to appropriate the artists’ creator status to legitimize an idea that flirts more with the principals of the creative economy than with artistic freedom and ex-perimentation. Allard himself expressed in an article for the Brazilian newspa-per Folha de São Paulo “culture is investment and needs to generate income, but I don’t see Brazilians selling culture, turning it in business”11. In another article for Casa Vogue magazine he said he considers “Bernardo Paz the most import-ant artist in Brazil”12 – Mr Paz is a Brazilian businessman and art collector who created Inhotim, one of the greatest centres for contemporary art in the world.
I consider these statements highly symbolic since it reveals the instrumen-talization of the Arts; those who finance it are claiming its authorship. In an excellent article by Rachel Spence for the Financial Times, named “Who funds the arts and why should we care?”13, there is quote from Charles Esche – curator of the 31st São Paulo Biennial - in which he states, “Creativity has become… in-strumentalised by capitalism and the nation state.”
I do not intend to only accuse the organizers and sponsors of the projects mentioned above, because, after all, in their own way they are making use of legitimate mechanisms. I do however consider it very important, and urgent, that the artistic class take a political position, pressuring and opposing the manner in which art is being funded. It is not a matter of completely deny-ing this kind of support for cultural projects, but being critical about how, for whom, and by whom, such financing occurs. For Rachel Spence “Art and pa-tronage are ancient bedfellows and bursts of outrage are nothing new. But the sheer weight of discontent suggests we are reaching a tipping point”. Particu-larly in the case of the Brazilian Cultural Incentive Law, where public money is being used, it is essential we demand the Government to revise the law14, so that the mechanism can serve everyone and not only big projects and inter-ests. The Rouanet Law should exist to encourage local artistic production, es-pecially independent productions not focused on commercial return. It should not be used as a form of advertising for sponsoring brands. Finally, if more independent projects and small institutions do not make an exerted effort to keep alive the libertarian character of art, by giving room for experimentation, reflection and creative freedom, we face the serious risk that art and culture diminishes and becomes increasingly objectified and moulded to serve only the interests of big companies.
mariana lorenzi de azevedo is a curator. She is responsible for the project programming of Casa do Povo, São Paulo. Casa do Povo hosted and co-organized the conference “Auto-gestão, espaços de arte comunitários e independentes | Self-managing, Independent and Community Art Spaces” (18th February 2014) on occasion of the First Caravan of Transnational Dialogues 2014.
10 http://cmais.com.br/arte-e-cultura/noticias/artistas-protestam-contra-o-made-by-feito-por-brasileiros-na-cidade-matarazzo11 http://www1.folha.uol.com.br/ilustrada/2014/09/1512744-empresario-que-comprou-hospi-tal-matarazzo-fala-sobre-centro-cultural.shtml12 http://casavogue.globo.com/MostrasExpos/Arte/noticia/2014/07/complexo-matarazzo-rece-be-expo-de-arte.html13 http://www.ft.com/intl/cms/s/2/4313691c-3513-11e4-aa47-00144feabdc0.html#axzz3EM5hpuyZ14 There is a new proposal of law for the culture, that since 2010 is waiting for approval by Federal Congress.
4948 CulTural PolICIeS
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ido
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rnou
a u
m si
stem
a qu
e pud
esse
ger
ar re
inve
s -tim
ento
, em
bora
o re
curs
o pú
blic
o te
nha s
ido
mas
siva
men
-te
apl
icad
o em
ativ
idad
es d
a in
icia
tiva
priv
ada
capa
zes d
e ge
raçã
o de
rece
ita.
Con
side
rand
o a
gran
de c
once
ntra
ção
de in
vest
imen
to
em a
tivid
ades
eve
ntua
is e
não
est
rutu
rant
es –
o qu
e ac
on-
tece
em
toda
s as u
nida
des f
eder
ativ
as –,
os m
apea
men
tos
gera
dos a
resp
eito
do
impa
cto
dos p
roje
tos c
ultu
rais
na
so-
cied
ade
rest
ring
em-s
e a
aces
so d
e pú
blic
o, q
uant
idad
e de
aç
ões r
ealiz
adas
, reg
iões
ate
ndid
as, s
em q
ue se
jam
med
i -do
s os
resu
ltado
s ef
etiv
amen
te o
btid
os c
om e
sse
inve
sti-
men
to. E
isso
ger
a gr
ande
difi
culd
ade
na d
efini
ção
de p
la-
nos c
om m
etas
a lo
ngo
praz
o e p
erm
anen
tes p
ara a
cultu
ra.
Embo
ra a
o po
der p
úblic
o ca
iba
o de
safio
de
com
pree
n -de
r e in
terv
ir na
com
plex
a re
alid
ade e
conô
mic
a e s
ocia
l da
atua
lidad
e, c
riand
o po
lític
as e
par
ceria
s des
cent
raliz
adas
, o
stat
us qu
o da a
usên
cia d
e pol
ítica
s púb
licas
cons
iste
ntes
e qu
e ob
serv
em e
stra
tegi
cam
ente
toda
s as n
uanc
es d
a cu
ltu-
ra co
ntrib
ui in
vers
amen
te p
ara
seu
dese
nvol
vim
ento
.
A pa
rtic
ipaç
ão d
o in
vest
imen
to p
úblic
o em
div
ersa
s pon
-ta
s da c
adei
a, d
esde
a cr
iaçã
o, o
fert
a e co
nsum
o, ve
m ge
ran-
do g
rand
es d
eseq
uilíb
rios d
e pr
eço,
torn
ando
os c
usto
s de
prod
ução
ele
vado
s e a
real
izaç
ão d
as a
tivid
ades
alta
men
te
depe
nden
tes d
o fin
anci
amen
to. A
o m
esm
o te
mpo
em
que
nã
o sã
o of
erec
idas
con
diçõ
es p
ara
o de
senv
olvi
men
to d
e aç
ões r
elac
iona
das a
o m
erca
do, t
ambé
m n
ão sã
o de
senv
ol-
vida
s est
raté
gias
par
a at
endi
men
to d
a pr
oduç
ão a
rtís
tica.
Mas
o q
ue d
eman
da a
pro
duçã
o ar
tístic
a?
O c
ompl
exo
sist
ema
de fi
nanc
iam
ento
no
Bras
il, so
ma -
do à
bur
ocra
cia
e à
pouc
a re
flexã
o so
bre
a im
port
ânci
a da
at
ivid
ade,
fez
com
que
as
solic
itaçõ
es d
e fin
anci
amen
to
foss
e pe
rman
ente
men
te e
nqua
drad
as e
m e
stru
tura
s de
pr
ojet
os e
con
ceito
s de
cul
tura
que
pou
co d
ialo
gam
com
a
ativ
idad
e co
tidia
na d
os a
rtis
tas
e de
seu
am
bien
te d
e cr
iaçã
o, c
ompr
eend
endo
que
não
est
amos
nos
repo
rtan
do
aqui
às aç
ões c
riativ
as li
gada
s à in
dúst
ria o
u ao
mer
cado
– e
tam
bém
de
gran
de im
port
ânci
a – c
om a
sua
capa
cida
de d
e re
prod
utib
ilida
de e
esc
ala.
A a
usên
cia
de u
m p
ensa
men
to m
ais
ampl
iado
de
fo-
men
to p
ara
essa
nat
urez
a, fe
z co
m q
ue a
impo
rtân
cia
da
expe
rim
enta
ção
e da
art
e co
mo
cam
po a
bert
o pa
ra a
re-
flexã
o e
cons
truç
ão d
e um
a so
cied
ade
autô
nom
a e
críti
ca
dess
e lu
gar à
vis
ão d
e re
sulta
dos
e pr
odut
os, e
nqua
nto
a pe
squi
sa e
os p
rogr
amas
de
açõe
s per
man
ente
s pre
cisa
m
ser o
fert
ados
mod
alid
ades
que
con
side
rem
a re
duçã
o de
cu
stos
e o
fert
a de
est
rutu
ra q
ue p
erm
itam
a m
anut
ençã
o de
suas
ativ
idad
es a
long
o pr
azo,
sem
pre
juíz
o de
sua
liber
-da
de d
e cr
iaçã
o.C
omo
mod
elos
inov
ador
es q
ue re
spon
dam
a u
ma
vi-
são
de fu
turo
de
gest
ão e
rela
cion
amen
to e
ntre
o p
oder
pú
blic
o e
o se
tor c
ultu
ral e
art
ístic
o, p
odem
os m
enci
onar
o
surg
imen
to, n
ão só
nas
capi
tais
mas
em
div
ersa
s cid
ades
do
paí
s, d
e in
icia
tivas
que
até
o m
omen
to n
ão c
ham
aram
a
aten
ção
da a
dmin
istr
ação
púb
lica,
mas
que
mer
ecem
ser
obse
rvad
as, c
omo
os e
spaç
os in
depe
nden
tes d
e ar
te. S
ão
orga
niza
ções
cri
adas
por
art
ista
s, c
om c
arac
terí
stic
as d
i -ve
rsas
, mas
com
obj
etiv
os c
omum
a to
dos:
o in
vest
imen
to
na c
riaç
ão, n
a pe
squi
sa, n
o de
senv
olvi
men
to d
e pr
ojet
os
artís
ticos
e, n
ão ra
ro, a
tuan
do fr
ente
à re
alid
ade
loca
l na
qual
est
ão in
serid
os.
Atu
am d
essa
form
a o
JA.C
A -
Jard
im C
anad
á C
entr
o de
Art
e e
Tecn
olog
ia (M
inas
Ger
ais)
, Bar
racã
o M
arav
ilha
Art
e C
onte
mpo
râne
a (R
io d
e Ja
neiro
), C
asa
Tom
ada
(São
Pa
ulo)
, Pho
spho
rus (
São
Paul
o), A
teliê
Sub
terr
ânea
(Por
to
Ale
gre)
, Cas
a da
Rib
eira
(Rio
Gra
nde
do N
orte
) e o
Ate
liê
Abe
rto
(São
Pau
lo) –
que
var
iam
ent
re 4
a 17
ano
s de
exis
-
tênc
ia –
dent
re m
uito
s out
ros e
spal
hado
s pel
o pa
ís.
Dife
rent
emen
te d
e ou
tras
org
aniz
açõe
s, o
mod
elo
de
gest
ão d
esse
s esp
aços
não
vis
a o
fom
ento
inte
gral
de
suas
at
ivid
ades
atr
avés
de
recu
rsos
púb
licos
. Sua
car
acte
rístic
a de
inde
pend
ênci
a re
side
pri
ncip
alm
ente
em
sua
capa
cida
-de
de
artic
ulaç
ão e
ntre
os s
eus p
ares
, o q
ue é
um
dos
resu
l-ta
dos d
a de
finiç
ão p
reci
sa d
e se
u fo
co d
e at
uaçã
o.Em
bora
a s
ua a
tivid
ade
tenh
a to
tal r
elaç
ão c
om o
in-
tere
sse
públ
ico,
par
a es
ses e
spaç
os o
s rec
urso
s fina
ncei
ros
advi
ndos
do
fom
ento
são
vist
os c
omo
uma
de su
as e
stra
té-
gias
de
gest
ão, m
as n
ão a
úni
ca. C
onsi
dera
ndo
isso
, o re
co-
nhec
imen
to d
a fu
nção
des
ses e
spaç
os e
a p
arce
ria
do p
o-de
r púb
lico
deve
ria re
sidir
na ca
paci
dade
de d
imin
uiçã
o de
se
us c
usto
s de
man
uten
ção,
par
a qu
e ho
uves
se o
máx
imo
de in
vest
imen
tos n
as su
as a
tivid
ades
fina
lístic
as. O
u se
ja,
uma
visã
o de
fom
ento
am
plia
da, q
ue n
ão se
rest
ring
isse
a
apor
te fi
nanc
eiro
.O
mod
elo
de g
estã
o do
s esp
aços
de
arte
inde
pend
ente
no
s aju
da a
com
pree
nder
que
a g
rand
e qu
estã
o a
resp
eito
do
fina
ncia
men
to h
oje
para
a p
rodu
ção
artís
tica
não
se re
s -tr
inge
à q
uant
idad
e de
recu
rsos
a se
rem
dis
poni
biliz
ados
, m
as v
isa
estr
atég
ias d
e su
sten
tabi
lidad
e e
redu
ção
de c
us-
tos p
ara
a su
a pr
oduç
ão.
Daí
a im
port
ânci
a de
reve
r os c
ondi
cion
ante
s e a
form
a de
org
aniz
ação
do
seto
r não
só
vist
a pe
lo p
oder
púb
lico
– qu
e ai
nda
cam
inha
a p
asso
s len
tos e
m in
seri
r a a
rte
e a
cul -
tura
nas
pau
tas d
e de
senv
olvi
men
to so
ciai
s, m
as ta
mbé
m
econ
ômic
as –,
ass
im co
mo
pelo
s seu
s ato
res,
na
cria
ção
de
nova
s est
raté
gias
de
gest
ão e
sust
enta
bilid
ade.
Des
oner
açõe
s fis
cais
que
per
mita
m a
cri
ação
de
no-
vos
espa
ços,
des
enho
de
rela
ções
tra
balh
ista
s e
uma
estr
utur
a di
fere
ncia
da d
e pr
evid
ênci
a, tr
ibut
açõe
s esp
e -ci
ais
para
a p
rest
ação
de
serv
iços
que
têm
car
áter
tran
-si
tóri
o sã
o ap
enas
alg
umas
das
que
stõe
s qu
e de
vem
ser
pe
nsad
as n
a at
ualid
ade.
E, p
ara
isso
, é im
pera
tivo
que
a re
laçã
o en
tre
o Es
tado
e
o se
tor s
eja
de p
erm
anen
te e
scut
a, id
entifi
cand
o e
map
e -an
do c
ontin
uam
ente
seus
mov
imen
tos n
atur
ais e
dem
an-
das,
atu
ando
de
form
a es
trat
égic
a e
com
o p
rincí
pio
de q
ue
dim
ensã
o si
mbó
lica
da c
ultu
ra e
da
arte
dev
e se
r tom
ada
com
o qu
estã
o in
disp
ensá
vel n
as p
olíti
cas p
úblic
as, q
uand
o re
conh
ecem
os a
ineg
ável
impo
rtân
cia d
a ativ
idad
e art
ístic
a e d
e sua
par
ticip
ação
em u
ma s
ocie
dade
autô
nom
a e cr
ítica
.
tati
an
a vi
eir
a a
ssu
mpç
ão r
ich
ard
é G
esto
ra P
úblic
a do
Gov
erno
do
Esta
do d
o R
io d
e Ja
neiro
na
área
de
fom
ento
, e
pesq
uisa
dora
na á
rea d
e eco
nom
ia e
finan
ciam
ento
da C
ultu
ra.
PuBlIC THougHT anD THe neeDS oF THe arTISTS
tatiana riChard Brazil is a country of continental dimensions, spreading through a territory of 8.5 million square kilometers with a population of 202.7 million people, according to a forecast of the Brazilian Institute of Geography and Statistics for the year of 2014. Therefore, it comprises a wide range of cultures, which reflects, among others, in its multiple expressions and social organization.
The country’s economic context along with its regionalization directly in-fluences 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?
The creation of such tax incentives laws as from the 1990s played a major role in the injection of resources and the feasibility of cultural productions. Their bud-gets are tied with percentages of tax collections; in the state of Rio de Janeiro, it stands for 4% of the ICMS collection of the previous year, which amounted to approximately USD 265 million in the past six years.
Created with the purpose of ‘stimulating’ culture and the arts, these laws had significant importance in the last years, but did not follow the development and professionalization motion of the sector. Thereby, they were not able to distin-guish innovative, structural, and research-related activities from ephemeral and mostly entertaining events, thus placing them all under the same umbrella of criteria to dispute for the same resources along with projects whose nature and objectives are completely different.
Over the two past decades, this mechanism became the main funding tool of the State concerning culture, and started to finance each and every project – regardless of its divergences in action, public, or access, even if their ability of generating profits was proven.
This way, over the years, investments coming from state policies of incentive ended up supporting the accomplishment of products and productions of large scale and market value, making these resources no longer sufficient to fill the ever-increasing demand. In this fight for funds, initiatives related to creation, in-novation, artistic experimentation, education, and heritage are preempted, just as it happens with the contribution for cultural institutions that suffer with the lack of resources and the absence of plans considering them as strategic players to the development of cities.
In 2013, considering the state of Rio de Janeiro alone, the total amount of re-sources provided by the tax incentives laws reached USD 56 million in non-re-fundable values. This means that no invested financial resource was directly returned to a system capable of generating reinvestment, although the public resources have been massively employed in private sector activities capable of generating profit.
Taking into account the major concentration of investments in eventual and non-structural activities – something observed in all the federal units –, the mappings purporting to the impact of cultural projects in the society are restricted to information of public access, amount of accomplished actions, and served areas, without measuring the social return or economic results of the investment. This brings about a huge difficulty in the definition of plans with long-term and permanent goals for culture.
Despite the fact that the public authorities face the challenge of understand-ing and acting upon the current complex socioeconomic reality through the cre-ation of decentralized policies and partnerships, the status quo of the absence of consistent public policies that strategically observe all the cultural shades has a reverse contribution to its development.
The participation of public investment in several parts of this chain – going all the way from the creation, offer, until the consumption – has been generating
price imbalances, thus increasing the production costs, as well as the accomplish-ment of activities highly dependent of funding. At the same time, market-related actions and artistic production strategies are not offered conditions to develop.
But what does the artistic production demand? Brazil’s complex funding sys-tem, added of the bureaucracy and the little thought on the importance of such activity, made the funding requests to be permanently framed in project struc-tures and cultural concepts that have little dialogue with the daily activity of artists and their creation environment. It must be noted that we are not here to report creative actions linked with the industry or the market – which are also of major importance – and their scale or reproducibility.
The absence of a broader funding thought for this nature turned the impor-tance of experimentation and art as an open field to the reflection and construc-tion of an autonomous and critical society, into a perspective of products and re-sults. Meanwhile, research activities and other permanent action programs must be offered new methods that consider the reduction of costs and a structural offer allowing the maintenance of their long-term activities, not relinquishing the free-dom of creation.
As innovative models that call for a vision of future involving the management and relationship between public authorities and the cultural-artistic sector, we can mention the rise of initiatives – in the capitals cities and several other urban centers – that have not reached the attention of public authorities so far, but de-serve to be observed. Such is the case of independent art spaces. They are orga-nizations created by artists, each one with different features, but all of them with common targets: to invest in the creation, research, and development of artistic projects, often acting upon the local reality where they belong.
Among them are: JA.CA – Jardim Canadá Centro de Arte e Tecnologia (Minas Gerais), Barracão Maravilha Arte Contemporânea (Rio de Janeiro), Casa Tomada (São Paulo), Phosphorus (São Paulo), Ateliê Subterrânea (Porto Alegre), Casa da Ribeira (Rio Grande do Norte), and Ateliê Aberto (São Paulo). They range from 4 to 17 years of existence, and are a sample among several other similar initiatives throughout the country.
Unlike other organizations, the management model of these spaces does not seek to fully fund their activities with public resources. The independent charac-ter of their activities lays precisely in the ability of articulation with peers, which is one of the results of the precise definition of their operational focus.
Although their activities are totally related with the public interest, the re-sources coming from public funding are faced as one of their management strat-egies, but not the only one. That considered, the acknowledgement of the role of such spaces and the partnership with public authorities should be based on the ability of lowering their maintenance costs in order to have as much as possible of the investments directed to their final activities. That is to say, a broadened vision of funding, not restrained to financial contributions.
The management model of independent art spaces help us understand that the major issue on funding the artistic production these days is not restricted to the amount of resources to be offered, but rather looks for sustainability and cost cutting strategies to go on with their production.
Hence the importance of reconsidering the conditioning elements and the or-ganization of this sector not only through the public authorities’ eyes – that still crawls when it comes to inserting art and culture in the socioeconomic develop-ment agenda –, but also involving the perspective of its own players in the cre-ation of new management and sustainability strategies.
Fiscal exemptions allowing the creation of new spaces, a new design of labor relations along with a different social security structure, and special taxation for provision of services of transient nature are only a few of the issues that require some thought at present.
To do so, it is mandatory that the relation between the authorities and the sector be of permanent watch, continuously identifying and mapping its natural motions and demands, acting strategically and based on the principle that the symbolic dimension of culture and art must be considered a sine qua non by the public policies. Only this way the undeniable importance of the artistic activity and its participation in an autonomous and critical society will be acknowledged.
Translated from Portuguese by Daniel Lühmann
tatiana vieira assumpção richard is Public Manager of Cultural Promo-tion for the Government of the State of Rio de Janeiro and researcher in the field of economy and funding for culture.
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, em
açõe
s que
vão
des
de a
rtes
anat
o e
ativ
idad
es tí
pica
s, p
as-
sand
o po
r cur
sos
de m
úsic
a, io
ga, h
ip h
op, x
ilogr
avur
a,
pint
ura
e in
form
átic
a, a
té a
form
ação
de
cine
club
es, a
re-
aliz
ação
de
ofici
nas d
e le
itura
e a
cri
ação
de
rádi
os c
omu-
nitá
rias
, ent
re o
utra
s. A
lém
dis
so, o
s Po
ntos
de
Cul
tura
ab
rang
em o
s m
ais
vari
ados
gru
pos
soci
ais:
cri
ança
s, jo
-ve
ns, m
ulhe
res,
indí
gena
s, co
mun
idad
es d
a pe
rife
ria
dos
gran
des
cent
ros,
com
unid
ades
afr
odes
cend
ente
s, a
sso-
ciaç
ões d
e ba
irro
e p
opul
açõe
s com
pone
sas,
ribe
irin
has,
ru
rais
, sem
-terr
as...
E h
á um
efe
ito p
ropa
gado
r nas
açõ
es
do P
onto
s de
Cul
tura
: um
est
udo
do IP
EA
(Ins
titut
o de
Pe
squi
sa E
conô
mic
a A
plic
ada)
apu
rou
que
cada
Pon
to d
e C
ultu
ra e
nvol
ve ce
rca
de 3
mil
pess
oas p
or a
no, i
nclu
indo
os
que
par
ticip
am d
ireta
men
te n
as at
ivid
ades
– em
méd
ia,
300
pess
oas –
e o
s int
egra
ntes
da
com
unid
ade
que
assi
s-te
m à
s apr
esen
taçõ
es a
rtís
ticas
ou
part
icip
am e
spor
adic
a-m
ente
de
curs
os e
ofic
inas
. U
ma
das d
ificu
ldad
es q
ue e
xist
e na
ges
tão
dos P
onto
s de
Cul
tura
rela
cion
a-se
ao
trad
icio
nal d
espr
epar
o do
Es-
tado
par
a lid
ar c
om o
and
ar d
e ba
ixo
da so
cied
ade.
A p
ar-
tir d
o go
vern
o do
Pre
side
nte
Lula
pas
sou-
se a
mod
ifica
r aq
uele
ant
igo
Esta
do a
utor
itári
o, p
riva
tizad
o em
mui
tos
aspe
ctos
, com
bai
xa se
nsib
ilida
de so
cial
. Alé
m d
isso
, do
lado
da
soci
edad
e, c
ostu
ma
pred
omin
ar a
pre
cari
edad
e.
Há
deze
nas
de m
ilhar
es d
e gr
upos
cul
tura
is e
xist
ente
s na
s fav
elas
, nas
per
ifere
ias,
nas
trib
os in
díge
nas,
nos
as-
sent
amen
tos r
urai
s. É
um
a re
alid
ade
difíc
il: a
pre
staç
ão
de c
onta
s é
trab
alho
sa, e
às
veze
s el
es n
ão g
uard
am a
s no
tas,
por
exe
mpl
o. V
em-s
e tr
abal
hand
o fo
rtem
ente
no
sent
ido
de p
ensa
r em
saíd
as p
ara
avan
çar n
essa
rela
ção.
A
lei C
ultu
ra V
iva
e o
Mar
co R
egul
atór
io d
as O
rgan
izaç
ões
da S
ocie
dade
Civ
il, a
prov
ados
est
e an
o, já
ava
nçam
pos
i-tiv
amen
te n
esse
sent
ido.
LG/L
M: A
abo
rdag
em d
os P
onto
s de
Cul
tura
par
ece
deve
r em
gra
nde
part
e ao
lega
do in
tele
ctua
l de
Pau-
lo F
reir
e. Q
uant
o e
em q
ue te
rmos
a p
olít
ica
aind
a te
m a
apr
ende
r com
as t
eori
as d
e Fr
eire
?JF
: Pau
lo F
reir
e cr
itica
a c
once
pção
“ba
ncár
ia”
da e
du-
caçã
o, n
a qu
al o
edu
cado
r – in
disc
utív
el a
gent
e do
no d
o co
nhec
imen
to –
real
iza
o at
o de
“de
posi
tar”
, nar
rar c
onte
-úd
os, a
bord
ando
a re
alid
ade
com
o al
go e
stát
ico,
com
part
i-m
enta
do e
bem
com
port
ado,
a re
alid
ade
com
o al
go a
lhei
o à
expe
riên
cia
exis
tenc
ial d
os e
duca
ndos
– se
res
pass
ivos
, qu
e ap
enas
rec
ebem
con
heci
men
to –
a r
ealid
ade
com
o al
go im
poss
ível
de
ser t
rans
form
ado.
A e
ssên
cia
dos P
on-
tos d
e C
ultu
ra é
, jus
tam
ente
, afa
star
-se
do e
nten
dim
ento
, qu
e po
r mui
to te
mpo
gui
ou a
atu
ação
est
atal
, de
que
o Es
-ta
do d
ever
ia “
depo
sitar
” cu
ltura
na
popu
laçã
o em
um
a vi
a de
mão
úni
ca. A
ntes
de s
e vol
tar p
ara a
s defi
ciên
cias
e pa
ra
as a
usên
cias
, é p
reci
so fo
rtal
ecer
e v
alor
izar
aqu
ilo q
ue já
ex
iste
, pot
enci
aliz
ar m
ovim
ento
s e
expr
essõ
es c
ultu
rais
qu
e já
pro
duze
m c
ultu
ra, i
ndep
ende
ntem
ente
da
ação
do
Esta
do. O
s Po
ntos
de
Cul
tura
cri
aram
par
ceri
as e
ntre
o
Esta
do e
a so
cied
ade,
mas
são
parc
eria
s nas
qua
is o
Est
ado
não
impõ
e, m
as, s
im, d
ispõ
e. O
Est
ado
não
cham
a pa
ra si
a
resp
onsa
bilid
ade
de c
once
ber p
roje
tos d
e in
clus
ão, m
as,
sim
, a d
e co
ntem
plar
inic
iativ
as c
ultu
rais
já e
xist
ente
s, n
o in
tuito
de
fort
alec
ê-la
s e
de a
mpl
iar s
eu a
lcan
ce n
as c
o -m
unid
ades
em
que
est
ão in
serid
as. V
olta
ndo
ao c
once
ito
paul
ofre
iria
no, o
s Pon
tos d
e C
ultu
ra in
cent
ivam
a su
pera
-çã
o da
con
trad
ição
edu
cado
r-ed
ucan
dos,
de
mod
o qu
e os
ed
ucan
dos t
omem
cons
ciên
cia d
e sua
cond
ição
, não
veja
m
a re
lidad
e co
mo
algo
imut
ável
, apr
oprie
m-s
e da
situ
ação
co
mo
real
idad
e hi
stór
ica
capa
z de
ser
tran
sfor
mad
a, d
e fo
rma
a qu
e, c
omo
diri
a Fr
eire
, o fa
talis
mo
ceda
luga
r ao
ímpe
to d
e tr
ansf
orm
ação
e d
e bu
sca,
a q
ue o
s hom
ens s
e se
ntem
suje
itos.
Os P
onto
s de
Cul
tura
est
ão im
preg
nado
s de
sse
intu
ito d
e em
pode
ram
ento
dos
cid
adão
s, q
ue se
rão
agen
tes d
e tr
ansf
orm
ação
soci
al p
or m
eio
da c
ultu
ra.
reTHInKIng CulTure. an InTerVIew wITH JuCa FerreIralUigi galimBerti | lorenzo marsili
LG/LM: 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?JF: 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 be-tween the society and the public authorities, as well as to propel the most di-verse 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 by contem-plating activities related to arts, culture, citizenship, and solidarity economy in actions ranging from artisanship and typical activities to music, yoga, hip-hop, engraving, and informatics courses, and even the formation of film clubs, reading workshops, community radios, among others. Besides, the Culture Hotspots include the most diverse social groups: kids, young people, women, In-dians, communities from the peripheries of urban centers, African descendant communities, neighborhood associations, as well as peasant, riverside, rural, landless populations… Also, the actions of the Culture Hotspots have a ripple effect: a research by the IPEA (Institute for Applied Economic Research) found out that each Culture Hotspot engages around three thousand people per year, including those that directly take part on the activities – 300 people, on average
– and community members that attend the artistic presentations or occasionally participate of courses and workshops.
One of the struggles faced in managing the Culture Hotspots regards the traditional lack of preparation of the State to handle the lower level of society. From the government of President Lula on, the former authoritarian State, pri-vatized in several aspects and bearer of low social sensitiveness, started to be modified. Moreover, on the society side, the precariousness prevails. There are tens of thousands cultural groups in the favelas, peripheries, Indian tribes, and rural settlements. It is a tough reality: the presentation of accounts is sweaty – sometimes they do not keep records and invoices, for instance. There has been a strong work in the sense of figuring ways out in order to advance in this relation. The Cultura Viva [Living Culture] law and the Regulatory Framework of Orga-nizations in the Civil Society, approved this year, already represent a positive advancement in this regard.
LG/LM: The approach of Culture Hotspots seems to owe a great debt to the intellectual legacy of Paulo Freire. How much and in which terms has politics still to learn from Freire’s theories?JF: Paulo Freire criticizes the ‘banking’ conception of education, for which the educator – incontestable owner and agent of knowledge – accomplishes the act of ‘depositing’, narrating contents, thus approaching the reality as something static, compartmentalized, and well mannered, something oblivious to the ex-istential experience of learners – passive beings who only receive knowledge
–, something whose transformation is impossible. The essence of the Culture Hotspots is precisely to move away from the understanding that has long guided the performance of the State, according to which it should ‘deposit’ culture on its population through a one-way relation. Before going back to the disabilities and absences, it is mandatory to strengthen and to value what already exists, to potentiate cultural movements and expressions that already produce culture, regardless of the State action. The Culture Hotspots created partnerships be-tween the State and the society, although they are partnerships in which the State does not impose, but rather disposes itself. The State does not draw for itself the responsibility of conceiving projects of inclusion, but preferably that of contemplating cultural initiatives that already exist, with the purpose of strengthening them and broadening the range on their communities of origin. Taking back Paulo Freire’s concepts, the Culture Hotspots encourage the over-coming of the educator-learner contradiction in such a way that the learners are able to become aware of their condition, to not see the reality as something im-mutable, and to take ownership of the situation as a historical reality capable of being transformed. Thus, as Freire would put, the fatalism would give room to a momentum of transformation and search, to which men feel subject. The Cul-ture Hotspots are impregnated with this intent of empowering citizens, which will then become social transformation agents by means of culture.
5554 CulTural PolICIeS
LG
/LM
: Em
seu
pap
el d
e M
inis
tro
da C
ult
ura
do
Bra
sil,
suas
esc
olh
as p
olít
icas
era
m c
once
ntra
das
em ro
mpe
r com
o m
onop
ólio
cu
ltu
ral R
io d
e Ja
nei-
ro-S
ão P
aulo
sob
re o
fin
anci
amen
to c
ult
ura
l par
a fa
cili
tar a
em
ergê
ncia
da
dive
rsid
ade
cult
ura
l e é
t-n
ica
do p
aís.
Com
o vo
cê e
stá
faze
ndo
isso
na
cida
de
de S
ão P
aulo
? Nes
se c
onte
xto,
que
m sã
o os
suje
itos
m
argi
nal
izad
os p
elas
atu
ais
polí
tica
s cu
ltu
rais
? C
omo
você
est
á li
dand
o co
m e
ssas
pes
soas
?JF
: Ten
ho a
firm
ado
com
ênf
ase
desd
e o
iníc
io d
a ge
stão
qu
e nã
o é
poss
ível
con
stru
ir p
olíti
cas p
úblic
as d
entr
o do
ga
bine
te, s
endo
de
fund
amen
tal i
mpo
rtân
cia
a ar
ticul
a-çã
o co
m o
s fa
zedo
res
cultu
rais
e c
idad
ãos
paul
ista
nos.
Se
m a
par
ticip
ação
e a
cob
ranç
a po
r par
te d
a po
pula
ção,
a
dem
ocra
cia
dege
nera
, e, p
orta
nto,
dev
emos
saud
ar e
re-
fere
ncia
r a a
ção
popu
lar.
Da
mes
ma
form
a, e
nten
dem
os
a ne
cess
idad
e da
am
plia
ção
da p
rese
nça
do p
oder
púb
lico
com
o fo
men
tado
r do
aces
so p
leno
à c
ultu
ra e
apo
iado
r do
s pr
oces
sos
de in
clus
ão s
ocia
l e p
rom
oção
da
cida
da-
nia.
As p
esso
as q
uere
m a
cess
ar o
s rec
urso
s púb
licos
, os
equi
pam
ento
s e
os s
ervi
ços
cultu
rais
, sob
retu
do n
os
bair
ros m
ais a
fast
ados
do
cent
ro d
a ci
dade
. A co
nstr
ução
da
s pol
ítica
s cul
tura
is te
m q
ue v
ir, a
ssim
, im
preg
nada
do
espí
rito
repu
blic
ano
de q
ue to
dos s
ão ig
uais
. Os d
irei
tos
cultu
rais
são
de
todo
s –
seja
o d
irei
to d
e co
nsum
ir e
de
aces
sar d
eter
min
ados
ben
s e se
rviç
os c
ultu
rais
, sej
a o
de
prod
uzi-l
os e
difu
ndi-l
os.
Hav
ia n
a ci
dade
um
a sé
rie
de d
eman
das
repr
esad
as
que
reiv
indi
cam
a a
mpl
iaçã
o e
a di
vers
ifica
ção
dos
gru-
pos e
man
ifest
açõe
s con
tem
plad
os p
elas
pol
ítica
s cul
tu-
rais
. Iss
o re
fletia
não
só
a or
gani
zaçã
o e
artic
ulaç
ão d
e “n
ovos
” ag
ente
s cul
tura
is d
a ci
dade
, com
o ta
mbé
m a
in-
sufic
iênc
ia d
e es
paço
s de
diá
logo
e d
e pa
rtic
ipaç
ão q
ue
os re
pres
enta
m. P
ara
enfr
enta
r ess
e qu
adro
, abr
imos
de
imed
iato
div
erso
s ca
nais
de
com
unic
ação
com
a c
ida-
de, i
nteg
rado
s no
prog
ram
a de
diá
logo
inau
gura
do p
ela
Secr
etar
ia M
unic
ipal
de
Cul
tura
(#ex
iste
diál
ogoe
mSP
),
dest
inad
o à
cons
truç
ão c
olab
orat
iva
de s
uas
polít
icas
e
açõe
s. E
m a
gost
o de
201
3, re
aliz
amos
a II
I Con
ferê
ncia
M
unic
ipal
de
Cul
tura
, pro
cess
o qu
e co
ntou
com
a p
ar-
ticip
ação
de
cerc
a 3.
600
pess
oas
(a tí
tulo
de
com
para
-çã
o, a
II C
onfe
rênc
ia M
unic
ipal
de
Cul
tura
, que
oco
rreu
em
2009
, na
adm
inis
traç
ão d
o pr
efei
to G
ilber
to K
assa
b [2
009-
2012
], te
ve a
pre
senç
a de
292
par
ticip
ante
s). M
ui-
tas
das
prop
osta
s ap
rova
das,
que
fora
m e
ncam
inha
das
para
a C
onfe
rênc
ia E
stad
ual d
e C
ultu
ra, r
elac
iona
m-s
e às
dem
anda
s de
grup
os tr
adic
iona
lmen
te n
ão a
tend
idos
pe
las p
olíti
cas c
ultu
rais
da
cida
de, q
ue p
assa
ram
a re
cla-
mar
por
mai
or a
cess
o a
ativ
idad
es c
ultu
rais
, mas
tam
-bé
m p
or m
aior
par
ticip
ação
no
proc
esso
de
prod
ução
de
polít
icas
cul
tura
is.
Alé
m d
isso
, o co
ncei
to d
e ci
dada
nia
cultu
ral p
asso
u a
faze
r par
te d
e to
das a
s pol
ítica
s e a
ções
da
Secr
etar
ia M
u-ni
cipa
l de
Cul
tura
. Em
um
ano
, já
quin
tupl
icam
os o
s re-
curs
os vo
ltado
s a p
rogr
amas
cujo
foco
é o
fort
alec
imen
to
de in
icia
tivas
cul
tura
is d
a pe
rife
ria.
A e
scol
ha d
os g
rupo
s fo
men
tado
s pe
lo V
AI (
Prog
ra-
ma
de V
alor
izaç
ao d
e In
icia
tivas
Cul
tura
is) c
omeç
ou a
se
r gui
ada
por c
ritér
ios q
ue p
rivi
legi
avam
indi
vídu
os d
e zo
nas
mai
s pr
ecár
ias
da c
idad
e. O
mes
mo
ocor
reu
na
esco
lha
dos
agen
tes
com
unitá
rios
de
cultu
ra –
cida
dãos
qu
e pa
ssar
ão a
rece
ber u
ma
bols
a m
ensa
l par
a co
ntin
uar
dese
mpe
nhan
do a
tivid
ades
cul
tura
is e
m se
us te
rritó
rios
–, o
nde
um d
os p
ré-r
equi
sito
s é
ter c
ursa
do o
s úl
timos
3
anos
em
col
égio
s pú
blic
os. E
sse
viés
incl
usiv
o ta
mbé
m
este
ve p
rese
nte
na im
plem
enta
ção
dos P
onto
s de
Cul
tura
m
unic
ipai
s, e
m cu
jo p
roce
sso
fora
m in
cluí
dos d
iver
sos r
e -qu
isito
s que
priv
ilegi
avam
inst
ituiç
ões,
açõe
s e in
icia
tivas
lo
caliz
adas
em
áre
as d
e m
aior
vul
nera
bilid
ade
da ci
dade
. D
iver
sas o
utra
s açõ
es tê
m si
do p
osta
s em
prá
tica
para
va
lori
zar o
s tr
adic
iona
lmen
te e
xclu
ídos
pel
as p
olíti
cas
cultu
rais
da
cida
de, c
omo
as p
olíti
cas p
ara
o G
raffi
ti, p
ara
os S
arau
s da
Peri
feri
a, p
ara
o C
irco,
o re
conh
ecim
ento
do
Sam
ba co
mo
patr
imôn
io im
ater
ial d
a ci
dade
, a d
efes
a da
dive
rsid
ade,
a d
efes
a do
s pan
cadõ
es e
mui
tas o
utra
s, q
ue
busc
am m
ostr
ar q
ue, n
a ci
dade
de
São
Paul
o, a
cul
tura
é
um d
ireito
de
todo
s.
LG
/LM
: Nu
ma
entr
evis
ta a
nte
rior
par
a a
publ
i-ca
ção
“Pro
duçã
o C
ult
ura
l no
Bra
sil”
(28
de s
etem
-br
o de
20
10),
você
dis
se: “
Com
o d
iz o
pre
side
nte
Lu
la, v
ivem
os u
m m
omen
to m
ágic
o, re
cupe
ram
os
a au
toes
tim
a, a
cre
nça
no fu
turo
”. Q
uatr
o an
os d
e -po
is, a
inda
exi
ste
essa
mág
ica
no a
r? Q
uai
s sã
o as
ex
pect
ativ
as d
o B
rasi
l par
a o
futu
ro p
róxi
mo?
O
que
você
gos
tari
a de
ver
no
próx
imo
gove
rno
em
term
os d
e po
líti
cas c
ult
ura
is?
JF: A
cred
ito q
ue o
Est
ado
deve
apm
liar s
ua au
taçã
o co
mo
gara
ntid
or d
o ac
esso
à c
ultu
ra. E
ssa
funç
ão n
ão p
ode
ser
deix
ada
a ca
rgo
do m
erca
do, q
ue g
era
sem
pre
um a
cess
o re
lativ
o, p
ropo
rcio
nal à
riqu
eza
do in
diví
duo.
Se
você
é
rico
, tem
ace
sso
a gr
ande
s ev
ento
s cu
ltura
is. S
e vo
cê é
m
eio
rico
, já
não
tem
tant
o ac
esso
. Se
você
é p
obre
, só
tem
ace
sso
à T
V ab
erta
. Por
isso
, o E
stad
o pr
ecis
a as
su-
mir
suas
resp
onsa
bilid
ades
na
área
cul
tura
l e p
ropo
rcio
-na
r ace
sso
irre
strit
o à
cultu
ra. A
lém
dis
so, a
cul
tura
não
é
um te
ma
para
fica
r lim
itado
às a
trib
uiçõ
es d
e um
só M
i-ni
stér
io. E
la d
eve
ser u
ma
preo
cupa
ção
esse
ncia
l do
novo
go
vern
o. P
or e
xem
plo:
por
mai
s que
a e
duca
ção
públ
ica
no B
rasi
l ten
ha m
elho
rado
mui
to, a
inda
pos
sui g
arga
los,
e
a cu
ltura
tem
de
ajud
ar a
pre
ench
er ta
is g
arag
alos
. Situ
-aç
ão a
nálo
ga o
corr
e em
div
erso
s out
ras t
emát
icas
, o q
ue
é na
tura
l, da
da a
tran
sver
salid
ade
da c
ultu
ra. P
or is
so
mes
mo,
as
polít
icas
cul
tura
is d
evem
per
mea
r tod
as a
s po
lític
as p
úblic
as d
a pr
óxim
a ge
stão
.
Juca
Fer
rei
ra
é S
ecre
tári
o de
Cul
tura
da
cida
de d
e Sã
o Pa
ulo.
Soc
iólo
go, e
le já
ocu
pou
o ca
rgo
de M
inis
tro
da C
ultu
ra d
o Br
asil.
Luig
i Ga
lim
bert
i an
d L
or
enzo
Ma
rsil
i são
coor
-de
nado
res d
o Tr
ansn
atio
nal D
ialo
gues
.
LG/LM: As the Brazilian Minister of Culture, your political choices fo-cused on breaking the Rio de Janeiro-São Paulo monopolistic control over cultural funding in order to facilitate the emergence of the coun-try’s ethnic and cultural diversity. How are you doing that in the City of São Paulo? Who are the ones marginalized from the current cultural policies in that context? How are you addressing them?JF: Since the beginning of this administration, I have been emphatic regarding that it is not possible to build public policies from inside of the offices, which makes the articulation with cultural doers and the citizens of São Paulo an ac-tivity of major importance. Without the population’s participation and appeal, democracy starts to degenerate, reason why we must acclaim the popular ac-tion and use it as a reference. Likewise, we understand the need of broadening the presence of public authorities as developers of the full access to culture, and also as supporter of social inclusion projects and citizenship promotion pro-cesses. People want to access public resources, equipment, and social services, especially on the neighborhoods farther from the city center. Therefore, the construction of cultural policies must come impregnated with the Republican spirit that everyone is equal. The cultural rights belong to everyone – whether it is the right to access certain cultural goods and services, or producing and diffusing them.
There used to be a series of impounded demands claiming the expansion and diversification of groups and manifestations contemplated by cultural policies. This reflected not only the organization and articulation of ‘new’ cul-tural agents in the city, but also the shortcoming of spaces for dialogue and participation that would represent them. In order to face this context, we im-mediately opened several communication channels with the city integrated in the program inaugurated by the Municipal Department of Culture (#existe-diálogoemSP, or #thereisdialogueinSP), aimed at collaboratively building its policies and actions. On August 2013, the 3rd Municipal Conference of Culture was held, gathering some 3,600 people – for comparison purposes, the 2nd Con-ference, held in 2009 during the term of Mayor Gilberto Kassab [2009-2012], counted on 292 participants). Many of the proposals approved and forwarded to the State Conference of Culture concern the demands of groups traditionally left aside by the city’s cultural policies, who started to claim for more access to cultural activities, but also for a bigger participation in the process of producing cultural policies.
Moreover, the concept of cultural citizenship started to be part of all pol-icies and actions of the Municipal Department of Culture. In one-year time, the resources destined to programs focused on strengthening cultural initia-tives in the peripheries had a five-fold increase. The groups chosen to be pro-
moted by VAI (Program for Valuing Cultural Initiatives) were then oriented by criteria that prioritize people from precarious regions of the city. The same happened when choosing cultural community agents – citizens who started to receive a monthly financial aid to keep on performing cultural activities in their territories –, for which one of the requirements is to have studied on pub-lic schools over the three previous years. This inclusive bias was also present when implementing the city’s Culture Hotspots, a process that included many requisites privileging institutions, actions, and initiatives located in areas of greater vulnerability.
Several other actions were put into practice in order to value the ones tra-ditionally excluded of the city’s cultural policies: policies for graffiti, poetry readings in the periphery, and circus-related activities; the acknowledgement of samba as an intangible cultural heritage of the city; the fight for diversity and funk parties; as well as many other initiatives that seek to prove that culture is a right of everyone in São Paulo.
LG/LM: In a previous interview for ‘Produção Cultural no Brasil’ (Sep-tember 28th, 2010), you said: ‘As President Lula says, we live a magic moment, we recovered our self-esteem, our belief in the future’. Four years later, is the magic still around? What are Brazil’s expectations for the near future? What would you want to see in the next government in terms of cultural policies? JF: I believe that the State must broaden its action as guarantor of the access to culture. This role cannot be left in the hands of the market, since it always generates a relative access, directly proportional to an individual’s wealth. If you are rich, you have access to major cultural events. If you are not that rich, you already do not have as much. If you are poor, you only have access to public television. Consequently, the State needs to take on its responsibilities in the cultural field and offer unrestricted access to culture. Moreover, culture is not a theme that concerns one single Ministry, it must be an essential concern of the new government. For instance, despite the fact that public education in Brazil has much improved, it still has constrictions, and culture needs to help solving those. A similar situation also happens in several other themes, which is natural, considering the transversal aspect of culture. For this very reason, cultural poli-cies must permeate all public policies of the next administration.
juca ferreira is Secretary of Culture for the City of São Paulo. He is a sociol-ogist and the former Minister of Culture of Brazil.luigi galimberti and lorenzo marsili are coordinators of Transna-tional Dialogues.
5756 arTISTS anD CITIeS
请将城市看成巨大的非词语的专用语辞典，一堆积聚的，
从行使其身份的愿望中收
集的主
观概
念。这
样，街
道是各种
手势，引导向共同的入口：每
个主体有其孤
立和复合的角色，
主导的或分散的，各色意图的面孔—
— 先于任何话
语，处在
集体的空间，创造并再造暴露
在街上的人的一种共同意义，
统治并受治于所感受的社会存
在。手势应
重作从个体
感受的
表述到集体的反思。
假使说在口头语言上我丝毫也不能思索中国，因为我不懂
她的词汇，那么在手势的广泛的感受性上，（
无论是在街道观
察它的流动，还是在画室识别艺术
表达形式），却能开拓宽阔
的思考空间，令人愉悦，并直接和我的国家对话：在巴西相反
的地理位
置，兄弟般地，突显跨越国度的重要性，它改变着历
史文化的差别，摒弃任何预先的习惯和语言遗产，我可以在具
象化之前，就理解那个手势。
合作在社会关
系和城市化中的个人行为本身
都有着
越来
越重
要的作用。在不断流
动的街
道实现
身份
识别，作为文化
全面的实现，让各种差
别和多种声音的共
存。巴西
城市的叛
逆文化，越
来越
趋于合作，今
天正在为一种参与的政治模
式
而斗争。其中有普通市民
声音的空间，广泛辩
论正在代
表主
体，而不仅仅是掌权的少数人来作决定。
在葡
萄牙
语中CROWDFUNDING一词，乍
看上去，会
误认
为
是“人群”“大众”，可是这一词汇的外延，释放出词意的一种
姿态，创造出一种从属关系，有利于越来越紧密的联系文化，
艺术，科学活动，而脱离资助权力中心。
spon
sors
hip （主办或赞助）
一词翻译成葡萄牙
语是
PATROCINIO，
这个词最初源于
PATROCINIUM，
保护运动，历史
上，是领
主对平民的保
护权。含义中带有封建
宗主权，父权和
巴西社会
殖民
主义模
式下继
续的
奴隶
制度。如果话
语对于文
化理解带有决定性，颠覆这个词汇的使用，是不再从属于某种
外在的、高高凌驾于我们之
上的他人，或
是同其竞争，而是共
存：颠覆个人主义的关键性，在社会中一起构建共同的身份。
因此我坚持：
在你陌生的街道，站在一处别动。
在空间占位，停在哪儿。
观察你周围的事物和人处于什么位
置。
你对某种东西是障碍物吗？你与那里复合的节奏发生冲撞
吗？你
在那里，觉
得自己是物质的还是非物质的？有点不自在
吗？当你在那里，什么影响了你，你影响了什么？
并且把这个提问引申：你如何能是你的城市，如何能是街
道？
an
dr
essa
via
nn
a 是位多媒体制作人，对新旧科
技之交
集在社会和公民事务上的体现极感兴趣。她担任
2014
跨国对
话的巴西当地协调员。
chic
o d
aviñ
a 是
一位驻圣保罗的策展人。
张维民译自葡萄牙文
SITórI
oan
dress
a Vian
na | C
hiCo d
aViña
Col
oque
-se
num
pon
to d
e um
a ru
a es
tran
ha a
si e
per
ma-
neça
. Posi
cion
e-se
no
espa
ço e
per
man
eça.
Obs
erve
com
o os
obj
etos
e p
esso
as a
o se
u re
dor l
oca-
lizam
-se.
Você
é u
m o
bstá
culo
par
a al
go? V
ocê
dest
oa d
o ri
tmo
nela
com
post
o? V
ocê
se se
nte
mat
eria
l ou
imat
eria
l est
an-
do a
li? H
á al
gum
cons
tran
gim
ento
? Ao
esta
r ali,
o q
ue e
m
você
e e
m q
uê v
ocê
influ
i?A
ling
uage
m é
impe
rativ
a ao
ser h
uman
o.
Mai
s qu
e a
funç
ão d
e es
tabe
lece
r um
pon
to d
e pa
rti-
da p
ara
a co
mpr
eens
ão m
útua
ou
busc
ar u
ma
form
a de
de
scre
ver a
lgo,
a li
ngua
gem
(lín
gua)
cri
a a
valid
ação
da
pres
ença
: exi
stim
os so
cial
men
te e
nqua
nto
nom
eam
os d
i-fe
rent
es su
jeito
s ou
obje
tos.
Com
unic
ar-s
e é
empr
eend
er
um si
gnifi
cado
, mui
tas v
ezes
est
ranh
amen
te a
lhei
o à
seus
in
terl
ocut
ores
. A v
erba
lizaç
ão d
a lin
guag
em im
põe-
se
hoje
no
mun
do u
rban
izad
o co
mo
preâ
mbu
lo p
ara
a co
m-
pree
nsão
glo
baliz
ada:
a d
ispu
ta p
elo
disc
urso
ant
eced
e a
com
pree
nsão
da
alte
rida
de, i
nter
põe-
se à
con
stru
ção
de
cont
exto
, atr
opel
a a
orig
em ra
dica
l (pi
ctór
ica)
da
pala
vra.
A p
ropo
sta
de c
onhe
cer e
ntre
/sob
re C
hina
, Eur
opa
e Br
asil
a pa
rtir
de
expe
riên
cias
pes
soai
s dos
par
ticip
ante
s é,
ant
es, l
idar
com
a su
rrea
lidad
e da
s tra
duçõ
es v
erba
is -
a lin
guag
em in
terp
reta
da. S
e eu
fala
sse
chin
ês n
ão d
epen
-de
ria d
e tr
aduç
ão p
ara
com
pree
nsão
de
algo
, se
eu fa
lass
e na
tivam
ente
o in
glês
mel
hor m
e po
sici
onar
ia e
m u
ma
dis -
cuss
ão tr
ansn
acio
nal.
Se e
u fa
lass
e em
por
tugu
ês, o
que
o
som
des
sas p
alav
ras r
emet
eria
a um
fala
nte c
hinê
s, fr
ancê
s ou
eur
opeu
? Com
o se
dá
a co
mpr
eens
ão d
as p
alav
ras s
em
a bu
sca
dire
ta p
ela
trad
ução
raci
onal
que
pro
duz s
ímbo
los
cultu
rais
? Pos
so a
bran
ger o
con
tinen
te e
urop
eu o
u as
iáti -
co e
cad
a um
a de
suas
par
ticul
arid
ades
sim
ples
men
te e
m
uma
gene
raliz
ação
ver
bal –
eur
opeu
, asi
átic
o, la
tino?
Par
a qu
em is
so fa
z sen
tido
e pa
ra q
ual d
iscu
rso
oper
a?A
cre
scen
te s
uper
popu
laçã
o na
s gr
ande
s ci
dade
s en
-ge
ndra
um
a ba
talh
a si
sífic
a na
form
ação
de
iden
tidad
e.
O su
jeito
é c
onst
ante
men
te im
pelid
o a
exis
tir, a
situ
ar-s
e es
paci
alm
ente
, a b
usca
r seu
luga
r ind
ivid
ual n
a cu
ltura
e
falh
a. A
exa
ltaçã
o do
eu
ao d
esco
nsid
erar
a p
rese
nça
jun-
to a
o ou
tro
se to
rna
apen
as u
ma
imag
em p
roje
tada
, sem
co
ntor
no d
efini
do. É
por
ess
e im
pera
tivo
que
hoje
se co
m-
põem
as c
idad
es; d
eixa
ndo
às m
arge
ns q
ualq
uer s
ubje
tivi-
dade
, int
erpr
etaç
ão o
u re
ferê
ncia
cul
tura
l des
pare
cere
m
em m
eio
à ca
cofo
nia
de id
entid
ades
reifi
cada
s.
Con
sider
e a
cida
de co
mo
um e
xten
so g
loss
ário
não
-ver
-ba
l, um
acú
mul
o de
subj
etiv
idad
es re
colh
idas
no
dese
jo d
o ex
ercí
cio
de su
as id
entid
ades
. Ass
im, a
s rua
s ser
ão g
esto
s qu
e co
nduz
em a
um
ver
bete
con
junt
o: c
ada
suje
ito e
m se
u pa
pel i
sola
do e
com
post
o, p
redo
min
ante
ou
disc
reto
com
o se
mbl
ante
s de
inte
nçõe
s – a
ntes
de
qual
quer
fala
, situ
a-se
no
esp
aço
cole
tivo,
cria
e re
cria
um
sent
ido
com
um a
que
m
à ru
a se
exp
õe, r
egen
do e
sen
do re
gida
por
ess
a pr
esen
ça
soci
al d
o se
nsív
el. O
ges
to d
eve
reto
mar
o e
xerc
ício
da
ex-
pres
são
da se
nsib
ilida
de in
divi
dual
par
a refl
exão
ao co
letiv
o.Se
na
língu
a ve
rbal
eu
nada
pos
so re
fletir
com
a C
hina
po
r não
ent
ende
r seu
léxi
co, n
a ab
ragê
ncia
sens
ível
do
ges -
to (s
eja
esta
ndo
nas r
uas o
bser
vand
o se
u flu
xo, s
eja
esta
n-do
em
ate
liês
reco
nhec
endo
exp
ress
ões
artís
ticas
), pô
de
abri
r-se
um
a im
ensi
dão
de r
eflex
ões
que
me
enca
ntam
e
dial
ogam
dir
etam
ente
com
meu
paí
s: v
er-s
e ir
man
ado
com
o o
post
o ge
ográ
fico
do B
rasi
l res
salta
a im
port
ânci
a da
tran
snac
iona
lidad
e qu
e tr
ansf
orm
a as
dife
renç
as h
istó
-ri
cas c
ultu
rais
num
exe
rcíc
io d
e en
cont
ro d
espr
egad
o de
qu
alqu
er v
ício
ou
de h
eran
ças l
ingu
ístic
as p
ré-d
eter
min
a -da
s. P
ude
me
ater
ao
gest
o an
tes d
a ob
jetifi
caçã
o.A
col
abor
ativ
idad
e te
m u
m p
apel
cad
a ve
z mai
s im
por -
tant
e na
s rel
açõe
s soc
iais
e n
a pr
ópri
a aç
ão d
o in
diví
duo
na u
rban
izaç
ão. E
xerc
er a
iden
tidad
e na
rua
em m
ovim
en-
to c
ontín
uo é
em
pode
rar a
coe
xist
ênci
a de
dife
renç
as e
a
mul
tiplic
idad
e de
voze
s com
o ex
ercí
cio
plen
o de
cultu
ra. A
cu
ltura
urb
ana
insu
rgen
te n
o Br
asil
é ca
da v
ez m
ais c
ola -
bora
tiva,
luta
-se
hoje
por
um
mod
elo
polít
ico
part
icip
ativ
o on
de a
voz
do
cida
dão
civi
l ten
ha e
spaç
o pa
ra u
m d
ebat
e am
plo
na re
pres
enta
ção
de su
bjet
ivid
ades
ant
es d
e ap
enas
um
a to
mad
a de
dec
isão
de
pouc
os q
ue e
stão
no
pode
r.Em
por
tugu
ês, c
rowd
fund
ing,
que
num
a tr
aduç
ão a
pres
-sa
da n
os re
met
e à
‘mul
tidão
’, à
‘mas
sa’,
foi t
radu
zido
do
in-
glês
uni
ndo
a pa
lavr
a co
labo
rativ
a a
finan
ciam
ento
. Mai
s qu
e a d
enot
ação
da p
alav
ra, l
iber
ta-s
e o ge
sto
do si
gnifi
cado
cr
iand
o a r
elaç
ão d
e per
tenc
imen
to, p
ropi
cian
do a
cres
cent
e ad
erên
cia e
des
cent
raliz
ando
a re
laçã
o de
que
m te
m o
pod
er
de su
port
e a
açõe
s cul
tura
is, a
rtíst
icas
, cie
ntífi
cas.
A
pal
avra
em
por
tugu
ês p
ara
spon
sors
hip
é pa
troc
ínio
e
tem
sua
orig
em ra
dica
l em
pat
roci
nium
– m
ovim
ento
de
prot
eção
; his
tori
cam
ente
, “pr
oteç
ão d
os p
atrí
cios
par
a co
m o
s ple
beus
” – e
dem
onst
ra p
or su
a ve
z a
hera
nça
pa-
tria
rcal
e e
scra
vist
a na
con
tinua
ção
de u
m m
odel
o co
lo-
nial
ista
na
soci
edad
e br
asile
ira.
Se
a lin
guag
em v
erba
l im
põe-
se c
omo
dete
rmin
ante
par
a o
ente
ndim
ento
da
cultu
ra, a
subv
ersã
o de
seu
empr
ego
é nã
o m
ais d
epen
der
ou co
mpe
tir co
m o
out
ro, d
e al
go e
xter
no o
u ac
ima
de n
ós,
é um
co-
exis
itir:
subv
erte
r o im
pera
tivo
indi
vidu
alis
ta n
a co
nstr
ução
conj
unta
de
iden
tidad
e na
soci
edad
e.Po
r iss
o in
sist
o:
Col
oque
-se
num
pon
to d
e um
a ru
a es
tran
ha a
si e
per
-m
aneç
a.Po
sici
one-
se n
o es
paço
e p
erm
aneç
a.O
bser
ve c
omo
os o
bjet
os e
pes
soas
ao
seu
redo
r loc
a-liz
am-s
e.Vo
cê é
um
obs
tácu
lo p
ara
algo
? Voc
ê de
stoa
do
ritm
o ne
la co
mpo
sto?
Voc
ê se
sent
e m
ater
ial o
u im
ater
ial e
stan
-do
ali?
Há
algu
m co
nstr
angi
men
to? A
o es
tar a
li, o
que
em
vo
cê e
em
quê
voc
ê in
flui?
E es
tend
o a
perg
unta
: com
o vo
cê p
ode
ser a
sua
cida
de,
com
o se
r voc
ê a
rua?
an
dr
essa
via
nn
a é
pes
quis
ador
a m
ultim
ídia
e a
ma
a in
ters
ecçã
o en
tre
tecn
olog
ias
(nov
as e
ant
igas
) par
a di
s-cu
ssão
soci
al e
civi
l. El
a é
coor
dena
dora
loca
l no
Bras
il do
Tr
ansn
atio
nal D
ialo
gues
2014
.ch
ico
dav
iña
é p
esqu
isad
or e
viv
e em
São
Pau
lo. SITorIo
andressa Vianna i ChiCo daViña
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?
Language is an imperative to the human being.More than the role of establishing a point of departure towards mutual com-
prehension or searching for a way to describe something, the language (idiom) creates the validation of presence: we exist socially to the extent we name differ-ent subjects or objects. To communicate means to undertake a meaning, often strangely oblivious to your interlocutors. The verbalization of language imposes itself in the urbanized world as a preamble to the globalized comprehension: the dispute for speech comes before the comprehension of alterity, interposes to the construction of context, runs over the radical (pictorial) origin of the word.
The motion of getting to know about each other between China, Europe, and Brazil as from the participants’ personal experiences means, at first place, to handle the surreality of verbal translations – the interpreted language. If I spoke Chinese, I would not depend on a translation to understand something; if I were a native English speaker, I would have better positioning in a Transnational dis-cussion. If I spoke Portuguese, what would the sound of my words refer to a Chinese, French or European speaker? How does the comprehension of words take place without the direct search for cultural symbols produced by the ratio-nal translation? Can the European or Asian continents and their particularities be encompassed merely by a verbal generalization – European, Asian, Latin? To whom does it make sense and for which speech does it operate?
The growing overpopulation of big cities engenders a Sisyphus battle on the composition of identity. The subject is constantly impelled to exist, to place him/herself spatially, to look for its individual placement on culture and failure. The exalting of the self when disregarding the presence with others barely becomes a projected image, without definite contours. It is due to this imperative that the cities are composed today; leaving margins to any subjectivity, interpretation, or cultural reference to vanish amidst the cacophony of reified identities.
Take the city into consideration as an extensive non-verbal glossary, an ac-cumulation of collected subjectivities in the desired exercise of its identities. This way, the streets become gestures that lead to a conjoint entry: each subject in its isolated and composed role, predominantly or discreetly as countenances of intentions – before any speech, it is placed on the collective space, thus cre-ating and recreating a common sense to whom the street exposes itself, ruling and being ruled by this social presence of sensitiveness. The gesture must re-
capture the exercise of expressing the individual sensibility towards a reflec-tion on the collective.
If I cannot ponder along with China’s verbal language since I do not under-stand its lexicon, in the sensible scope of gesture (whether observing the stream of the streets or recognizing artistic expressions in artists’ studios), a wide range of enchanting reflections was unfolded in direct dialogue with my country. To see oneself congregating with Brazil’s geographic opposite highlights the im-portance of the transnational character that transforms historical cultural dif-ferences into a gathering exercise detached of any pre-determined linguistic vices or heritages. I could then stick to the gesture before the objectification.
The collaborativeness plays a role of growing importance in the social rela-tions and the individual’s own action in the urbanization process. To practice one’s identity in continuous movement on the street means to empower the co-existence of differences and the multiplicity of voices as a full cultural exercise. The Brazilian insurgent urban culture is increasingly collaborative, today the struggle stands for a participatory political model in which the voice of civil-ians must find room to an all-embracing debate regarding the representation of subjectivities, more than the mere decision-making of the few ones in the high ranks of power.
In Portuguese, the term ‘crowdfunding’ – which in a direct translation refers to the multitude, the masses – was translated by using the words ‘collaborative’ and ‘financing’. More than its denotative aspect, it liberates the gesture from the meaning, therefore creating a rapport of belonging, which facilitates the growing adherence and decentralizes the relation of those who have the power to support cultural, artistic, and scientific actions.
Also in Portuguese, the term for ‘sponsorship’ (‘patrocínio’) is closer to pa-tronage, from the Latin radical patrocinium – a protection motion. Historically, it means ‘the protection of patricians towards the plebeian,’ and evidences, on its turn, the heritage of patriarchy and slavery on the colonial model of the Bra-zilian society. If the verbal language imposes itself as a determinant aspect to understanding the culture, the subversion of its employment is no longer to de-pend or contend with others, related with something from the outside or from above us. It is rather about coexisting: to subvert the individualistic imperative on jointly building an identity within the society.
For this reason, I insist: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?
Also, broadening the question: how can you be your city, how can you be the street?
Translated from Portuguese by Daniel Lühmann
andressa vianna is a multimedia producer, who loves the intersection be-tween technologies (old and new) in social and civil matters. She is a local coor-dinator for Brazil of Transnational Dialogues 2014.chico daviña is an independent researcher based in São Paulo.
SITorI
o安德莱萨·威亚纳
契科·达维尼亚
在你陌生的街道，站在一处别动。
在空间占位，停在哪儿。
观察你周围的事物和人处于什么位
置。
你对某种东西是障碍物吗？你与那里复合的节奏发生冲突
吗？你
在那里，觉
得自己是物质的还是非物质的？有点不自在
吗？当你在那里，什么影响了你，你影响了什么？
对人来说，语言是关键性的。
远不止于建
立一个出发点，以便相互理
解或寻求描述某种
事物的
方式的功能。词句（语言）创
造存
在的验
证：当我们为
不同的主体和客体命名，我们社会
地存
在。沟通是运用一种含
义，往往奇
怪的是，为对话者所不悟。语言的斟词酌句，像全球
共识的引言强加于今天城市化的世界：话
语的分歧先于理解差
异，掺混着周围的环境，直指词汇的最基本（像形的）的根源。
从参与者个人的经验出发，
在中国、欧
洲和巴西之间，
作关于她们的了解，这一倡议，首先面临的是语言的超现实，
翻译的语言。我
要是
会说中国话，要
想懂什么就不需要
翻译
了，如果
我的
母语
是英语，在国际间的
讨论中就占
据优
越的
地位。如果我
讲葡萄牙
语，对说中国话、法国话、或欧
洲话的
人，那些
语句的声音到底
是什么意思？不通
过产生文化符
号
的理性
翻译的直接
探寻，又谈何
理解词汇？我能简单地
用欧
洲的、亚洲的、拉
美的这
样笼统的词语
来涵
盖欧
洲大
陆，亚
洲大陆各自的特色吗？这
对谁有意义？又何种演说能操作？
大城市过
剩增长的人口，造
成在身份
形成
上永无休止的
战役。人不断
地被驱使着谋
生，占据空间，寻找个人在文化中
的位
置，并且失
败。漠视身
边他人的存
在，孤芳自赏，仅会成
为一个投
影，没有清晰的轮廓。是因为今
天构建
城市的那种
关键性：将一切主
观概
念，阐释，或
文化参照置于边
缘，消失
在一片嘈杂的物化的身份中。
5958 FaKe PaTTern 03. arTworK BY Fanger&mengJIn (FaKe STuDIo)
“Transnational Dialogues: A Factory for Imagination, Innovation and Integra-tion across Europe, China and Brazil” has been running an articulated series of events in Europe, China and Brazil in 2014 with the involvement of around 60 young participants from the creative fields. The participants have been involved in intense virtual collaboration culminating in three Transnational Caravans; a touring event that spans over 10 days and includes seminars, workshops, meet-ings and site visits.
In February 2014 participants from Europe and China joined their Brazil-ian counterparts in São Paulo for the First Caravan, meeting at Ponto Aurora, Phosphorus, SESC Pompeia, Atelie397, Jardim do Hermes, Centro Cultural de São Paulo and Casa do Povo. Two main public events took place: the first was a debate on the relationship between creativity and political engagement, at SESC Pompeia; and the second was on spaces of independent creation, at Casa do Povo. Other notable meetings were with Ligia Nobre, co-curator of São Paulo’s Architectural Biennial 2013; with Latitude, a platform for Brazilian art galleries abroad; and with André Komatsu of Galeria Vermelho. The Caravan then moved to Rio de Janeiro, where the programme started with an opening dinner and evening of discussions at Lapa’s Casa Momus. Two key public events took place: at Studio-X, about interventions and processes of urban regenera-tion; and at MAC de Niteroi, where our host curator Luiz Guillherme Vergara staged a utopic/dystopic dialogue in the museum’s galleries, surrounded by an exhibition by the artist and photographer Carlos Vergara, who also joined the discussion. Other notable meetings were with Ronald Duarte, Luiz Camillo Osorio, head curator at MAM Rio de Janeiro, and with the IBISS community at Complexo de Penha.
The experience in Brazil was intense. The Caravan started only a couple of weeks after two headline incidents in Rio de Janeiro: the killing of 9 people by the UPP (pacifying police unit) in the favela of Juramento, which was put down to the government’s attempt to control and “upgrade” Rio’s urban landscape; and the death of the journalist Santiago Andrade, who was hit by a flare that was thrown at him by a young protester, as he was reporting yet another wave of protests against the government. Both tragic events have rendered more vis-ible the cracks in a country – and a system – that cuts out those people at the margins, failing to deliver to its youth a hope for the future, nor an acceptable present. The discussions and meetings that we had during the Caravan proved to be dramatically on topic.
The Second Caravan took place in China in late May and early June 2014. Participants flew in from Europe and Brazil and met with participants from all over China for the first introductory meeting at Zajia Lab – a founding partner of Transnational Dialogues – which is an independent space for artistic creation, run by filmmaker Rong Guang Rong and Ambra Corinti. Meetings in Beijing were held at Flickingforehead, Caoba Commune, Intelligentsia Gallery, Video Bureau Beijing, Institute for Provocation, Arrow Factory, Action Space and Li-juan Independent Art School. The Caravan then moved to Chongqing and met at the space of Transnational Dialogues’ founding partner Organhaus, followed by a series of local events. After that, the Caravan went to Sichuan’s capital city, Chengdu, meeting at MOCA and at the Chinese Art Treasury, where the con-
clusive symposium “Creative Practices in Developing Cities in China, Europe and Brazil” brought together around 150 people, including the Caravan’s partic-ipants and many other young professionals from all over the region.
The Caravan was followed by the “Global Players Residency Programme”, a transcontinental artistic experiment that made use of technological inno-vations to unite, discuss and negotiate the opportunities linked to the issue of globalization for a younger generation. The residency was curated by Transna-tional Dialogues’ coordinator Robin Resch, in collaboration with Organhaus and with the support of the Goethe-Institut in Chongqing.
The Second Caravan was also preceded by a research trip across China, which saw the participation of the award-winning experimental filmmaker and video-artist Chris Daniels, who, inspired by Michelangelo Antonioni’s “Chung Kuo, Cina” (1972), is producing the medium-feature film “A Tiger’s Skin” as part of the outputs of Transnational Dialogues 2014, thanks to the additional contri-bution of the UK Arts Council’s Artist’s International Development Fund.
Transnational Dialogues’ deep links with China made the Second Caravan an exciting and unique experience, and enabled the young participants from Europe and Brazil to explore the complexities of Chinese society, as well as al-lowing them to establish fruitful, and hopefully enduring collaborations with young professionals in the creative sectors in China. As was the case for the First Caravan in Brazil, politics was also tangibly present during the Second Caravan in China, in particular as the Caravan’s stop in Beijing coincided with the 25th anniversary of the Tiananmen Square protests of 1989.
This edition of Transnational Dialogues ends its activities in 2014 with the Third Caravan, which is going to take place in Rome and Berlin in November 2014. The first part of the Caravan will take place in Rome with a conclusive large-scale event to be held at the MAXXI, the National Museum of 21st Cen-tury Arts, over the weekend of 15 and 16 November 2014. Artists, curators, intel-lectuals and many young professionals from the artistic and creative sectors of Europe, China and Brazil will give life to a two-day programme of conferences, video-screenings and art performances. The participation of Transnational Di-alogues at MAXXI Museum lies in the framework of the exhibition “Open Mu-seum, Open City”, curated by Hou Hanru. The second part of the Third Cara-van will have its public events in Berlin on 21 and 22 November 2014, with events to be held at Kreuzberger Pavillon and SAVVY Contemporary. The output orig-inating from the Global Players Residency, which took place in Chongqing in June 2014, will also be presented to the public for the first time.
Transnational Dialogues however, does not intend to stop its activities here. It is looking forward to conducting new stimulating explorations all over Eu-rope, China and Brazil, aiming to keep on building and fostering an unmatched network of young professionals and organizations across the three regions.
All materials produced by Transnational Dialogues are freely accessible from the website www.transnationaldialogues.eu or can be made available by sending us an email at [email protected]. Should you have any enquiries, please do not hesitate to get in touch.
TranSnaTIonal DIalogueS 2014: a Year oF aCTIVITIeS
SeConD TranSnaTIonal CaraVan, BeIJIng, CHongqIng anD CHengDu, CHIna (maY/June 2014) 6160 FIrST TranSnaTIonal CaraVan, São Paulo anD rIo De JaneIro, BraZIl (FeBruarY 2014)
63
TransnaTional Dialogueswww.TranSnaTIonalDIalogueS.eu
Started in 2011 by European Alternatives, Transnational Dialogues is an open and on-going cross-media platform managing and imagining artistic and cultural projects with a focus on the new geographies of globalisation and the emergence of a multi-polar artistic and intellectual world.
Transnational Dialogues facilitates artists, creatives, professionals, intellec-tuals and writers from Europe, China and Brazil to come together for a series of exchanges in both physical form and online. The platform promotes sharing of information, networking, and conceptual collaboration between individuals, organisations and institutions working in a variety of disciplines transnation-ally, and offers a trampoline for future collaborations and initiatives.
Under the slogan “Change Utopia!”, in 2014 Transnational Dialogues re-flects on the failure of existing economic and social models in the three regions, and the role of artists and cultural production in gesturing towards alternative futures. The process takes the form of a year-long process of networked-pro-duction, a multilayered exchange and mix of virtual collaboration, meetings, seminars and caravans.
“跨境对话”(Transnational Dialogues) 是一个开放的跨媒体平台，由European Alternatives成立于2011年；作为一个持续发展的交流平台，“跨境对话”不断组织
艺术、文化项目，以新的全球化地域视角，带动多极艺术与文化界发展。
“跨境对话“为来自欧洲、中国与巴西的艺术家、知识分子、作家等创意和专业人
士，提供线上与线下的交流与互动；分享与传播信息；精心安排内容丰富的跨国项
目，促进个体、组织和机构之间的关系与未来的合作。
2014年，“跨境对话”以“改变乌托邦”命名，组织年轻有为人士之间的协作，以
此反映当代中国、巴西与欧洲在社会经济模式遭受严峻的考验下，艺术家与文化先
锋所扮演的角色，以及面对未来的深思。整个过程为期一年，以会面、研讨会、调研
团等形式展开，实现多层次的交流与合作。
Iniciado em 2011 pela European Alternatives, o projeto Transnational Dialo-gues é uma plataforma aberta e em andamento de gerenciamento e criação para projetos artísticos e culturais com foco em novas geografias decorrentes da glo-balização e da emergência de um mundo multipolar e artístico.
Transnational Dialogues facilita o encontro de artistas, criativos, profissio-nais, intelectuais e escritores de diferentes continentes para uma série de in-tercâmbios e coproduções, em forma física e virtual. Sua plataforma promove o compartilhamento de informações, a criação de uma rede e a colaboração conceitual entre indivíduos e organizações que trabalham em uma variedade de disciplinas, em escala transnacional, e oferece um trampolim para colabo-rações e iniciativas futuras.
Com o título “Change Utopia!”, em 2014, conduz uma colaboração entre jovens criativos da China, Europa e Brasil para refletir sobre a falha dos mo-delos econômicos e sociais existentes nessas três regiões além do papel dos ar-tistas, da produção cultural e de seus gestos em direção a alternativas futuras. A pesquisa toma forma em um processo de produção em rede, com um ano de duração. Uma troca entre muitas camadas, produção colaborativa virtual, encontros, seminários e caravanas.
2014
