Page 104 - ARTE!Brasileiros #45

ART BEYOND ART ENGLISH VERSION
SEMINAR V INTERNATIONAL SEMINAR ART! BRAZILIANS ART ON SEPTEMBER 6, ARTE!Brasileiros will hold its V International Seminar, at
BEYOND ART | PAGES 32 TO 34 the Ibirapuera Auditorium, on the occasion of the opening of the 33rd. Bienal de
ART BEYOND ART São Paulo. In this issue, will be debated the place of art beyond art, from different
perspectives. We will adress aesthetic and ethical questions of the role of art in
the 21st century. The Chilean artist Voluspa Jarpa will participate in the Geopolitics
BY DIANA WESCHLER* and Art table and will present her work together with sociologists and curators.
One of the aspects that has involved the work of numerous artists is the recovery
Thinking art “beyond art” today implies in doing it the same thing and its limits and, of memory and the research on archives that might bring to light through their
on the way, can sustain-hypothetical and seminary the attention that, somehow, works. Documents are not always accessible and, in recent years, thanks to the
everything is art or is not. democratization of information, historians and researchers, have made it possible
Let us remember that the concept of art is inscribed, culturally, precisely and to understand how the story often has flaw narratives.
that it speaks of “art” today implies remitting a priori to nineteenth-century Documents and files are themed spaces all over the world. In Istanbul, Turkey,
considerations, which considered and included, within the concept of art, linked for example, the cultural institution Salt Galata was established in 2011, with the
variables to representative, magical-religious, ornamental, etc. needs. aim of search and to archive documents about the culture, history, politics and
The program is still valid today and, as such, is still effective in naming certain architecture of the Ottoman Empire and Turkey. A fundamental part of the work
types of images, objects and acts. is focused on the survey of documents and testimonies about the extermination
Precisely at the moment when the notion of art was established, the history of art of the Armenians in 1915. The material provides the basis for exhibitions, debates
also appeared as a scientific discipline capable of ordering and thinking the system and communication programs. In Lebanon, the Atlas Group, founded in 1999 by
of images in Western Europe. artist Walid Raad, seeks to locate, preserve, study and produce audiovisual material,
From here on, we begin to wonder how much this discipline, formulated in this way, literature and other artifacts related to the history of the country.
would be able to account for the diversity of global symbolic production, understood In a certan way, groups like this follow what philosophers and historians such as
within the notion of “art” and, even more, within contemporary artistic processes. Foucault and Agamben advocate: the contemporary does not exist. The real access
The expansion of its field of action has been increasing. In the last 40 years, both to this is a question about the past, and that the key to understanding is the exercise
studies of the visual arts and several of the interrelated perspectives - cultural of a kind of “archaeology” from the questions that the present projects in the past.
sociology, anthropology, philosophy and history - have contributed to broadening This has been a methodology that inspires experts from different areas of thought.
critical thinking and the repertoire of objects to consider. Since the years 1960, the Latin America was plagued by dictatorships whose violence
if differentiated from other political movements or coups d’état. In Argentina,
Always leaving the debate open, it may be necessary to set some new parameters. To Bolivia, Chile, Uruguay and Brazil there was thousands of political prisoners,
situate the look and the imaginary in another place, to re-signify the apprehension missing persons and killings. This was to deploy a system characterized by the
of forms and images and how they are constituted, not only to order them, thinking systematic destruction of the organic and free thought, a model that seemed to
from the logic of a “system”, but also from an entropic place , trying to follow their has crumbled for a long time. The communication on facts was censored and few
disorder, identifying and associating multiple vectors. realized what was going on around. Fifty years after that grim scenario, we have
Given that the scope of contemporary production has expanded - definitely artists testimonials and documents.
are increasingly impacted by the social, political, environmental spheres and seek Voluspa Jarpa, artist born in 1971 in Rancagua, Chile, develops for years a research
to interfere / intervene in some way - symbolic productions also needed to expand based on the treatment and use of files as aesthetic source. On En nuestra pequeña
their theoretical-critical toolbox, seeks to capture both the poetic dimensions and región de por acá, a show in the MALBA-Museo de Arte Latinoamericano de Buenos
their complexity and with them to dialogue with different audiences. Aires, held in 2016, she put together several works created from documents of the
On the other hand, there is the logic of the market that insistently seeks to define U.S. intelligence service, in the period between 1948 and 1994, centered on the
citizenships and cultures, precisely the space of art is not alien to this. figure of 47 Latin American leaders who occupied crucial posts in their countries
In this sense, a contemporary production with aspirations to focus beyond the spaces and were killed or disappeared in unclear circumstances. In the opinion of Pérez
that would be naturally awarded to it, the logic of a unique work, of “white cube”, Rubio, artistic director of the Museum until July of this year, “in the work of the
of museological aspiration, contributes to the work of emancipation of thought. Jarpa the act of research and the artistic act are only one. The history speaks
It is from these considerations that the formats - of art and for the art - in which through the pieces “
contemporary art is inserted demand a revision and a replanning of the relations Jarpa writes in La forma simbólica del archivo: “My reasons for working with
between the actors, the projects and the spaces of the “system of the art”: of archives does not come from the fundamentals of historiography, neither come
artists to curators, critics, collectors, even institutions-museums, centers, galleries, from the need to check and oppose information sources in order to narrate a point
residences, training centers. of view that challenges the historian. My reasons to approach and plunge into the
need to archives that I have lived for the past 20 years, comes from the encounter
SEMINAR V INTERNATIONAL SEMINAR ARTE!BRASILEIROS ART beetwen the erased with the strikethrough. Comes from the no history or from,
BEYOND ART | PAGES 36 AND 37 which is more mysterious, comes from the SECRET as a matter of security, its
MEMORY AND hysteria and its muteness. My urgency by the archive is due to this symptom, this
“floating cloud of bad feelings” perceived through my childhood docked in the Cone
GEOPOLITICS IN ART Sur de Latino America . Childhood that made me ask how many of my subjectivity
is skewed, modeled by the facts and the atmosphere that involved my childhood
CHILEAN ARTIST VOLUSPA JARPA WHO PARTICIPATES IN V INTERNATIONAL by these military dictatorships and their codes and languages which I witnessed
SEMINAR WILL BE THE OFFICIAL REPRESENTATIVE OF THE CHILE PAVILION AT in my own country and also in other countries in the region where I have traveled
THE NEXT VENICE BIENNALE CURATED BY AGUSTÍN PÉREZ RUBIO and lived. What are the archives of non-story of the Cold War in Latin America?
What they reveal of this past and, especially, how this question affects us today ?
BY PATRICIA ROUSSEAUX I’ve been working since I was 15 with the archives of the CIA and other U.S. intelligence

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