Page 105 - ARTE!Brasileiros #45

by immateriality. In impulse to the immaterial there is the “undisputed recognition of moment in Brazil. This is the first book in a series to be released by the seal Edições Sesc,
the musical work of John Cage” and two favorite students: Robert Rauschenberg, his under the title Gestão da Cultura e do Entreternimento.
collaborator, and Allan Kaprow, creator of body art. The term “dematerialization of art” In 2017, we witnessed a flood of intolerance - as if it were not enough to order racial, political
first appeared with the American critic Lucy R. Lippard in an article signed with John and economic - specifically cultural diversity. The closing of the Queermuseu exhibition, in
Chandler in 1968. In one of his interviews he says that “everything, including art, exists Porto Alegre, the veto to its exhibition in Rio de January; the prohibition of the play The
today in a situation politics”. This new look emerged in Lippard, after a trip she made to Gospel according to Jesus, Queen of Heaven in Jundiai; the attacks on
Argentina in 1968, where she met artists engaged in the art / politics movement, in the MAM, in São Paulo, for the performance La Bête, by the artist Wagner Schwartz; and also
events of May 1968. The CoBRA group appears in this chapter with Asger Jorn, and his threats to curators and artists, have provoked countless demonstrations in defense of
idea of “study laboratories, such as scientific institutes”. The aim of the Danish artist was freedom and integrity of works and artistic expressions.
to teach young people not only to achieve practical artistic results but also to grow in the Aware of the importance of this debate, the organizers have created an interesting
field of art theory. The fragmented, non-long themes attempt to demonstrate Zanini’s interlocution which, from different authors - lawyers, playwrights, educators, cultural
thinking, especially in two segments to which he devoted himself: video art in Brazil, in producers, religious leaders - active in the areas of culture communication have brought
which he traces a history of the first electronic experiences that appeared here between contributions to the idea of freedom, as a guarantee of expression artistic - whether legal,

1969 and 1973. While in the United States this movement was already taking shape at the offered by the Constitution or by theoretical concepts.
end of 1960, in Brazil, due to lack of resources, it started late. Zanini comments on art Aware of the importance of this debate, the organizers created an interesting dialogue that, from
and technology “as manifestations dating back from the period between 1940 and 1950 different authors - lawyers, playwrights, educators, cultural producers, religious leaders - in the

with Abraham Palatnik’s cybernetic experiences, the first person to conclude about of areas of culture or communication, brought contributions to the idea of freedom, as a guarantee
the passage of the artisanal direct of the art in Brazil “. There is no portable software of artistic expression - whether legal, offered by the Constitution or by theoretical concepts.
for the artists that accompany the time of the immense IBM computers. “Waldemar The testimonies, edited in subtopics or questions and with short paragraphs, allow to follow and to go
Cordeiro, the pioneer of computer art, associated with the physicist Giorgio Moscati, through the book without transforming the subject in a single unintelligible narcissistic testimony.
demonstrated in 1969 the results of his research, which had an international error, but Here diversity is guaranteed by the way each expresses itself. Theater director and
the logo was interrupted with his death in 1973.” After him, other artists were attracted playwright Zé Celso says in WHY ART?: “Our vocation is to create with the universe. If
to electronics like Wesley Duke Lee, Artur Barrio, Gabriel Borba Filho and Antonio Dias. there are gods and demons creatrs, they are in us and in all nature or nowhere. (...) “We
And among the theorists, Zanini with a participation of Vilém Flusser, intellectual, are part of the Without Nothing - but with Art we can be able to transmute the Without
founder of the discipline of communication theory, in Faap, of which I was a student. Art, so that they do not destroy Planet Earth: those who tattooed on their heads the
Flusser’s multimiditic discourse, the theoretician defined by Zanini as “the philosopher Cross Curled in a Dollar: $$$$ +++... “. Or in Individual Rights and Freedom of Expression:
of phenomenological adherence, identified above all by Heidegger,” attracted artists “They are more than social rights, they are sacred human rights as they are for the
and theorists from all over the world. On hearing the early days of art / technology in character Antigone; are proper to human nature. Transcends the Courts and Judgments”.
Brazil, Zanini notes that on the international influences, as the behavioral evidence was Benjamin Seroussi, curator and cultural manager, Casa do Povo’s director, in São Paulo, points
followed by the rapid spread of the use of audiovisuals and films super-8 and 16 mm, out in What makes art?: “In the age of censorship, the very existence of art is questioned...
sometimes records of conceptual actions “ We can not help but wonder how we come to this strange situation in which we need to
The intense involvement of the critic with the problems of contemporary art is reflected justify the very existence of art. It can be judged hastily as good or bad, but it does not
in the long duration of the collection as a sort of guiding thread. In the texts collected stop being art ... “. “In this short text, we invite the reader to walk through some situations
in Aspects of the culture of the cinema of artist and experimental emerges from the in which art is at play and where it acts.” “SITUATION 1: ART PRODUCES KNOWLEDGE”,
group of Milan, led by Lucio Fontana, Argentine / Italian, author of the Manifesto of “SITUATION 2: ART DEORGANIZING”, and so on, “ART CREATE YOUR OWN WORLDS
the space movement by teleconference, 1952, expressing a conviction that “an art “,” ART MAKES POLITICS “,” ART AS A TOOL “,” ART GENERATES CONTROVERSIES “.
should free of its materiality “. Among the works cited is the Fluxus Group, which is From different perspectives, all collaborators of the book, from the writer, chronicler and
presented to the São Paulo Biennial in 1983, and placed Brazil in contact with a work writer Antonio Prata to Cleomar Rocha, postdoctoral student in Interdisciplinary Poetics and
by Vostel. “Annual of a video of Korean Nam June Paik in 1965, mark of the inaugural Cultural Studies of UFRJ; Don Clóvis Rodrigues, emeritus Bishop of the Anglican Episcopal
moment of video art,” Zanini notes. Paik influenced artists such as Vito Acconci, Bruce Church of Brazil, and Juca Kfoury, a reference in Brazilian sports journalism, could somehow
Nauman and Davidson Gilliotti. Dan Graham, Dennis Oppenheim, Richard Serra, Bill agree with the phrase of comedian, playwright and writer Jô Soares:” The thing is in the
Viola, Gary Hill and others. ear of the listener, and not of the speaker”
Together, the book reinforces that Walter Zanini is one of the most expressive national
leaders without commitment to contemporary world art and his work, a work of permanent INSTITUTION MARCOS AMARO FOUNDATION | PAGES 84 TO 87
NEW TERRITORY OF ART
consultation.
BOOK ART & LAW | PAGES 82 AND 83 AND SUSTAINABLE CULTURE
BOOK DEBATES ART, THE ANCIENT AND TRADITIONAL WEAVING FACTORY, IN ITU, WITH MORE THAN
LAW AND FREEDOM 25,000 M2, SIGNED AS A NEW POLE OF ART AND CULTURE FOR THE REGION

FIRST VOLUME OF COLLECTION BY SESC EDITIONS QUESTIONS THE BY ARTE!Brasileiros
LIMITS OF ARTISTIC PRODUCTION UNDER THE LAW PERSPECTIVE

WITH THE MISSION OF PRESERVING and fostering the memory and the contemporary artistic
BY ARTE!Brasileiros experience in the city of Itu and region, the Marcos Amaro Art Factory (FAMA) inaugurated
two more exhibition rooms.
ORGANIZED BY CRIS OLIVIERI, a lawyer with specialization in communication process, management In less than a year, a team headed by the foundation’s director, Raquel Fayad, and the curator
and cultural and master’s degrees in of Arts by the University of Boston, and Edson Natale, and organizer, Ricardo Resende, set up a serious initiative and important investment by
musician, writer and journalist, the book couldn’t be released at a more than opportune the artist and entrepreneur Marcos Amaro.

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