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portrayed the difficult mission of settling seminar/article [pages 22 to 25] to match image x imaginary, and also
on the other side of the border, creating CONCRETE determines which and how images are
a cultural and political space in which (re)produced and consumed, in addition
subaltern individuals had a place and by nicolas soares to which and how artists should produce.
representation. “I grew up between two The position taken by black and indigenous
cultures, the Mexican (with a strong The urgency of claims for the relocation artists in the art system today, must always
indigenous influence) and the American of subjects and their dissident identities oppose the institutional need to respond to
(as a member of a colonized people in within culture have been presented as an iconography that still exoticizes bodies,
our own territory). Hate, anger and battlefronts in recent years and point to ways of living, spiritualities and customs
exploitation are prominent features of a definitive sociocultural restructuring for a behavior of the good savage and us
this landscape.” in many areas, especially in art, from the here by them there.
The globality of hate is exhumed in strengthening of margin epistemologies Manumission of the image should
all its multiculturalism, as in the saga towards the centre. Marginalized, escape towards an iconoclastic
of the gypsy writer Ceija Stojka (1933- racialized subjects, stereotyped by the mobilization . Less the illustration of
[2]
2013), from Austria, who lived in a Nazi European colonial historical heritage canons in its stereotyped character,
concentration camp for gypsies, in and its affluence in emerging territories and yes, the suppression of the savior
Birkenau. The Spanish collective Flo6x8, – children of the colony – recover their image that exterminates certain subjects.
from Seville, Spain, uses a strategy of journeys and setbacks in the solemn Representation has already been in
flash mobs and the language of flamenco pages of History. The historical review question throughout a History of Western
to declare their insurgency against the driven by the assumption of a southern Art, and its annihilation has already been
global financial system. epistemology (for all those who were a goal in favor of a pure, technical art, free
In this sense, the ultra-heterodox oppressed and asphyxiated by just one of iconographic narrative. Concretism, as
flamenco of the amazing singer Niño possibility of being in the world) is in an artistic movement, reinforced forms,
de Elche (stage name of Francisco progress, in an attempt to break down the planes, colors, materials, spatiality,
Molina, 38 years old, born in Elche, on barricades of the Institution of Art and and, mainly, the non-subjectivity of art
the White Coast of Spain) comes to shake Culture, because it is a manifestation (in as art-itself. Nothing to see anymore.
up everything known in the traditional terms of the symptom and the conflict) The objectivity of the black square on
genre. Niño de Elche was defined by in the streets and in the personal as a white background, however, hid the
the newspaper El Mundo, as “the man a politician. The geopolitical globe is refinement of representation in its
who bombed flamenco”. In one of his reorienting its axis, and its hemispheres narrative performance. It was still a figure,
most recent works, Niño recorded the disqualifying themselves from Cartesian still in the sense of devotion to the image.
so-called “cantes de ida y vuelta”, a latitude and longitude coordinates. The re-elaboration of the self-narrative
subgenre of flamenco resulting from On the one hand, we revolve around starts from the concreteness in which
his return to Spain from his emigration the structure in which socio-historical subjects racialized by this regime of images
to Latin America (and which brought, in impediments, which try to shape elaborate their existence. The segregation
its luggage, the changes introduced by certain identities, reinforce images is concrete, as the non-possibility of
local genres, such as rumba, guajira or of racialization, weakening subjects subjectivation, individualization and
Colombian). “I wanted to take this style throughout the History of Culture. In affections is concrete. reinforced
that exists in flamenco and demystify it, contrast, we perceive the frictions, twists concrete on the history of erasure; of
expand it and link it to themes that I am and ruptures in the art system through non-image. Structural concrete that
interested in dealing with, such as slavery, emancipatory events elaborated by these built the subalternization of some in favor
colonialism, violence, drugs, commercial subjects. In an exercise of overcoming of few, justified by the image. To these
relations and border flows”. the figurative, for example, outlined artists today, concrete presents itself in
The breadth of cultural exchanges by Debret, Rugendas, or Christiano the fragmentation of the historical body in
at the show is immense. She goes to Júnior and many other colonial artists the tension for an anti-anatomy that is
[3]
Roraima, where the artist, the indigenous of yesteryear, in which for some time the antithesis to the Great Representation.
Macuxi Carmézia Emiliano, appears, they created representations of a this new concrete it combines with
with representations of the daily life and certain typology of the image. Black, experiences, with daily life, with materials,
cosmogony of her people, and meets in indigenous and non-white artists, their with corporalities, not in contribution
Paris the award-winning Israeli filmmaker productions and the attention they to the iconographic representation
Amos Gitaï, who is also the star of this received continue to be covered by the of the image of oneself – as a positive
year’s Venice Architecture Biennale, paradigm of primitivism , less as a form reinforcement of the historical denial
[1]
shows the work Casa, Ruínas, Memórias, and language that they create, and yes, of seeing oneself –, but in the exercise
Futuro , in which he follows the story of more, it seems, as a reinforcement of of stopping the image, however not the
a house in West Jerusalem for 25 years. the folklorization of a colonial framework. discourse.
Apart from the abstract title, Overcoming this representation is to put We understand that the emergence of
Choreographies of the Impossible, an an end to the figurative under the design the production of black and indigenous
examination of the Bienal program, of iconography. And iconography, in the artists must respond beyond an “identity
which will open on September 6th in sense of a banner. For even the image institutional agenda”, but must be
Ibirapuera with 120 guests, reveals a is the lure that guides the subjects, the structured in the field and in the art
network of political interrelationships policies and the organization of a society. system as fundamental for the advances
in the broadest sense of the word politics The expectation that current art weighs of other epistemologies, which touch the
and its contemporary confrontations. on black and indigenous artists wants hegemony organized by centuries of a
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