Contra-pensamento Selvagem
curated by Paulo Herkenhoff with Cayo Honorato, Clarissa Diniz and Orlando Maneschy
with works by
Armando Queiroz, Berna Reale, Coletivo Madeirista, Daniel Lisboa, Daniel Santiago, Edson Barrus, Fernando Peres, Grupo EMPREZA, Grupo Urucum, Jayme Figura, Jonathas de Andrade, Jonnata Doll, Juliano Moraes, Lourival Cuquinha, Mariana Marcassa, Miguel Bezerra, Moacir, Oriana Duarte, Paulo Meira, Pitágoras Lopes, Solon Ribeiro, Thiago Martins de Melo, Victor de la Roque, Wolder Wallace e Yuri Firmeza
Contra-pensamento Selvagem exhibits work by artists of the North East of Brazil, and proposes a state of "non conceptual purity," in which the works presented share some perspectives in common, such as "an untreatable libido", "the placing of the subject in a place of power" and the "violentation of political violence".
Contra-pensamento Selvagem is part of the exhibition Caos e Efeito
at Instituto Itaú Cultural, Avenida Paulista 149, São Paulo, Brazil
http://www.itaucultural.org.br
*****
curatorial text:
caos e efeito/
contra-pensamento selvagem
Explosições. Artes blásticas.(1) A necessidade de demarcar distinções de linguagem, inventando outras significações, evidencia inteligências e sensibilidades, que advertem para diferenças irredutíveis. Não somente as práticas artísticas podem configurar territórios para outros modos de existência, como também, dentro do próprio campo artístico, pode-se perceber outras maneiras de se pensar e de se fazer arte.
*****
curatorial text:
caos e efeito/
contra-pensamento selvagem
Explosições. Artes blásticas.(1) A necessidade de demarcar distinções de linguagem, inventando outras significações, evidencia inteligências e sensibilidades, que advertem para diferenças irredutíveis. Não somente as práticas artísticas podem configurar territórios para outros modos de existência, como também, dentro do próprio campo artístico, pode-se perceber outras maneiras de se pensar e de se fazer arte.
Os trânsitos entre tais diferenciações podem ser pensados a partir do livro O Pensamento Selvagem, escrito pelo antropólogo Claude Lévi-Strauss em 1962. Analisando as confrontações culturais a partir da perspectiva das sociedades ameríndias, o autor questiona o rebaixamento do pensamento "primitivo" pelo pensamento científico, sustentando, no entanto, certa simetria entre ambos, se não uma identificação de um a outro. Para ele, embora sejam "desiguais quanto aos resultados teóricos e práticos", ciência e mito seriam equivalentes em suas "operações mentais", partilhando de uma mesma "exigência de organização".
Assim, considerando que o pensamento primitivo é também "científico" e, por isso, atento às propriedades do real, Lévi-Strauss organiza esses diferentes "modos do conhecimento" de maneira linear, inserindo a arte "a meio caminho entre o conhecimento científico e o pensamento mítico ou mágico". Sua concepção de arte, portanto, termina submetida aos interesses da ciência, o que de resto demonstra que ela não pode acompanhar a produção do pós-guerra.
Para questioná-lo, Contra-pensamento selvagem não terá sido uma simples oposição a O Pensamento Selvagem do antropólogo, mas o desejo de promover uma discussão sobre singularidades que não se reduzem aos interesses da razão cientificista. Justapõem-se aqui artistas cujos trabalhos dão a ver certa indomesticação existencial do pensamento.
Os artistas que tomam parte nesta exposição procedem das regiões Norte, Nordeste e Centro-Oeste do país (com exceção do Distrito Federal). Não há nisso, porém, qualquer reivindicação de uma cota de visibilidade cultural para o que está à margem – o que em última instância lhe seria conferido pelo centro. Tais regiões oferecem um repertório cuja força específica pode ser aqui aventada, mas não afirmada previamente. Pode-se todavia sublinhar algumas perspectivas: uma libido intratável, uma deposição do sujeito como lugar de poder, uma violentação política da violência – sinais do que se poderia situar para além de uma pureza conceitual. Por não se adequar ao que lhe é assinalado, por não se sentir confortável na sua "identidade", a arte é o que realmente pensa.
cayo honorato, clarissa diniz, orlando maneschy e paulo herkenhoff
nota:
(1)-Expressões usadas, respectivamente, por Jayme Fygura e Fernando Peres.
*****
Google Translation:
against wild thinking or counter savage thought
Explositions. Blastic arts (1) The need to mark distinctions of language, inventing other meanings, evidencing intelligences and sensitivities, which warn of irreconcilable differences. Not only the artistic practices can configure territories for other modes of existence, but also, within the artistic field, they can perceive other ways of thinking and of doing art.
The movements between these differences can be thought from the book The Savage Mind, written by anthropologist Claude Levi-Strauss in 1962. Analyzing the cultural confrontations from the perspective of Native American societies, the author questions the lowering of "primitive" thought by scientific thinking, arguing, however, certain symmetry between the two, if not an identification of one with another. For him, though they are "unequal regarding the theoretical and practical results", science and myth would be equivalent in their "mental operations", sharing the same "requirement of the organization."
In this way, considering that primitive thought is too "scientific" and therefore aware of the properties of the real, Levi-Strauss organizes these different "ways of knowing" in a linear fashion, inserting art "midway between scientific knowledge and mythical or magical thinking." His conception of art, therefore, ends subject to the interests of science, which therefore demonstrates that it can not follow the post-war production.
To question him, counter-savage thought is not a simple opposition to The Savage Mind of the anthropologist, but the desire to promote a discussion of singularities that are not reducible to the interests of scientistic reason. Here there are juxtaposed artists whose works give visibility to a certain un-domestication of existential thought.
The artists taking part in this exhibition come from the North, Northeast and Midwest regions of the country (with exception of Brasilia, the Federal District). However, there's not in anyway, a claim of a quote of cultural visibility for those who are at the margin - a visibility which ultimately would be conferred by the center. These regions provide a specific repertoire whose strength can be suggested here, but which has not previously stated. You can however highlight some perspectives: an intractable libido, a deposition of the subject as a place of power, a political violentation of violence - signs of what might be situated beyond a conceptual purity. Not subjected by what it is assigned to, not comfortable with its "identity," art is then that, that really produces thought.
(1)-Expressões usadas, respectivamente, por Jayme Fygura e Fernando Peres.
*****
Google Translation:
against wild thinking or counter savage thought
Explositions. Blastic arts (1) The need to mark distinctions of language, inventing other meanings, evidencing intelligences and sensitivities, which warn of irreconcilable differences. Not only the artistic practices can configure territories for other modes of existence, but also, within the artistic field, they can perceive other ways of thinking and of doing art.
The movements between these differences can be thought from the book The Savage Mind, written by anthropologist Claude Levi-Strauss in 1962. Analyzing the cultural confrontations from the perspective of Native American societies, the author questions the lowering of "primitive" thought by scientific thinking, arguing, however, certain symmetry between the two, if not an identification of one with another. For him, though they are "unequal regarding the theoretical and practical results", science and myth would be equivalent in their "mental operations", sharing the same "requirement of the organization."
In this way, considering that primitive thought is too "scientific" and therefore aware of the properties of the real, Levi-Strauss organizes these different "ways of knowing" in a linear fashion, inserting art "midway between scientific knowledge and mythical or magical thinking." His conception of art, therefore, ends subject to the interests of science, which therefore demonstrates that it can not follow the post-war production.
To question him, counter-savage thought is not a simple opposition to The Savage Mind of the anthropologist, but the desire to promote a discussion of singularities that are not reducible to the interests of scientistic reason. Here there are juxtaposed artists whose works give visibility to a certain un-domestication of existential thought.
The artists taking part in this exhibition come from the North, Northeast and Midwest regions of the country (with exception of Brasilia, the Federal District). However, there's not in anyway, a claim of a quote of cultural visibility for those who are at the margin - a visibility which ultimately would be conferred by the center. These regions provide a specific repertoire whose strength can be suggested here, but which has not previously stated. You can however highlight some perspectives: an intractable libido, a deposition of the subject as a place of power, a political violentation of violence - signs of what might be situated beyond a conceptual purity. Not subjected by what it is assigned to, not comfortable with its "identity," art is then that, that really produces thought.
cayo honorato, clarissa diniz, orlando maneschy e paulo herkenhoff
note:
(1)-expresions used, in that order, by Jayme Fygura and Fernando Peres.
No comments:
Post a Comment