{"id":8569,"date":"2018-06-06T18:59:00","date_gmt":"2018-06-06T16:59:00","guid":{"rendered":"https:\/\/reverent-antonelli.23-88-7-78.plesk.page\/?post_type=aiovg_videos&#038;p=8569"},"modified":"2025-05-06T19:01:45","modified_gmt":"2025-05-06T17:01:45","slug":"revolutionizing-art","status":"publish","type":"aiovg_videos","link":"https:\/\/normativeorders.net\/en\/video\/revolutionizing-art\/","title":{"rendered":"Revolutionizing Art"},"content":{"rendered":"<p><strong>Panel 2: &#8220;Revolutionizing Art&#8221; at the International Conference &#8220;The other 68: Anthropophagic Revolutions in Brazilian Counterculture after 1968&#8221; at Museum Angewandte Kunst in Frankfurt am Main, 23-25 May 2018<\/strong><\/p>\n<p>Chair: <strong>Laura Teixeira<\/strong> (Frankfurt)<\/p>\n<p><strong>Moacir dos Anjos<\/strong> (Recife)<br \/>\nAn underdeveloped art<\/p>\n<p>Culture and politics in Brazil during the 1960s were informed by the concept of underdevelopment. From the work of economist Celso Furtado about Latin America to the works by H\u00e9lio Oiticica, Glauber Rocha, Caetano Veloso and others, underdevelopment was considered both a condition for those who lived in Brazil (\u201cof adversity we live\u201d, said Oiticica) and something to surpass. Underdevelopment was a concept that guided the \u201cexperimental art\u201d made in Brazil and Cinema Novo, and it was at the core of the only written manifesto of Tropicalismo, published in 1968 by poet and filmmaker Jomard Muniz de Brito. This paper will address the Brazilian artistic production of the period as one that reflected, both thematically and formally, the paradoxical environment in which it was produced: an underdeveloped art.<\/p>\n<p><strong>Lena Bader<\/strong> (Paris)<br \/>\n\u201eInterventions in Ideological Circulations\u201c: The Rebellion of the Well-Versed Images<\/p>\n<p>This paper revisits the origins of the anthropofagia movement in the 1920s in order to discuss its resurgence and popularity in Brazilian protest culture in the 1960s, and in particular in the Tropic\u00e1lia movement. The focus will be on individual artist, whose work emerged as pivotal moments of a transcultural modernity. With what we might call their pictorial migrations, they offer an important corrective for universalist approaches to a \u201cGlobal Art History\u201d. From an art history point of view, these works are significant because they highlight the politics of artistic engagement. The protest that they articulate anticipates figures and models of thought that become explicit in later, post-colonial debates and address basic questions of cultural identity.<\/p>\n<p><strong>Max Jorge Hinderer Cruz<\/strong> (Rio de Janeiro)<br \/>\nNew Alliances, New Sex, New Cocaine: Exile and the Relations of Production in H\u00e9lio Oiticica\u2019s Life and Work in New York 1971-75<\/p>\n<p>Many protagonists of Brazil\u2019s post-68 counterculture were living in exile. It is fair to say that some of the most emblematic of Brazil\u2019s counter cultural music, film and art works have been produced abroad. For visual artist H\u00e9lio Oiticica (1937-80) \u2013 a key figure of the Tropic\u00e1lia and counter cultural movement \u2013 life in exile, first in England and later in the USA, led to profound changes in the way he conceived both his life and work. Yet, art history and history largely fail to account for the impact of these radical shifts on Oiticica\u2019s work. This paper aims to de-center the standard accounts of Brazil\u2019s counterculture of the 1970s.<\/p>\n<p>&nbsp;<\/p>\n<p><em>Presented by:<\/em><br \/>\nThe conference is part of the series \u201cTropical Underground\u201d and is organized by the Cluster of Excellence \u201cNormative Orders\u201d with the Department of Theatre, Cinema and Media Studies at Goethe-Universit\u00e4t Frankfurt.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Panel 2: &#8220;Revolutionizing Art&#8221; at the International Conference &#8220;The other 68: Anthropophagic Revolutions in Brazilian Counterculture after 1968&#8221; at Museum Angewandte Kunst in Frankfurt am Main, 23-25 May 2018 Chair: [&hellip;]<\/p>\n","protected":false},"author":5,"comment_status":"closed","ping_status":"open","template":"","meta":{"inline_featured_image":false,"_links_to":"","_links_to_target":""},"aiovg_categories":[],"aiovg_tags":[],"class_list":["post-8569","aiovg_videos","type-aiovg_videos","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/aiovg_videos\/8569"}],"collection":[{"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/aiovg_videos"}],"about":[{"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/types\/aiovg_videos"}],"author":[{"embeddable":true,"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/comments?post=8569"}],"wp:attachment":[{"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/media?parent=8569"}],"wp:term":[{"taxonomy":"aiovg_categories","embeddable":true,"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/aiovg_categories?post=8569"},{"taxonomy":"aiovg_tags","embeddable":true,"href":"https:\/\/normativeorders.net\/en\/wp-json\/wp\/v2\/aiovg_tags?post=8569"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}