\u00c9 relevante recuperar os principais tra\u00e7os que orientam a discuss\u00e3o acerca da arte conceitual, em seus aspectos presentes j\u00e1 nos debates de uma arte moderna, mas sobretudo a partir das linhas que demarcam a constru\u00e7\u00e3o do campo contempor\u00e2neo, marcado pelos diversos graus de politiza\u00e7\u00e3o e multi-significa\u00e7\u00e3o das pr\u00e1ticas art\u00edsticas. Este curso se prop\u00f5e a dar continuidade \u00e0s discuss\u00f5es em torno da arte conceitual, conceitualismo e arte p\u00f3s-conceitual, iniciadas no curso anterior, buscando enfatizar como tais quest\u00f5es se confrontam com os debates descoloniais e locais (perspectivas do sul) e ao mesmo tempo se abrem para um processo inter- ou multi-linguagem. \u00c9 preciso reconhecer que as \u201cartes conceituais\u201d (quando flexionadas) implicam diretamente questionamentos acerca do \u201cestatuto da obra de arte\u201d e dos modo como esteja sendo praticado \u2013 nos pontos mais ou menos demarcados de um sistema ou circuito de artes, em sua inclus\u00f5es e exclus\u00f5es, suas multi-camadas, membranas e bordas. Trata-se de localizar na quest\u00e3o da obra de arte um problema ontol\u00f3gico, ao produzir certa modalidade de objetos e instituir rela\u00e7\u00f5es, e tamb\u00e9m epist\u00eamico, no sentido de ter as obras sempre for\u00e7ando limites dos sistemas de conhecimento e ao mesmo tempo desenvolvendo di\u00e1logos produtivos com os sistemas de saber em curso, em um campo sempre din\u00e2mico. Ser\u00e3o enfatizados, ainda, temas implicados nas misturas entre visualidade e sonoridade, pr\u00f3prias do campo contempor\u00e2neo: n\u00e3o apenas a arte conceitual \u00e9 uma modalidade de pr\u00e1ticas interm\u00eddia como tamb\u00e9m se instalam a\u00ed, de modo particularmente instigante, os debates que envolvem as tradi\u00e7\u00f5es \u201cn\u00e3o-retiniana\u201d e \u201cn\u00e3o-coclear\u201d, fomentadoras de uma abertura produtiva em que objeto, imagem, sonoridade, voz e discurso se mesclam, misturam e articulam, em gestos, a\u00e7\u00f5es e interven\u00e7\u00f5es para al\u00e9m do sens\u00edvel \u2013 mas, paradoxalmente, em alta-voltagem sensorial.<\/p>\n\n\n\n
roteiro do curso:<\/strong><\/p>\n\n\n\n 5\/8 Bloco 1 \u2013 movimento centr\u00edpeto: formaliza\u00e7\u00f5es e modelos<\/strong><\/p>\n\n\n\n 12\/8 BAILEY, Robert. \u201cIntroduction: A Theory of Conceptualism\u201d, in SMITH, Terry. One and Five Ideas: On Conceptual Art and Conceptualism<\/em>. Ed. Robert Bailey Durham and London, 2017 Duke University Press, 2017.<\/p>\n\n\n\n BUCHLOCH, Benjamin H. D.. \u201cConceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions\u201d, October<\/em>, Vol. 55. (Winter, 1990), pp. 105-143.<\/p>\n\n\n\n FLYNT, Henry. \u201cEssay: Concept Art\u201d, in An Anthology<\/em>, 1963. http:\/\/www.henryflynt.org\/aesthetics\/conart.html<\/p>\n\n\n\n HARRISON, Charles. “Conceptual Art and the Suppression of the Beholder”, in Essays on Art & language<\/em>. Cambridge, Basil Blackwell, 1991.<\/p>\n\n\n\n KOSUTH, Joseph. \u201cArte depois da filosofia\u201d, in FERREIRA, Gl\u00f3ria, COTRIM, Cec\u00edlia. (Orgs.), Escritos de artistas: anos 60\/70<\/em>, Rio de Janeiro, Jorge Zahar Editor, 2006.<\/p>\n\n\n\n MEYER, Ursula. \u201cIntroduction\u201d, in Conceptual Art<\/em>. New York, Dutton, 1972.<\/p>\n\n\n\n SHANKEN, Edward A. \u201cArt in the Information Age: Technology and Conceptual Art\u201d. LEONARDO<\/em>, Vol. 35, No. 4, pp. 433\u2013438, 2002.<\/p>\n\n\n\n SIEGELAUB, Seth e PROJANSKY, Robert.\u00a0Contrato de Cess\u00e3o e Transfer\u00eancia de Obras de Arte com Reserva de Direitos<\/em>. 1971. Florianopolis, par(ent)esis, S\u00e3o Paulo, Ikrek, 2016.<\/p>\n\n\n\n KOTZ, Liz. \u201cText and Image: Rereading Conceptual Art\u201d in Words to be looked at: language in the 1960s art<\/em>. Cambridge, MIT Press, 2007.<\/p>\n\n\n\n 19\/8 BASBAUM, Ricardo. “Within the Organic Line and After” in ALBERRO, Alexander e BUCHMANN, Sabeth (Eds.), Art after conceptual art<\/em>, Massachusetts, MIT Press, Viena, Generali Foundation, 2006.<\/p>\n\n\n\n CAMNITZER, Luis. “Arte Contempor\u00e2nea Colonial” in FERREIRA, Gl\u00f3ria, COTRIM, Cec\u00edlia. (Orgs.), Escritos de artistas: anos 60\/70<\/em>, Rio de Janeiro, Jorge Zahar Editor, 2006.<\/p>\n\n\n\n CAMNITZER, Luis, FARVER, Jane e WEISS, Rachel. \u201cForeword\u201d, in Global conceptualism: points of origin 1950s-1980s<\/em>, Nova York, Queens Museum of Art, 1999.<\/p>\n\n\n\n CAMNITZER, Luis. Conceptualism Latin American Art: didactics of liberation<\/em>. Austin, University of Texas Press, 2007. Cap\u00edtulos 3, 4, 6, 7, 8 e 14.<\/p>\n\n\n\n COSTA, Eduardo, ESCARI, Ra\u00fal, e JACOBY, Roberto. “Un arte de los medios de comunicaci\u00f3n”, Arquivo pessoal de Roberto Jacoby, Buenos Aires. Documents of 20th-century Latin American and Latino Art, The Museum of Fine Arts, Houston. <\/p>\n\n\n\n GRAMUGLIO, Mar\u00eda Teresa e ROSA, Nicol\u00e1s. “Tucuman Arde”, November 9, 1968. Arquivo pessoal de Graciela Carnevale, Rosario. Documents of 20th-century Latin American and Latino Art, The Museum of Fine Arts, Houston.<\/p>\n\n\n\n OSBORNE, Peter. \u201cArte contempor\u00e2nea \u00e9 arte p\u00f3s-conceitual\u201d. Revista Poi\u00e9sis<\/em>, n 27, p. 39-54, Julho de 2016.<\/p>\n\n\n\n OSBORNE, Peter. “The postconceptual condition or, the cultural logic of high capitalism today”. Radical Philosophy<\/em> 184 (mar\/apr 2014).<\/p>\n\n\n\n RAM\u00cdREZ, Mari Carmen. \u201cT\u00e1ticas para viver da adversidade. O conceitualismo na Am\u00e9rica Latina\u201d. Arte & Ensaios – Revista do Programa de P\u00f3s-Gradua\u00e7\u00e3o em Artes Visuais EBA-UFRJ<\/em>, ano XIV, n\u00famero 15, 2007, p. 184-195.<\/p>\n\n\n\n RAM\u00cdREZ, Mari Carmen. “Blueprint circuits: conceptual art and politics in Latin America” in ALBERRO, Alexander e STIMSON, Blake. (Eds.) Conceptual art: a critical anthology<\/em>, Cambridge, MIT Press, 1999.<\/p>\n\n\n\n 26\/8 e 2\/9 COX, Christoph. “Beyond Representation and Signification: Toward a Sonic Materialism”. journal of visual culture<\/em>, Vol 10(2): 145\u2013161.<\/p>\n\n\n\n COX, Christoph. Sonic flux: sound, art, and metaphysics<\/em>. Chicago; London: The University of Chicago Press, 2018. Cap\u00edtulo 6.<\/p>\n\n\n\n DUCHAMP, Marcel. “Apropos of Readymades”.<\/p>\n\n\n\n KIM-COHEN, Seth. In the blink of an ear \u2013 Toward a non-cochlear sonic art<\/em>. Nova York, Londres, Continuum, 2009. Introdu\u00e7\u00e3o, Cap\u00edtulos 5 e 7.<\/p>\n\n\n\n LABELLE, Brandon. Background noise: perspectives on sound art<\/em>. Londres, Bloomsbury Academic, 2015. Parte 2 (Cap\u00edtulos 4, 5 e 6).<\/p>\n\n\n\n Bloco 2 \u2013 movimento centr\u00edfugo: metodologias e urg\u00eancias<\/strong><\/p>\n\n\n\n 9\/9 CUSICANQUI, Silvia. Ch\u2019ixinakax utxiwa – Una reflexi\u00f3n sobre pr\u00e1cticas y discursos descolonizadores<\/em>. Buenos Aires, Tinta Lim\u00f3n, 2010. Texto “Ch\u2019ixinakax utxiwa. Una reflexi\u00f3n sobre pr\u00e1cticas y discursos descolonizadores”.<\/p>\n\n\n\n CUSICANQUI, Silvia. Sociolog\u00eda de la imagen – Miradas ch\u2019ixi desde la historia andina<\/em>. Ciudad Aut\u00f3noma de Buenos Aires, Tinta Lim\u00f3n, 2015. Textos “Pensando desde el nayrapacha: una reflexi\u00f3n sobre los lenguajes simb\u00f3licos como pr\u00e1ctica te\u00f3rica” e “Principio Potos\u00ed Reverso. Otra mirada de la totalidad (fragmento)”.<\/p>\n\n\n\n FERREIRA DA SILVA, Denise. A D\u00edvida Impag\u00e1vel<\/em>. S\u00e3o Paulo, Casa do Povo, 2019. “Introdu\u00e7\u00e3o: (Di)Ante(s) do Texto” e “1 (VIDA) \u00f7 0 (NEGRIDADE) = \u221e \u2013 \u221e OU \u221e \/ \u221e: (Sobre a) Mat\u00e9ria para Al\u00e9m da Equa\u00e7\u00e3o de Valor”.<\/p>\n\n\n\n GAGO, Ver\u00f3nica. La raz\u00f3n neoliberal: Econom\u00edas barrocas y pragm\u00e1tica popular<\/em>. Buenos Aires, Tinta Lim\u00f3n, Madrid, Traficantes de Sue\u00f1os, 2015. “Introducci\u00f3n”.<\/p>\n\n\n\n QUIJANO, An\u00edbal. “Colonialidade do poder, eurocentrismo e Am\u00e9rica Latina”, in LANDER, Edgardo. (Org.) A colonialidade do saber: eurocentrismo e ci\u00eancias sociais. Perspectivas latinoamericanas<\/em>. Colecci\u00f3n Sur Sur, CLACSO, Ciudad Aut\u00f3noma de Buenos Aires, Argentina. setembro 2005.<\/p>\n\n\n\n QUIJANO, An\u00edbal. “O labirinto da Am\u00e9rica Latina: haver\u00e1 outras sa\u00eddas”. Marilia, Unesp, Revista Novos Rumos<\/em> n. 43 (20), 2005.<\/p>\n\n\n\n RICHARD, Nelly. “The Cultural Periphery and Postmodern Decentring: Latin America’s Reconversion of Borders” in WELCHMAN, John C. (Org.), Rethinking Borders<\/em>. Londres, MacMillan Press, 1996.<\/p>\n\n\n\n 16\/9 BRASSIER, Ray. “Concepts, objects, gems”, in ELLIOTT, Jane e ATTRIDGE, Derek (Eds.). Theory after \u2018theory\u2019<\/em>. Oxon, Routledge, 2011.<\/p>\n\n\n\n CLEMENS, Justin. \u201cAfter After Finitude: An Afterword\u201d, in BRITS, Baylee, GIBSON, Prudence e IRELAND, Amy (Eds.). Aesthetics After Finitude<\/em>. Melbourne, re.press, 2016.<\/p>\n\n\n\n GALLOWAY, Alexander R. \u201cLove of the Middle\u201d, in GALLOWAY, Alexander R., THACKER, Eugene and WARK, McKenzie. Excommunication: three inquiries in media and mediation<\/em>. Chicago, University of Chicago Press, 2014.<\/p>\n\n\n\n NEGARESTANI, Reza. \u201cWhere is the Concept? (localization, ramification, navigation)\u201d. Transcription of a lecture given at Goldsmiths, University of London, 2013.<\/p>\n\n\n\n MACKAY, Robin e BRASSIER, Ray. “Introdu\u00e7\u00e3o dos Editores” in LAND, Nick. Fanged Noumena<\/em>. Tradu\u00e7\u00e3o numenoscompresas.wordpress.com<\/p>\n\n\n\n THACKER, Eugene. “What Is Biomedia?” in Biomedia<\/em>. Minneapolis, University of Minnesota Press, 2004.<\/p>\n\n\n\n 23\/9 BRUNNER, Christoph; NIGRO, Roberto; RAUNIG, Gerald. “Post-Media Activism, Social Ecology and Eco-Art”. Third Text<\/em>, January, 2013, Vol. 27, Issue 1, pp.10\u201316.<\/p>\n\n\n\n CLARKE, Bruce (Ed.). Earth, life, and system : evolution and ecology on a Gaian planet<\/em>. New York, Fordham University Press, 2015. “Introduction: Earth, Life, and System”.<\/p>\n\n\n\n CLARKE, Bruce. Neocybernetics and Narration<\/em>. Minneapolis, University of Minnesota Press, 2014. “Mediations of Gaia: Ecology and Epistemology from Gregory Bateson and Felix Guattari to Avatar”.<\/p>\n\n\n\n DEMOS, TJ. “Contemporary Art and the Politics of Ecology: An Introduction”, Third Text<\/em>, January, 2013, Vol. 27, Issue 1, pp.1\u20139.<\/p>\n\n\n\n HORTON, Jessica L.; BERLO, Janet Catherine. “Beyond the Mirror: Indigenous Ecologies and \u2018New Materialisms\u2019 in Contemporary Art”, Third Text<\/em>, January, 2013, Vol. 27, Issue 1, pp.17\u201328.<\/p>\n\n\n\n LAM, Steven; NGCOBO, Gabi; PERSEKIAN, Jack; THOMPSON, Nato; WITZKE, Anne Sophie; TATE, Liberate. “Art, Ecology and Institutions: A Conversation with Artists and Curators”, Third Text<\/em>, January, 2013, Vol. 27, Issue 1, pp.141\u2013150.<\/p>\n\n\n\n NISBET, James. Ecologies, environments and energy systems in art of the 1960s and 1970s<\/em>. Cambridge, MIT Press, 2014. “Introduction: on Art and Ecology”.<\/p>\n\n\n\n 30\/9 \u00c9 relevante recuperar os principais tra\u00e7os que orientam a discuss\u00e3o acerca da arte conceitual, em seus aspectos presentes j\u00e1 nos debates de uma arte moderna, mas sobretudo a partir das linhas que demarcam a constru\u00e7\u00e3o do campo contempor\u00e2neo, marcado pelos diversos graus de politiza\u00e7\u00e3o e multi-significa\u00e7\u00e3o das pr\u00e1ticas art\u00edsticas. Este curso se prop\u00f5e a dar […]<\/p>\n","protected":false},"author":172,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-399","post","type-post","status-publish","format-standard","hentry","category-sem-categoria"],"_links":{"self":[{"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=\/wp\/v2\/posts\/399","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=\/wp\/v2\/users\/172"}],"replies":[{"embeddable":true,"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=399"}],"version-history":[{"count":41,"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=\/wp\/v2\/posts\/399\/revisions"}],"predecessor-version":[{"id":862,"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=\/wp\/v2\/posts\/399\/revisions\/862"}],"wp:attachment":[{"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=399"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=399"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.professores.uff.br\/ricardobasbaum\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=399"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
aula 1<\/strong>
Introdu\u00e7\u00e3o – apresenta\u00e7\u00e3o do curso e dos participantes<\/p>\n\n\n\n
aula 2<\/strong>
\u201carte conceitual, conceitualismo, arte p\u00f3s-conceitual: refer\u00eancias hist\u00f3ricas, modelos\u201d<\/p>\n\n\n\n
aula 3<\/strong>
\u201carte conceitual, conceitualismo, arte p\u00f3s-conceitual: refer\u00eancias hist\u00f3ricas, modelos\u201d<\/p>\n\n\n\n
aulas 4<\/strong> e 5<\/strong>
\u201cpr\u00e1ticas n\u00e3o-retinianas, pr\u00e1ticas n\u00e3o-cocleares\u201d<\/p>\n\n\n\n
aula 6<\/strong>
\u201curg\u00eancias 1: ontoepistemologias da di\u00e1spora e do sul\u201d<\/p>\n\n\n\n
aula 7<\/strong>
\u201curg\u00eancias 2: redes, sistemas, biologia, filosofia\u201d<\/p>\n\n\n\n
aula 8<\/strong>
\u201curg\u00eancias 3: antropoceno, formas de vida, fim do mundo\u201d<\/p>\n\n\n\n
aula 9<\/strong>
apresenta\u00e7\u00f5es finais
conclus\u00e3o do curso<\/p>\n","protected":false},"excerpt":{"rendered":"