2014
Diál
ogos Transna
cionais
跨境对话
Transna
Tional Dial
ogue
s Journal
Editors of this journal and coordinators of transnational dialoguEs Luigi Galimberti, Lorenzo Marsili and Robin Resch
Publication dEsign Gabriela Castro and Julia Masagão
translation and ProofrEading Daniel Lühmann, Zhang Weimin, Fang Liu, Fernanda Ramone and Sally Hole
for videos, pictures, up-to-date information or for a digital copy of this journal visit the website www.transnationaldialogues.eu for further information do not hesitate to contact us at td@euroalter.com While the editors have striven to provide accurate and timely information, there may be inadvertent inaccuracies, errors and omissions, for which we apologize. coVEr iMagE My Promise for Your Happiness (detail, 2014) by lin jing jing. courtesy of the artist and de sarthe gallery, hong Kong.
iMagE crEdits
11: no Way (fade out) (installation view). artwork by andrea de stefani (2011). cour-tesy fluxia gallery | 18: “Everyday is like sunday”. artwork by MP5. courcour-tesy of the artist. www.mpcinque.com | 21-22: all images by hu fang | 32: “the river seen from a construction site, inner Mongolia”. Photo by Zhang Kechun (2010). courtesy of the artist and threeshadows +3 gallery, beijing | 40: “free and Easy Wandering” (video documentation of performance, 07m 42s). still from video by Xing Xin (2008). cour-tesy of the artist | 42: “nimbo oxalá at the Parque lage school of Visual arts” (fire extinguishers). still from video by ronald duarte (2014), available at: https://vimeo. com/96524107, retrieved on 6 september 2014. courtesy of the artist | 43: “fake Pattern 03”. artwork by fangEr&Mengjin. courtesy of fake studio, london | 50: “see saw seen” (hand-blown glass, mirroring chemicals, lacquer, steel and wood, 400 x 80 x 30 cm). artwork by adeline de Monseignat (2014). courtesy of the artist | 51: “untitled”. Photo by luca forcucci (2014). courtesy of the artist | P. 58: “Visions”. Photo by dao dao (2014) | P. 60 (from left to right, from top to bottom): Photos by tahian bhering; t.b., t.b.; t.b., isabella guedes; Emilijia skarnulyte, t.b., t.b.; t.b.; You Mi, t.b. and Wellington dias | 61 (from left to right, from top to bottom): andressa Vianna, a.V., chris daniels; a.V., c.d., c.d., Pauline doutreluigne; a.V., chico daviña; tianji Zhao, Matilde Malaspina
this publication is licensed under the creative commons licence “attribution-non-commercial-noderivatives 4.0 international (cc bY-nc-nd 4.0)”. More information at: http://creativecommons.org/licenses/by-nc-nd/4.0/. images may or may not permit reuse and modification.
Printed in the European union, november 2014
With the support of
this project has been funded with support from the European commission. this pub-lication reflects the views only of the author, and the commission cannot be held responsible for any use which may be made of the information contained therein. “transnational dialogues: a factory for imagination, innovation and integration
across Europe, china and brazil” is an initiative of
a transnational membership organisation promoting democracy, equality and culture beyond the nation state. European alternatives believes that social and political change requires artistic and cultural engagement as much as other forms of engagement. it seeks to promote alternative forms of political subjectivity and collective political action.
for more information please check the website: www.euroalter.com
the partners of transnational dialogues in 2014 are:
transnational dialogues acknowledges the support of the following institutions:
A special thanks goes to all the participants in the activities of transnational dia-logues in 2014. it is their enthusiasm, knowledge, vitality and critical spirit that made possible such an extended and intense exchange of information, skills and network-ing. a precarious list of those involved in this year activities reads as follows: alexan-der Pettersson, ana hupe, andré leal, anna arutyunova, bel falleiros, chiara tinonin, chico daviña, christopher daniels, colectivo opavivará!, david limaverde, Emilija skarnulyte, fernanda carvalho, hanna husberg, irina Pienaru, isabella guedes, jay lai, julia Masagão, laura Engelhardt, laura sobral, li li, liu Minyi, lucie blanche, Malu andrade, Marc de Maisonneuve, Marina trancoso, Martin collins, Matilde Malaspina, Matti aikio, Mi You, nina gschlößl, nuno cassola, Pauline doutreluingne, rachel Marsden, rachela abbate, raphael couto, raphael franco, seila fernández arconada, solveig suess, sylvana jahre, tianji Zhao, Vanessa rosa, Vicente Pereira, Wang dong, Wang Xiaozhou, Wellington dias, Yan shuo, Yane conradi and Zandie brockett. our deepest gratitude goes to transnational dialogues’ local coordinators in brazil, china and Europe, who have given essential inputs in developing and implementing the programme during the caravans: alessandro rolandi in beijing, andressa Vianna in sao Paulo, chen Yizhong in chongqing, Petra Pölzl in berlin and tahian bhering in rio de janeiro. a big thank you also to julia Masagão who has been coordinating the overall design of transnational dialogues in 2014, to artist Veikko törmänen who has kindly granted us the permission to use one of his drawings as the basis for our 2014 logo and to andrea Montuori for his web-designing skills. finally, we would like to thank our network of friends who have been giving us their time, energy and support across the world: alessandro Vitali (Kreuzberger Pavillon, berlin), ambra corinti and rong guang rong (Zajia lab, beijing), amy cheng (1314, chengdu), andré Komatsu (são Paulo), barbara szaniecki and beppe cocco (rio de janeiro), berardo carboni (teatro Valle occupato, rome), cai hui (observation society, guangzhou), carla chaim e laura gorski (jardim do hermes, são Paulo), carlos and joão Vergara (ateliê carlos Vergara, rio de janeiro), chen chen (flicking forehead!, beijing), chen Qiang (chengdu), chen Xuejian, Zhao Mi and fan Xue (china art treasury, chengdu), chiara cartuccia (saVVY contemporary, berlin), claudia afonso (centro cultural são Paulo), corrado gemini and Mateo Çili (M^c^o, Milan), costanza assereto and nicola rombi (casa Momus, rio de janeiro), cruz and nathalie frankowsky (intelligentsia gallery, beijing), daniel Murgel (rio de janeiro), daniel rubim (latitudebrasil.org, são Paulo), deng dafei (beijing) and lijuan independent art school, dong Xun, Yu guo, liao Wenchao and liu Weiwei (artists, chongqing), dong Yifei (art+gallery, chengdu), di-dier schulmann, Mica gherghescu and all the participants in the summer university 2014 at bibliothèque Kandinsky (centre Pompidou, Paris), Espaço aurora (são Paulo), fabia schnoor and Valerio ricci Montani (são Paulo), fabrício cavalcanti (rio de ja-neiro), feng hao and li Qing (Miji lab, beijing), francesco Petrucci (gagliano del capo), gabriela Maciel (tal, rio de janeiro), heiQiao artists’ community (beijing), hou hanru, irene de Vico falliani, giulia ferracci and many others (MaXXi, rome), hu fang (Vita-min creative space, guangzhou), ioWa artists’ community of caochangdi (beijing), jaakko Mattila (helsinki), juca ferreira, joão brant and Paulo Menechelli filho (city of são Paulo), lao gan (caoba commune, beijing), li jie (a4 contemporary art center, chengdu), li Kun and Mao Zhu (chengdu), ligia nobre (são Paulo), lin jing jing (bei-jing), liu bolin (bei(bei-jing), lorenzo romito (stalker, rome), luca forcucci (berlin), luiz camillo osorio and Marta Mestre (MaM – Museu de arte Moderna, rio de janeiro), luiz guillherme Vergara (Mac de niteroi), Ma Yongfeng (beijing), Manuel (cooper-ativa unidos do alemão), Mar – Museu de arte do rio, Márcio botner, Ernesto neto and laura lima (a gentil carioca, rio de janeiro), Marcos gallon (galeria Vermelho, são Paulo), Maria Monteiro (casa juisi Phosphorus, são Paulo), Mariana lorenzi and benjamin seroussi (casa do Povo, são Paulo), Max gerthel (institute for Provocation, beijing), Megumi shimizu (beijing), Moca (chengdu), Monica Melani (Mitreo-iside del corviale, rome), nanko van buuren (ibiss, rio de janeiro), Pedro rivera (studio-X, rio de janeiro), Qian long (action space, beijing), Qiaochu Ze (beijing), rain (l-art gal-lery, chengdu), ren han (tianjin), renata Pereira figueiró (sEsc Pompeia, são Paulo), roberto ceresia and adrian Wang (aike-dellarco, shanghai), ronald duarte (rio de janeiro), serge onnen and Esther Kokmeijer (institute for Provocation, beijing), stella tang (london), sasha hu (beijing), sue, sarah and olivier (Video bureau, guangzhou), sun shaokun, Qiao Xingyue, li jie, he chengyao (ioWa, beijing), susana Queiroga (rio de janeiro), tania alice (rio de janeiro), taru Elfving (fraME, helsinki), tatiana rich-ard (rio de janeiro), tej tadi (lausanne), thais rivitti (ateliê 397, são Paulo), ty Wang (guangzhou), Video bureau (beijing), Vivian caccuri (são Paulo), Wang haichuan (chongqing), Weijing Zhu (the World of chinese, beijing), Wellington dias and sarah Marques (casa giramundo, rio de janeiro), Xinran guo (chicago), Xu lang (chengdu), Yang shu, ni Kun, li li and dao dao (organhaus, chongqing), Yaowei (heiqiao, beijing), Yu bugong (beijing), and many others to whom we say a silent thank you.
sections
uToPIaS, FuTureS anD DreamS [u]
arTISTS anD CITIeS [c]
CulTural PolICIeS [P]
TransnaTional
Dialogues
Journal 2014
9
Change Utopia: Fragments oF a prologUe
mUdar a Utopia: Fragmentos de Um prólogo
改变乌托邦：开场白片断
luigi galimberti | lorenzo marsili | robin resch
11
a Few thoUghts on aesthetiCs and politiCs
algUmas ConsideraÇÕes soBre estÉtiCa e polÍtiCa
关于美学与政治的一些思考
luiz Camillo osorio [u]
16
hong Kong’s VisUal politiCs –
a City oBserVation or gloBal “agitprop”?
rachel marsden
[u]
21
roCKs and riCe
石与稻
hu Fang [u]
27
From the art oF the state to the art oF BUsiness,
or artistiC oUtpUt on a preCarioUs sCale
da arte de estado à arte de empresa,
oU a saÍda pela esCala preCária
由国家艺术到企业艺术，
或许濒危规模才是出路
Jota mombaça [P]
31
pUBliC and ColleCtiVe maKing
o Fazer ColetiVamente em púBliCo
公共空间的集体活动
laura sobral [c]
34
entremeios: ways oF liVing and CreatiVe praCtiCes
in rio de Janeiro
Barbara szaniecki | zoy anastassakis
[c]
39
CUltUral poliCy and Contemporary art in China
a polÍtiCa CUltUral Chinesa e a arte Contemporânea
浅析中国文化政策与当代艺术
wang dong [P]
45
how is CUltUre FUnded in Brazil?
Como a CUltUra É FinanCiada no Brasil?
mariana lorenzi [P]
49
pUBliC thoUght and the needs oF the artist
pensamento púBliCo e as neCessidades dos artistas
tatiana richard
[P]
53
rethinKing CUltUre. an interView with JUCa Ferreira
repensando a CUltUra. entreVista Com JUCa Ferreira
luigi galimberti | lorenzo marsili [P]
57
sitório
sitorio
sitorio
andressa Vianna | Chico daviña [c]
8 CHange uToPIa: FragmenTS oF a Prologue
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Es ta m os v iv en do e m t em po s a ce le ra do s. C hi na e B ra si l s e to rna ra m pla ye rs g lo ba is e tê m s id o b as ta nt e p re se nt es n o di sc ur so e co nô m ic o e p ol íti co d os ú lti m os a no s. A m bo s sã o p ot ên cia s d inâ m ica s p as sa nd o p or u m l ig ei ro p ro -ce ss o d e r en ov aç ão d a e du ca çã o, d a e co no m ia , d a u rb a-ni za çã o e d a c ul tu ra , a o p as so e m q ue ca us am i m pa ct os si gn ifi ca tiv os e m ud an ça s e m s ua s s oc ie da de s, e m t od os os n ív ei s. A pe sa r d a e st ag na çã o e co nô m ica p er si st ir, o u ta lv ez a té p or ca us a d el a, a t es si tu ra s oc ia l d a E ur op a t am -bé m e st á p as sa nd o p or m ud an ça s t re m en da s, c om o s ur -gi m en to d e n ov os m od el os – d es de u m f oc o r en ov ad o n o es pa ço p úb lic o a té e co no m ia s a lte rna tiv as , d e e st ra té gia s cr ia tiv as p ara c on fr on ta r a lto s n ív ei s d e d es em pr eg o a té o de sl oca m en to d e s ig ni fica do d e t óp ic os c om o c id ad an ia e f ro nte ir as . A in da a ss im , o p re se nt e nã o s at is fa z. P ou co s d em ons -tr am c on te nt am en to c om o st at us q uo – e is so é a lg o p o-te nc ia lm en te p os iti vo . O s m od el os b ra si le ir o e c hi nê s s e pr ov ar am ins at is fa tó ri os p ar a m ui to s d e s eu s p róp ri os ci da dã os . O g ra nd e d es pe rt ar d a p ar tic ip aç ão c iv il e d os pr ot es to s p el as r ua s d o B ra si l e m 2 01 3 e 2 01 4, b em c om o a di fic ul da de en co nt ra da pe la di re çã o do P ar tid o do s T ra -ba lha do re s e m as su m ir a dia nt ei ra na s e le iç õe s p re si de n-ci ai s d e 2 01 4, m ar ca m u m a t ra ns fo rm aç ão d os a no s d e go ve rn o L ul a e d o “ m ila gr e b ra si le ir o” . U m s en ti m en to m ai s g en er al iz ad o d e p re ca ri ed ad e e a ns ie da de na C hi na , es pe cia lm en te e nt re a g er açã o m ai s j ov em , s om ad o a os pr ot es to s d e s et em br o d e 2 01 4 e m H on g K on g, sã o a pe na s um l em br et e m ai s r ec en te d e q ue o l ib er al is m o e co nô m i-co e o a ut or ita ri sm o p ol íti co c om põ em u m a m es cl a i nf e-liz . P or o ut ro l ad o, a E ur op a c ha fu rd a n um a c ri se p ol íti ca e e co nô m ic a qu e c au sa d es co nt en ta m en to e s of ri m en to so cia l g en er al iz ad os . O s a tu ais m od el os so cia is , e co nô m ic os e cu ltu ra is de sa po nt am , i nd ep en de nt e do co nt ex to na ci ona l. C er ta -m en te ex ist em a lg un s m ot iv os en dó ge no s p ara ta nt o: a im en sa d es ig ua ld ad e n o B ra si l, o s ist em a u ni pa rt id ár io na C hi na , a f ra gm en ta çã o d o e sp aç o e ur op eu m ar ca da po r u m a U niã o e co nô m ica , e m bo ra n em t ão p ol íti ca a s-si m . E nt re ta nt o, a cr ed ita m os e xis ti r a in da m ot iv os c o-m uns e a br an ge nt es p or tr ás d a f al ha d os m od el os e xis -te nte s n es se s t rê s c on te xt os apa re nte m en te tã o d is tin to s. Es se s m ot iv os c om un s e st ão v in cu la do s à d efi ci ên ci a d a m od er ni da de c om o u m t od o e à m an ei ra c om o e la e nca ra a p ro du çã o e co nô m ica , o E st ad o-na çã o e a o rd ena çã o d a so ci ed ad e, d o u rb an is m o e, p or fi m , a c on ce pçã o d o s uj ei -to e nq ua nto c id ad ão e ind iv íd uo . D ia nt e d a e sc al a d es se s d esa fio s, a r es po st a d a i m a-gi na çã o p ar ec e a in da ins uf ic ie nt e. H is to ri ca m en te , a r-tis ta s, fi ló so fo s, p es qu is ad or es , a tiv is ta s e p ro fis si ona is at iv os s em pr e e st iv er am n o c er ne d e u m a o ri en ta çã o r a-di ca lm en te c rít ica a o p re se nt e e na e la bo ra çã o d e f ut ur os al te rn at iv os , p ost ul an do u m a r up tu ra ra di ca l e f om en ta n-do no va s fo rm as de co nv iv er e no va s es ca la s de va lo re s. Es sa a m bi çã o d ev e s er r ec up er ad a, e u m n ov o i m ag iná rio e na rr at iv a p ar a o f ut ur o p re ci sa m s er a be rt os . U m a v ez re co nh ec id o o ca rá te r g lo ba l d es se s d es afi os , is so p od e ac on te ce r a pe na s e m ní ve l t ra ns na ci ona l, re un in do um in -te rcâ m bi o d inâ m ic o d e i de ia s e p rá tica s d e t od o o m un do . E é n es se p on to e m qu e o p ro je to T ra ns na tio na l D ia -lo gu es e nt ra e m c ena . Q ua l é o p ap el d as f or ça s c ria tiv as pa ra q ue st io na r o p re se nt e? C om o a s c on tr ad iç õe s s oc ia is , ec on ôm ic as e c ul tu ra is se si tu am e m n os sa s c id ad es g lo -ba is , e q ua is e st ra té gia s c ria tiv as e st ão s en do d es en vo l-vi da s p ar a s e di ri gi r a e la s? Q ua l é o pa pe l d as po lít ica s go ve rn am en ta is n a a re na c ul tu ra l e a rt íst ic a? C om o o s es pa ço s d e p ro du çã o c ul tu ra l e st ão s en do r en eg oc ia do s? Q ua nt o e sp aç o re st a p ar a o diá lo go e a co op er açã o tr an s-na cio na l? Es sa s s ão a lg um as d as q ue st õe s a bo rd ad as n es ta e di çã o do T ra ns na tio na l D ia lo gu es J ou rna l. E m bo ra e st ej am a lg o em ba ra lha do s a o l on go d a p ub lica çã o, o s a rt ig os p od em se r c at eg or iz ad os s ob t rê s t em as p ri nc ip ai s. A s eç ão U to -pi as , F ut ur es a nd D re am s [ U ] c om eç a c om u m a r efl ex ão so br e e st ét ica e p ol íti ca a ss ina da p or L ui z C am ill o O so rio (p . 1 1) , s eg ui da d e u m p an or am a d et al ha do d e c om o i ss o se a pl ic a à r ec en te o nd a d e p ro te st os e m H on g K on g ( R a-ch el M ars de n, p. 1 6) . O d is cu rs o co nt in ua co m m em ór ia s da v is ita a u m j ar di m , a u to pia p or e xc el ên cia , d o r om an -ci st a c hi nê s H u F an g ( p. 2 1) . J á A rt is ts a nd C it ie s [ C ] d á co nt in ui da de c om u m a pa nha do d as a tiv id ad es d o En tre -m ei os , u m p ro je to d e d es ig n u rb an o n o R io d e J an ei ro ( po r Ba rb ar a S za ni ec ki e Z oy A na st as sa ki s, p . 3 4) . D e S ão P au lo , ve m a e xp er iê nc ia d o L ar go d a B at at a a bo rd an do a p rá tica pú bl ica e c ol et iv a ( La ur a S ob ra l, p . 6 ). P or fi m , A nd re ss a Via na e C hi co D av iña ( p. 5 6) n os c on vi da m a d ei xa r a z ona de c on fo rt o a o n os e nv ol ve r c om e ss es d iá lo go s t ra ns na ci o-na is . J á C ul tu ra l P ol ic ie s [ P] co m pi la a ná lis es e r efl ex õe s so br e a i nt er açã o e nt re a s e sf er as g ov er na m en ta l, c om er -cia l e p rá tica n os s et or es a rt íst ic o, c ul tu ra l e c ri at iv o. I ni -ci an do c om u m a rá pi da v isã o g era l s ob re a C hi na ( W an g D on g, p . 3 8) , e ss a s eçã o s e c on ce nt ra n o B ra si l, c om c on -tr ib ui çõ es t an to d e p ro fis si on ai s a tiv os ( M ar ia na L or en zi , p. 4 4, e J ot a M om ba ça , p . 2 6) c om o t am bé m d e p ol íti co s (J uca F er re ira , p . 4 2, e T at ia na R ic ha rd, p . 4 8) . Es pe ra m os q ue v oc ê d es fr ut e d a l ei tu ra d est a p ub lica -çã o t an to qu an to n ós a pr ec ia m os o t ra ba lh o d e f az ê-la , e ap ro ve ita m os pa ra lh e co nv id ar a ac om pa nha r e se en vo l-ve r c om o p ro je to T ra ns na tio na l D ia lo gu es e s ua s a tiv id a-de s e p ub lica çõ es f ut ur as . lu ig i g a li m be rt i, lo re nz o m a rs ili e ro bi n r es ch co or de na m o p ro je to T ra ns na tio na l D ia log ue s. Tr ad uz id o d o i ng lê s p or D an ie l L üh m an n改
变乌
托
邦
：开
场
白
片
断
路
易
吉 • 加
林
贝
蒂
罗
伦
佐 • 马
尔
西
利
罗
宾 • 雷
希
我 们置 身 于 一 切 都 在 加 速 的 时 代 。 中 国 和 巴 西 已 成 为 全 球 性 的玩 家 ， 近 几 年 是 政 经 论 述的要 角 。 两 者 皆 经 历 了 在 教 育 、 经 济 、 城 市 化 与 文化 各 方 面 的 迅 速 变 革 ， 同 时 也 引发 社 会 上 全 面 的 重 大 冲 击 与转 变 。 另 一 方面 ， 欧 洲 经 济 持 续 停 滞 ， 正 因 为 如 此 ， 欧 洲社 会 经 历 着 巨 大 的 变 化 ， 新 的 模 式 开 始浮 现 － 更 新 的 焦 点 包 括从 共 享 体 到 替 代 经 济 ， 从面 对 高 失 业 率 的 创 造 性 策 略 到公 民 和 国 界 意 义的 变 迁 。 然 而 ， 眼 前 一 切 均 不 起 作 用 。 很 少 人 对现 状 满 意 － 这 或许 是 件 好 事 。 事 实证 明 许 多 巴 西与 中 国 人 民 对他 们 自 己 国 家 的 发 展 模 式 并 不 满 意 。 在巴 西 ， 2 01 3 和 2 01 4 年 公 民 参 与 意 识 的 觉 醒 及 街 头 抗 议 ， 20 14 年 10 月 总统 大 选 工 党维 持 大 多 数 支 持 所 遭 遇 的 困难， 标 志 了 卢 拉 政 权 和 “ 巴 西 奇 迹 ” 后 的 转 变 。9
CHange uToPIa:
FragmenTS oF
a Prologue
lUigi galimBerti | lorenzo marsili | roBin resCh
We are living in accelerated times. China and Brazil have turned into global players and have been very much present in the economic and political dis-course of recent years. Both are dynamic powerhouses undergoing a rapid renovation of education, economy, urbanization and culture, while causing significant impacts on – and changes to – their societies, at all levels. Despite persisting economic stagnation, or because of it, the social texture of Europe is also undergoing tremendous changes, with new models emerging – from a re-newed focus on commons, to alternative economies, from creative strategies to confront high unemployment, to shifting meanings of citizenship and borders. And yet, the present is not delivering. Few appear content with the status quo – and that is potentially a very good thing. The Brazilian and Chinese models have proven unsatisfactory to many of their own citizens. The great awakening of civil participation and protest on the streets of Brazil in 2013 and 2014, as well as the difficulty for the ruling Workers’ Party to maintain a large majority at the October 2014 presidential elections, mark a shift away from the years of Lula and the “Brazilian miracle”. A more general feeling of precariousness and anxiety in China, in particular amongst the younger generation, as well as the September 2014 protests in Hong Kong, are just the latest reminder that eco-nomic liberalism and political authoritarianism form an unhappy mix. On the other hand, Europe is mired in a prolonged economic and political crisis that is causing widespread discontent and social suffering.
Current social, economic and cultural models are failing us, regardless of the national context. There are certainly endogenous reasons for this: the great inequalities of Brazil, the one-party system in China, the fragmentation of the European space marked by an economic but not yet a political Union. But there are also, we believe, common and overarching reasons for the failure of exist-ing models in these three apparently very different contexts. These common reasons are linked to the shortcomings of modernity as a whole, and the way it envisaged economic production, the nation state and the ordering of society,
urbanisation and ultimately the conception of the individual, both as citizen and subject.
Faced with the scale of such challenges, the response of the imagination seems as yet insufficient. Artists, philosophers, researchers, activists and prac-titioners have historically been at the heart of a drive to radically critique the present and imagine alternative futures, positing a radical break from the norm and fostering new forms of living together, with new scales of values. This ambition needs to be recuperated, and a new imaginary and narrative for the future needs to be opened. Once the global character of today’s challenges is recognized, this new imaginary and narrative can begin to unfurl only at a transnational level, through the bringing together in a dynamic exchange di-verse ideas and practices from all over the world.
And this is where Transnational Dialogues comes in. What is the role of the creative forces in questioning the present? How are social, economic and cul-tural contradictions situated in our global cities, and what creative strategies are being developed to address them? What role can governmental policies have in the cultural and artistic arena? How are spaces of cultural production being renegotiated? How much space is left for transnational dialogue and co-operation?
These are some of the questions at the heart of this issue of the Transna-tional Dialogues Journal. Although they are dispersed throughout the journal, the articles can be traced back to three main strands. Utopias, Futures and
Dreams [U] starts with a reflection on aesthetics and politics by Luiz Camillo
Osorio (p. 11), followed by a thorough overview on how this applies to the recent wave of protests in Hong Kong (Rachel Marsden, p. 16). The discourse contin-ues with memories from a visit to a garden, the utopia par excellence, by Chi-nese novelist Hu Fang (p. 21). Artists and Cities [C] follows with an account of the activities of Entremeios, an urban design project in Rio de Janeiro (Barbara Szaniecki and Zoy Anastassakis, p. 34). From São Paulo comes the experience of Largo da Batata, which looks at public and collective making (Laura Sobral, p. 31). Finally, Andressa Vianna and Chico Daviña (p. 57) invite us to leave our comfort zone when undertaking such transnational dialogues. Cultural
Pol-icies [P] brings together analyses and reflections on the interaction between
the governmental, the commercial, and the practitioners’ spheres in the artistic, cultural and creative sectors. Starting with a quick overview on China (Wang Dong, p. 39), the section focuses on Brazil with contributions from both prac-titioners (Mariana Lorenzi, p. 45, and Jota Mombaça, p. 27), public managers (Tatiana Richard, p. 49) and politicians (Juca Ferreira, p. 53). We hope you will enjoy reading the publication as much as we have enjoyed putting it together, and we warmly invite you to stay engaged with Transnational Dialogues and its future activities and publications.
luigi galimberti, lorenzo marsili and robin resch are
coordinators of Transnational Dialogues.
在 中 国 ， 一 种 尤 其 存 在 于 年 轻 一 代的 普 遍不 安 与 焦 虑 ， 以 及 20 14 年 9月 发 生于 香 港 的 抗 议 行 动 仅 仅 是 自 由 经 济 和 威 权 体 制 的 不 幸结 合 下 最 近 的 例 证 。 另 一 方 面 ， 欧 洲 深 陷于 长期 的 经 济 与政 治 危 机 所引 生 的 普 遍 不 满 与 社 会 上 的 痛 苦 。 不 论 在 上 述 哪 个国 家 ， 当 前 的 社 会 、 经 济 和文 化 模 式 都 失 败 了 。 当 然 这 样 的 结 果 有 一 些 各 自 的 原 因 ：巴 西 社 会 的 极 度 不 平 等 ， 中 国 的 一 党 制 ， 欧 洲空 间 的 碎 片 化 ， 尽 管 有 统 一 的 经 济 体 （ 还 不 是 政 治 体 ） 支 持 。 但 是我 们 相 信 ， 还 有 别的 共同 因 素 导 致 上 述 三 种 彼 此 极不相 同 的 体 系 的 失 败 。 它 们 和 现 代 性 本 身 的 缺 陷 、 在 此 概 念 下 展 开 的 经济 生 产 、 民 族 国 家 和 社 会的 排 序 、 城 市 化 、 还 有 同 时 是 市 民 与 主 体 的 个 体 概 念 等 皆脱 不 了关 系 。 面 对 如 此大规 模 的 挑 战 ， 想 像 力 似 乎 也 不 足 以 反映 。 艺 术 家 ， 哲 学 家 ， 研究 者 ， 行 动 派 及 实 践 者 历 来都是 现 状 的 严 厉 批 判者 ， 他 们擅 于 想 像 未 来 的 各 种 可 能 选 项 ， 设 想 某种 激 进 的 突 破 方 式， 培 养 新 形 态 的 共 生 关 系 及 新 的 价 值 衡 量 标准 。 这 样的 野 心 需 要 被 复 苏 ， 开 启 对 未 来 的 全 新 想像 和 陈 述 。 一 旦 这 些 挑 战 的 全 球 性 格 在 跨 国 层 次 被 认 识 到 ， 整 个 世界 将 会 充 满生 气 勃勃 的 思 想 交流 与 实 践 。 跨国 对 话 的重 要 性 由 此 显 现 。 创 造 性 的 力 量 在 对 当 下 的 质 疑 中 扮演 什 么 角 色 ？ 社 会 、 经 济 与 文 化 上 的矛 盾 如何 栖 身 于 全 球 性城 市 里 ？ 什 么 样 的 创 造 性策 略 被 发 展 来 陈 述 它 们 ？ 政 府 的 政 策 在 文化 艺 术 领 域 担 任 什 么 角 色 ？ 如 何 为 文化 生 产 的 空 间 重 新 谈 判 ？ 还 有 多少 容 许 跨国 对 话 与 合 作 的 可 能 ？ 以上 问 题 是 本 期 跨 国 对 话 期 刊 的 核 心 。 这 些 主 题 全 部 可 以 回 溯 到 三 条 思 路 上 。首 先 Lu iz C am ill o O so ri o 的乌 托 邦， 未 来 ， 梦 ( p .1 1) 审 视 美 学 和 政 治 的 关 系 ， 然 后 是 对 它 们 如 何适 用 在 最 近 发 生 于 香 港 的 一波 抗 议 行 动 的 全 面 概 述 (R ac hel M ar sd en , p. 16 )。接 下 来 是 中 国 小 说 家 胡 昉 对 某 个 乌 托 邦 般 的花园 的 回 忆 (p .2 0) 。艺 术 家 与 城 市 陈 述 里 约 的 一 个 都 市 设 计 计 划 E x tre m ei os ( Bar bar a S zan ie ck i 和 Z oy A na st as sa ki s, p. 34) 。 圣 保 罗 L a rg o d a B at at a 有 关 公 共 集 体制作 的 经 验 (L au ra S ob ra l, p .3 1) 。最 后 ， A nd re ss a V ia nn a 和 C hi co D av iña 邀 请 我 们 在进 行这 些 跨 国 对 话 时 离 开 习 惯 的 舒 适 地带 (p .5 7) 。文 化 策 略 分 析 并 反 思 政 府 、 商 业 和 实 践 等 领 域 在 艺 术 、 文化 和 创 意 范 畴 的 互 动 。 首 先 是 对 中 国 文化 策 略 的 简 洁概述 (王 东， p. 39) ， 然 后 聚 焦 于巴西 来 自 实 践 者 (M ar ian a Lo re nz i,p .4 5,和 Jo ta Mo mb aç a, p. 27 )与 政 治家 (J uca F er re ir a, p .53 ,和 Ta tia na R ic ha rd, p .4 9) 的贡献 。 我 们 希 望 您 们 阅 读 这 份 刊 物 获得 的 喜 悦 和 我 们享 受 创 作 这 份 刊 物的 程 度 相 当 。 我 们 诚 挚 地 邀 请 您 们继 续 支 持 并 参与 跨 国 对话 未来 的 出 版 与 活 动 。 lu ig i g a li m be rt i, l o r en zo m a r si li 和 ro bi n r es ch 皆 负 责 跨 国 对 话的 协 调 任务 。 翻 译 刘 芳
10 uToPIaS, FuTureS anD DreamS
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A s r ua s b ra si le ira s f or am t om ad as a p ar tir d e j un ho d e 2 01 3 po r u m a s ér ie d e m an ife st aç õe s r ar as v ez es v is ta s n o p aí s. Em c er ta m ed id a, s em r et ir ar a s e sp ec if ic id ad es l oca is , ec oa va a qu i u m c on ju nt o d e m ov im en to s e sp al ha do s p el o pl an et a – d a E sp an ha , p as sa nd o p or I st am bu l, C ai ro , N ov a Yo rk e c he ga nd o à s ca pi ta is b ra si le ir as . A f or ça c om q ue se d is se m in ou e a i nt en si da de d o s eu c la m or p or m ud an -ça s i m pl ica m , p or s i s ó, u m a v itó ria d o m ov im en to s ob re a po lít ica i ns tit uc io na l. M ui to f oi d ito – e m s ua m ai or ia e m to m ne ga tiv o – so br e a a us ên cia d e p au ta , a d es or ga ni za çã o in te rn a e a i nd efi ni çã o i de ol óg ic a d o qu e s e p as sa va n as ru as , o u s ej a, r ec la m av a-se u m a c la re za d e o bj et iv os e u m a or ie nt aç ão p ro gra m át ic a qu e d es se a os p ro te st os u m a l in ha de or ie nt açã o. Q ue re r fi xa r u m a di re çã o pa ra e ss a in te nc io -na lid ad e p ol íti ca s er ia d est itu ir o m ov im en to j ust am en te de su a f or ça m ob ili za do ra . F or am ju st am en te a d es ce nt ra -liz açã o e a in de fin içã o id eo ló gi ca qu e si ng ul ar iz ar am o s pr ot est os , t or na ra m -n os a tra tiv os p ara u m a j uv en tu de qu e at é e nt ão e st av a à m arg em d a p ol íti ca e d er am a e le s u m a en ve rg ad ur a d e a co nt ec im en to p ol íti co q ue e xi gia , e s eg ue ex ig in do , n ov as f or m as d e p en sá -lo s p ol iti ca m en te . U m a d as c ara ct er íst ic as m ai s m ar ca nt es d a o cup aç ão d as ru as f oi a q ua nt id ad e s up er la tiv a d e ca rt az es c om r ei vi n-di ca çõ es v ar ia da s. U m a p ro lif era çã o d e b an de ira s e d e c o-re s i de ol óg ica s q ue m ul tip lica va m a s f or m as d e e xp os içã o po lít ica e d ifi cu lta va m a l ei tu ra e a i de nt ifi ca çã o d os a to re s se gu nd o ca te go ria s t ra di ci ona is . C om o o bs er vo u R od ri go N un es ao di sc ut ir o s a co nt ec im en to s d e j un ho , “ em bo ra os fa to re s d es en ca de ad or es m ais e vi de nt es (v io lê nc ia p ol ic ia l, au m en to d o c us to d e v id a, im pa ct os d os m eg ae ve nt os es -po rt iv os ) s ej am r el at iv am en te g en er al iz ad os , o m ov im en to se m an ife st ou p or c oi sa s v ar ia da s, a lg um as a té c on tra di tó -ri as ; m ai s qu e u m a d iv er si da de d e v oz es , u m a d iv er si da de de v on ta de s” . 1 A p ar tir d es sa d iv ers id ad e d e v on ta de s, d e-ve -s e c om eça r a pe ns ar p ro ce ss os d e m ob ili za çã o po lít ica qu e p as sa m a o l arg o d as m ed ia çõ es i nst itu íd as – p ar tid os , si nd ica to s, g ru po s r el ig io so s – e q ue d ei xa m p ar a t rá s a di co to m ia t ra di ci on al e nt re u ni da de c ol et iv a e a lie na çã o in di vi du al , e nt re i nt en ci ona lid ad e e d ir eçã o. N o f un do , a qu es tã o p as sa so br e o s m od os co m o o en ga ja m en to po lít i-co s e p ro ce ss a n o m un do a tu al e a té q ue p on to e le p as sa a o la rg o d e u m a t om ad a d e c on sc iê nc ia p or p ar te d os a to re s; pe lo m en os e m s eu s t er m os m ai s c on ve nc io na is e m qu e es sa c on sc ie nt iz aç ão d ar ia à a çã o t an to d ir eç ão c om o e fe -tiv id ad e t ra ns fo rm ad or a. C om o i nv en ta r n ov os m od el os d e pa rt ic ip açã o qu e nã o pa ss em pe lo s p ro ce ss os he rd ad os da tr ad içã o, s em a br ir m ão , c on tu do , d a p ot ên cia d e e nf re nt a-m en to d a o rd em i ns tit uí da . U m a c oi sa q ue i nd is cu tiv el m en te m ud ou na s m an ife s-ta çõ es f oi o a ba nd on o d e u m c en tr o i de ol óg ic o c on st itu íd o pe lo p al an qu e e s ua v oz m ob ili za do ra . A bo lid o o p al an qu e su rg iu u m a d is pe rs ão g en er al iz ad a d e v oz es e ca rt az es co ns tit ui nd o nú cl eo s di sc ur si vo s pr ov is ór io s ge ra do s no pr óp rio a nd am en to d o p ro te st o. C om o l em br ad o p or P et er Pa l P el ba rt , “ fa la m os d e d es ej os e nã o d e r ei vi nd ica çõ es , po rq ue e st as p od em s er s at is fe ita s. O d es ej o c ol et iv o i m pl i-ca i m en so p ra ze r e m d es ce r à r ua , s en tir a p ul sa çã o m ul ti-tu di ná ri a, c ru za r a d iv er si da de d e v oz es e c or po s, s ex os e tip os e a pr ee nd er u m c om um q ue te m a v er c om a s r ed es , co m a s r ed es s oc ia is , c om a in te lig ên cia c ol et iv a” . 2 C om o es sa s n ov as f or m as d e a çã o r ed efi ne m f or m as d e e xp re ssã o, ou s ej a, q ue e st ét ica (s ) s ur ge (m ) d es sa n ov a p ol iti za çã o? D e qu e m an ei ra e la a tu a n a f ro nt ei ra e nt re u m a e st et iz aç ão es pe ta cu la ri za da e um a est et iz aç ão po te nt e? Pa ra di sc u-tir e ss a e st ét ica d a p ol íti ca ca be re fle tir ta m bé m s ob re o s m od os c om o a a rt e v ei o c on st itu in do p ar a s i u m a p ol íti ca à m arg em d o q ue s e e sp era ri a s er s ua a tu aç ão p ol íti ca . Q ue fo rm as de p ar tic ip aç ão f ora m s en do b us ca da s po r po ét i-ca s e xp er im en ta is a o l on go d o s éc ul o xx e d e qu e m an ei ra el as a br em u m a c en a p ol íti ca r es ist en te à s ua a pr op ri aç ão 1 N un es , R od ri go . “ A o rg an iz aç ão d os s em o rg an iz aç ão : o ito c on ce ito s pa ra p en sa r o i nv er no b ra si le ir o” , w w w .d ip lo m at iqu e. org .b r 2 Pa l P el ba rt , P et er , “ A no ta aí : e u so ni ng ué m ”, Fo lh a d e S . P au lo , 1 9/0 7 /2 01 3, T en dên ci as /d eb at es , p . 2 . es pe ta cu la r e i ns tit uc io na liz an te ? Q ue p ol íti ca d a e st ét ica – f or m as d e a br ir n ov os s en tid os p ar a a a rt e – s er ia ca pa z d e re si st ir à e st et iz açã o d a a rt e – m od os d e a bs or çã o e m an i-pu la çã o? C om o r es ist ir à e st et iz aç ão s em a br ir m ão d a d i-m en sã o es té tica da ar te tã o im po rt an te pa ra a co ns tit ui çã o de m od os si ng ul ar es d e s en tir e p ens ar ? I m po rt an te fr is ar qu e e ss a t ens ão e nt re p ot ên cia es té tica e e st et iz açã o d ev e s e m an te r i rr es ol vi da , u m a v ez q ue se pa ra r t ot al m en te e ss es ca m po s, p ro te ge nd o a re sis tê nc ia p ol íti ca d a a pr op ria çã o m an ip ul ad ora , p ar ec e m ai s u m d os s on ho s i m po ss ív ei s e in de se já ve is d e c er to p ur is m o i de ol óg ic o m od er ni st a. É n o se io d es sa t en sã o q ue a r es is tê nc ia s e m an té m v iv a, p ro du -zi nd o ef ei to s d is se ns ua is qu e di fic ul ta m a abs or çã o im ed ia -ta d o a fe to q ue t ra ns fo rm a t ud o e m e sp et ác ul o. A e sp ec ifi ci da de d a a rt e fi ca p os ta e nt re p ar ên te se s, n o se nt id o d e n ão n os i nt er es sa r a qu i d is cu ti r c on di çõ es d e po ss ib ili da de p ara a lg o s er ou nã o a rt e. Em gra nd e p ar te, e u di ria q ue a p ro bl em at iz açã o d es sa f ro nt ei ra a po nt a, c om o um a e sp éc ie d e d es do br am en to i nc on to rná ve l, p ar a a c on s-tit ui çã o d e u m n ov o t ip o d e e sp ec ta do r e d e n ov as f or m as de p ar tic ip açã o m ai s a be rt as e i nd efi ni da s. N ão m e i nt er es -sa a qu i d is cu tir a p er tin ên ci a o u n ão d o t er m o e sp ec ta do r, o q ue m e i nt er es sa é a na lis ar o s m od os c om o a a rt e p ro du z af et os e e fe ito s q ue s e d is se m ina m n o m un do . O p ro bl em a co lo ca do p elo re ad y-m ad e d uc ha mpi ano foi ju st am en te a co ns tit ui çã o d e u m g es to q ue fi ze ss e c om q ue a m es m a c oi -sa p ud es se s er i gu al m en te a rt e e nã o-ar te . O q ue f az d el e ar te r em et e à s r el aç õe s qu e e le p ro du z e a os p ro ce ss os q ue el e a br e. P or s ua v ez , d an do u m s al to e no rm e n o t em po e n o es pa ço , a s i nt er ve nç õe s d o c ol et iv o p ro je ta çã o na s m an ife s-ta çõ es d e j un ho sã o e n ão sã o a rt íst ic as , a ss im c om o a s f o-to gr afi as e fil m es da M íd ia N in ja e do s m ui to s c ol et iv os qu e at ua ra m a p ar tir d as m an ife st aç õe s. C om o e sc re ve u B ar ba -ra S za ni ec ki , d is cu tin do a e st ét ica d as m an ife st aç õe s e s ua po tê nc ia p ol íti ca : “ O q ue s e c on fig ur ou n os ú lti m os m es es nu m a m ul tip lic id ad e d e l in gu ag en s na s r ed es e na s r ua s, é o ‘a rt ís tic o’ do tr ab al ho bi op ol íti co na m et ró po le ca rio ca qu e, di an te d os pa ra do xo s e p er ig os d o m om en to , d ev e d ar se nt i-do é tic o à s n os sa s d ec is õe s c ol et iv as e à n os sa v id a c om um . Es sa a rt e d a m ul tid ão , p ar a o s d ia s p or v ir, c ons is tir á e m m an te r e st a c on ex ão a tiv a, l ig ad a, i nt en sa ”. 3 O q ue i nt er es sa é d is cu tir o m od o c om o a lg um as es tr a-té gi as d e a çã o p ol íti ca r es ga ta m u m a p ar til ha d is se ns ua l d o se ns ív el q ue r em et e a o m od o c om o a a rt e p ro du zi u s en tid o 3 S za ni ec ki , B . “ A m ar é a m ar é A m ar ild o: m ul tid ão e a rt e” , i n: h tt p: // un i-no m ad e. net /t end a/ am ar -e -a -m ar e-am ar ild o-m ul tid ao -e -a rt e-r j-20 13 /关于
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自 20 13 年 6月 ， 巴 西 的 街 道 便 被 这 个国 家 所 少 见 的 一 连串 的 示 威 游 行 所 占 据 。 某 种 程 度 上， 不 缺乏 地 区 性 的 特 色 ， 是 遍 布 全 球的 一 系 列 运 动 的 回 响 ， 从 西 班 牙到 伊 斯 坦 布 尔 、 从 开 罗 、 纽 约一 直 传 到 巴 西 的各 大 城 市 。 所 散 发 的 力 量 ， 强 烈 要 求 改 变的 呼 声 ， 其 本 身 ， 就 意 味 着 运 动对 政 治 体 制 的 胜 利 。 众 议 纷 纭 ， 大 多 是 批 评 的 口 吻， 说 发 生在 街 道 上 的 事 情 缺 乏 计 划 ， 内 部 组 织 混 乱 ， 没 有意 识 形 态 思想 ， 换 句 话 说 ， 是 呼 吁 一 种 明 确 的 目 的 和 有计 划 的 引 导， 给 那 些 抗 议 一 个 指导 方 针 。 想 给 政 治 运 动 确 立 一 个 方 向 本身 ， 正 是 对 运 动 动 员 力 的 消 弱 。 恰 恰 是 由 于 没有集 中 ， 没有 使 抗 议 单 纯 化 的 确 定 的 思 想 ， 使 运 动对 直 到那 时 还处 在 政 治 的 边 缘 的 年 轻 人 有 了 吸 引 力 ， 给 予 他 们 一 种 政 治 事 件 的宏大 规 模 ， 和 所 要 求 的 、 且 继 续所 须 的 ， 政 治性 地 思 考 的 新 形 式 。 数 量 浩 繁 的 各种 权 利 诉 求 的 海 报， 是 上 街 示 威 的 最 突 出 的 特 点 。 形 色 各 异 的 ， 代 表不 同思 潮 的 各 种 颜 色 的 旗 帜 的 泛 滥 ， 多 元 化 政 治 的 表 达形 式 ， 让 人按 照 传 统类 别 难 以 解 读 和 区 别 究 竟 是 哪 一 派 。 正如 罗 德 里 格 · 努 内斯 1在 讨 论 6月 事 件 的 时 候 所 说 ：“ 尽 管 相 当 普 遍 地 有 明 显 的 触 发 因 素 （警 察暴 力 ， 生 活 成 本 上涨 ， 大 型 体 育 赛 事 的 冲 击 ） ， 运 动表 现 出 情 况 各 异 ， 有 的 甚 至 是 相 互 矛 盾的 ， 不同 的 声 音 ， 不同 的 意 愿， 十 分 繁 杂 。 ” 出 自 这 种 多样 化 的 意 愿， 应 该 思 考 政 治 运作 的 程 序 ， 采 取 机 构 的 调 解 （ 政 党 ， 工 会 ， 宗 教 组 织） ， 而 摆 脱 掉 非 此即 彼的 ， 非 集 体 的 团 结 便 是 个 人 的 疯 狂 的 这 种 传 统 的两元 论 。 根 本 上 ， 问题 成 了 当 今 世 界 政 治 干 预 以 什 么 1 努 内 斯 ， 罗 德 里 格； 《 无 组 织 者的 组 织 ： 对 巴 西 冬 天的 八 种 思 考 ， www . dip lo m at iq ue .o rg. br11
a Few THougHTS
on aeSTHeTICS anD
PolITICS
lUiz Camillo osorio
Since June 2013, streets in Brazil have been taken by several demonstrations rarely observed in the country. Not relinquishing the local particularities, it echoed, in a certain way, a set of movements spread throughout the globe – going from Spain, to Istanbul, Cairo, and New York, until reaching the Brazilian capital cities. Per se, the strength of dissemination combined with the clamor’s intensity imply the victory of these movements over the institutional politics. A lot has been said – regarding the absence of an agenda, the internal lack of organization, and the ideological vagueness of what was taking place on the streets, i.e., the clearness of objectives and a programmatic orientation were claimed in order to give them a guiding line. Although, the will to determine a direction for this political inten-tionality would precisely destitute it of its moving force. The ideological uncer-tainty and decentralization were exactly what made these demonstrations strik-ing, thus becoming attractive to young people who were politically marginalized and, after that episode, ended up realizing the magnitude of this political happen-ing, which required, and continues to require, new ways of thinking politically.
One of the most remarkable features of this occupation of the streets was the sterling amount of signs with assorted claims. Proliferating flags and ideo-logical colors multiplied the forms of political exposure and encumbered the reading and identification of actors according to traditional categories. As ob-served by Rodrigo Nunes when discussing the June events: “Despite the relative generalization of the most evident triggering factors (police brutality, increase in the cost of living, the impact of major sports events), the movement came out due to miscellaneous factors, some of them even contradictory; more than a variety of voices, the variety of wills.”1 Having the latter as point of departure,
1 Nunes, Rodrigo – “A organização dos sem organização: oito conceitos para pensar o inverno bra-sileiro”, in: www.diplomatique.org.br
one must start to think of political mobilization procedures bypassing instituted mediations – parties, unions, religious groups –, leaving behind the traditional dichotomies of collective unit and individual alienation, intentionality and di-rection. Deep inside, the issue goes through the ways that the political engage-ment is processed in the world these days, and how it goes around the raising of awareness by the actors; at least considering the most conventional terms by means of which such awareness would equip the action with direction as much as with transforming effectiveness. The question was how to come up with new models of participation that do not give in to tradition-inherited procedures, yet not waiving the power of confronting the instituted order.
One thing that arguably changed during these demonstrations was the abandonment of an ideological center formed by the soapbox and its mobilizing voice. Once abolished, a generalized scattering of voices and signs came about, thus composing transitory discursive cores generated in motion during the pro-tests. As Peter Pál Pelbart recalls, “we talk about desires, not only about claims, because these ones can be satisfied. The collective desire implies in the huge pleasure of going to the streets, feeling the multitudinous pulsation, bumping into the diversity of voices and bodies, genders and types, as well as learning something in ‘common’ that is related with the networks, the social networks, the collective intelligence”.2 How can these new action forms redefine
expres-sion forms, that is, which aesthetics rise from this new politicization? How does it act upon the boundaries of a spectacularizedaestheticization and a potent aestheticization? In order to discuss this politics of aesthetics it is also pertinent to think about how the art has been building itself a politics on the sidelines of its expected political action. What forms of participation were sought by ex-perimental poetics throughout the twentieth century and how do they open a political scene resistant to its spectacular and institutionalizing appropriation? Which politics of aesthetics – ways to unfold new senses for art – would be ca-pable of resisting to the aestheticization of art – ways of absorbing and manipu-lating? How to resist the aestheticization without relinquishing the aesthetic di-mension of art, of major importance to the establishment of singular means of feeling and thinking? It must be highlighted that this tension between aesthetic power and aestheticization should remain unsolved, since a full detachment of these fields, thus protecting the political resistance of the manipulative appro-priation, seems to be just one more impossible and undesirable dream of a given modernist ideological purism. The resistance continues alive in the bosom of this tension, producing divergent effects that hamper the immediate absorption of the affection that turns everything into a spectacle.
The specificity of art is then placed between brackets, in the sense of not con-cerning us here the discussion of possible conditions for something to be
consid-2 Pál Pelbart, Peter, “Anota aí: eu sou ninguém”, Folha de S. Paulo, July 19, consid-2013, Tendências/Debates section, page 2.
12 uToPIaS, FuTureS anD DreamS
du ra nt e o q ue J ac qu es R an ci èr e d en om in ou d e r eg im e e s-té tic o d as a rt es . “ A s a rt es n un ca e m pr es ta m à s m an ob ra s de do m ina çã o ou de em an ci pa çã o m ai s d o qu e lh es po de m em pr es ta r, o u s ej a, m ui to si m pl es m en te , o q ue tê m e m c o-m um c om e la s: p os iç õe s e m ov im en to s d os c or po s, f un çõ es da p al av ra , r ep ar tiç õe s d o v is ív el e d o i nv is ív el . E a a ut o-no m ia d e qu e p od em g oz ar o u a s ub ve rsã o qu e p od em s e at rib ui r r ep ou sa m s ob re a m es m a b as e” . 4 Em qu e m ed id a a a rt e p od e s er a rt e e s er a o m es m o t em -po p ol íti ca ? E m q ue m ed id a a i nt er ve nçã o p ol íti ca p od e s er po lít ica e a o m es m o t em po s ina liz ar p ar a u m s ens ív el h e-te ro gê ne o p ró pr io a o f az er a rt ís tic o? C om o f al ar d es sa p re -te ns ão p ol íti ca d a a rt e o u d a r ev er be ra çã o a rt ís tica d a p ol í-tica h oj e q ua nd o a s i ns tit ui çõ es a rt ís tica s e p ol íti ca s e st ão em c ri se ? Q ua nd o a s f or m as t ra di ci ona is d e r ep re se nt açã o po lít ic a v êm s en do c on st an te m en te p ost as e m x equ e p el os ac on te ci m en to s e a s i de ol og ia s q ue n os d av am a lg um a s e-gu ra nç a e m r el aç ão a o qu e e sp era r d o f ut ur o n ão a gr eg am m ai s c or aç õe s e m en te s, a p er gu nt a s ob re o ca rá te r p ol íti co da a rt e e a d im en sã o a rt ís tica d a p ol íti ca g an ha u m a u rg ên -cia p ar tic ul ar . A i nt er ro ga çã o q ue m e p ar ec e c ru cia l a í f oi a f or m ul ad a po r D uc ha m p, a s ab er : c om o f az er u m a o bra d e a rt e qu e n ão se ja u m a o bra d e a rt e? O qu e i nt er es sa n est a p erg un ta , i rô ni -ca e p ro fu nd a a o m es m o t em po , é a n ec es sid ad e d e s e p en sa r a a rt e a lé m d o q ue s e s ab ia p os sív el e nq ua nt o a rt e. C om e st e fu nd o a o m es m o t em po t ra ns gr es so r e c on tr ad itó rio , d e i r al ém d o i nst itu íd o e a br ir n ov as j ur is pr ud ên ci as s ob re o qu e s ej a ar te, fo i s e in se ri nd o n o fa ze r a rt íst ic o u m a ca rg a po lít ica q ue m e p ar ec e d et er m ina nt e. E ss a p ot ên cia p ol íti ca é d ir et am en te p ro po rc io na l a e st a p os si bi lid ad e d e a a rt e es ta r s em pr e s e t or na nd o alg o al ém de la m es m a, a lé m d o qu e e ra t id o c om o a rt e. P or ta nt o, p ar ec e-m e i nt er es sa nt e pe ns ar t an to u m d ev ir p ol íti co p ar a a a rt e c om o u m d ev ir ar tís tic o p ar a a p ol íti ca , e m q ue a m bo s, n o s ei o d e u m a c ris e de i de nt id ad e r ad ica l, e st ão s e p on do e m q ue st ão , f or ça nd o e c om bi na nd o t em po ra lid ad es e s en tid os het er og êne os a pa rt ir d o q ua l s e a br em e sp aç os p ar a s ur gi r o n ov o d es co la do de s ua s p rá tica s e c on ve nç õe s i ns tit uc io na is . É d ia nt e d es sa p er ce pç ão d e qu e há u m a p ol íti ca d a a rt e à m arg em d e s ua s f or m as d e p ol iti za çã o qu e e nx erg o o n ão en ga ja m en to po lít ic o d e D uc ha m p e se u a pa re nt e d es in te re ss e pe la p ol íti ca p ro gr am át ica , c om o e ss en cia lm en te p ol íti co s. A in ve nçã o d e u m a n ov a p os sib ili da de d e a rt e c on vo ca o e sp ec -ta do r/ pa rt ic ip ad or a s e p os ic io na r e a p ar tic ip ar d o m od o p el o 4 R an ci èr e, J ac qu es . A P ar ti lh a d o S en sí ve l. S ão P au lo : E di to ra 3 4, p . 2 6. qu al u m a nã o-ar te se to rna a rt e. E ss a p ar tic ip açã o s e c ons ti-tu iri a a p ar tir d os e fe ito s qu e a p ro po siç ão , d e i ní ci o n ad a m ai s do q ue u m e st ad o d e a rt e s em a rte , 5 se ria ca pa z d e p ro du zi r no s m od os d e s en tir e p en sa r d o e sp ec ta do r-p ar tic ip ad or . Se ri a di sp ut an do se us af et os e to rn an do -o s pú bl ic os qu e ca da u m p ar tic ip a d e u m m un do c om um p ar til ha do e pl ura l, qu e c ad a o bra pr od uz ir ia e fe ito s qu e a de sl oc as se m e a r ec ri as se m c on ti nu am en te. S e t om ar m os u m v íd eo co m o o q ue s e r ea liz ou e m u m a d as m an ife st aç õe s ca ri o-ca s – e m q ue u m m an ife st an te v es tid o d e B at m an d is cu te co m u m c in ea st a m ora do r d o L eb lo n e s eu s s eg ui do re s qu e se a ss um em d e d ir ei ta – v em os s e c on st itu ir a li u m a c ena de d is pu ta p ol íti ca e m q ue q ua lq ue r p ar âm et ro i de ol óg ic o fica s us pe ns o e a ca pa ci da de d e p ro du zi r a fe to s d is se n-su ais , e le va da à m áx im a p ot ên cia . N es se v íd eo , f ei to p or um j or na lis ta f ra nc ês q ue q ue ria a co m pa nha r u m a m an i-fe st açã o-ro le zi nh o n o s ho pp in g L eb lo n, t ud o é e vi dê nc ia da s d ife re nça s e na da c on st itu i u m s ol o m ín im o d e a rt ic u-la çã o i de ol óg ica p ar a a lé m d a v on ta de g en uí na d o f ra nc ês de e nt en de r o q ue s e p as sa n o B ra si l. U m a c ena c om o e ss a só a co nt ec e q ua nd o o s â ni m os p ol íti co s a flo ra m e a n ec es -si da de d e i nt er vi r-fic ci ona liz ar o r ea l c on fr on ta -s e c om a vo nt ad e d o d is cu rs o n or m at iv o d e e nq ua dr á-lo e m u m a ló gi ca j á fi xa da – e m q ue B at m an , p or e xe m pl o, s er ia u m he ró i d o ca pi ta lis m o i nt er na ci ona l, c on tr ár io à ca rt ilha id eo ló gi ca d e e sq ue rd a q ue q ue ria m c ol ar n o m an ife st an -te . D e u m l ad o, a p ol íti ca , a tr av és d a a çã o fi cc io na liz an te do B at m an , d es lo ca i de nt id ad es fi xa s; p or o ut ro , a p ol íc ia , en qu an to n or m a i de ol óg ica , q ue r r efi xá -la a t od o c ust o. N ão i nt er es sa a í q ue m t em o m el ho r d is cu rs o e f az a d ef e-sa m ai s c or re ta d os a co nt ec im en to s, m as s im a s f ra tu ra s qu e s e m os tr am e m n os so c ot id ia no , o s a nt ag on is m os q ue se põ em e m jo go q ua nd o um a m ul he r d ir ei tis ta de nu nc ia um a a m ea ça c om un ist a, u m s en ho r c la ss e m éd ia d ef en -de o sh op pi ng do s a rr ua ce ir os , o ci ne as ta , q ue se di z ri co , afi rm a c on vi ve r ha rm on ica m en te c om o p es so al p ob re d a C ru za da S ão S eb as tiã o 6 e, p or fi m , o B at m an , c la ro , q ue va i p ara a s r ua s, a pr op ri a-se d a fi cç ão e l ut a p el o d ir ei to d e 5 A ex pr es sã o “ es ta do d e a rt e s em a rt e, f oi c un ha da p el a a rt is ta b ra si le ir a Ly gi a C la rk p ar a d ar c on ta d e s ua s i nt er ve nç õe s t er ap êu tic as e d o m od o co m o o s o bj et os r el ac io na is p or e la c ri ad os a tu ar ia m j un to a o c or po d o pac ie nt e-pa rt ic ip ad or . I m po rt an te t am bé m l em br ar o q ua nt o s ua p oé tic a, ju nt o c om a d e H él io O iti ci ca , a br ia o t er re no p ar a s e t ra ns fo rm ar a r el a-çã o t ra di ci on al ob ra -e sp ec ta do r n aq ue la m ai s c on te m po râ ne a d e p ro po -si çã o-pa rt ic ip aç ão . O s m od os c om o a p ar tic ip aç ão ac on te ce , o s a sp ec to s po si tiv os e n eg at iv os d e o pe ra r, n ão c ab e a o e sc op o d es te a rt ig o d is cu ti r. 6 A C ru za da S ão S eb as tiã o é u m c on ju nt o h ab itac io na l p ob re n o c or aç ão do L ebl on , o b ai rr o m ai s n ob re d o R io d e J an ei ro . m an ife st açã o. T ud o a li é a o m es m o t em po r ea l e fi cc io na l, ar te e n ão -a rt e, p ol íti ca e n ão p ol íti ca . C ad a u m de n ós po de r ea gi r a o fi lm e à s ua m an ei ra , t od av ia , e sca nca ra -s e um m un do qu e pe rd eu qu al qu er un id ad e e qu e ca be a ca da um b us ca r v ia s d e r ep ot en cia liz açã o d e u m c om um c on st i-tu íd o d e p lu ra lid ad es n o i nt er io r d es sa f ra tu ra d el ib er ad a. D uc ha m pi an ame nte n os v emo s i gu al me nte a pa rt a-do s d e u m i de ár io p ol íti co d a a rt e e ng aj ad a c om o t am bé m do va le -t ud o ni ili st a qu e vê tu do c om o a re pe tiçã o d a do -m in açã o e d a l óg ic a d o p od er . Q ue t ip o d e a pr op ri aç ão s e fa z a p ar tir d aí n ão i m pl ica d ef en de r u m a p os içã o, m as a pr od uçã o d e d es id en tifi ca çõ es q ue a br em p os si bi lid ad es d e se nt id o nã o d et er m iná ve is . C om o a bo rd ar a efi cá cia p ol íti -ca d es se s e ve nt os , c om o t ra ta r a a rt e e s ua ca pa ci da de d e tr ans fo rm açã o s oc ia l q ua nd o a ins er çã o i ns tit uc io na l p ar e-ce s er o s eu fi m ú lti m o e n ec es sá rio ? O q ue a s a çõ es p ol íti -ca s e a m an ei ra d e s e t om ar p ol iti ca m en te a a rt e p od em f a-ze r p ara e nf re nt ar e u ltra pa ssa r e ssa a bs or çã o i nst itu ci on al ? O qu e na su sp ens ão ju di ca tiv a du cha m pia na se a pr es en ta en qu an to p ot ên cia i na bs or ví ve l? O d es afi o, p or ta nt o, é o de m an te r a lg um a l at ên cia d e t ra ns fo rm açã o e, a lé m d is so , re cr ia r ca na is p os sí ve is d e a rt ic ul açã o e nt re o s u so s d a a rt e e a s d em an da s d a p ol íti ca , t en do e m v is ta , p ri nc ip al m en te , tem po ra lid ad es h et er og ên ea s e co m pl em en ta re s. C on sid er an do q ue a p ol íti ca e s ua s f or m as d e r ep re se nt a-çã o e st ão e m c ris e e qu e e ssa c ris e e st á r el ac io na da a u m a c ri-se d o e sp aç o c om um o nd e s e d á o e nf re nt am en to d e f or m as de v id a h et er og ên ea s e p lu ra is , c re io qu e a d is cu ssã o d a p ar -tic ip açã o e nq ua nt o d is se m ina çã o d e a fe to s e e fe ito s e st ét ic o -p ol íti co s é d a m ai or im po rt ân cia . A a pr op ria çã o p ar tic ip a-tiv a, e nq ua nt o a tiv id ad e c rít ica c om bi na nd o j uí zo e c ria çã o, é u m a n eg oc ia çã o c on st an te e a be rt a e m r el aç ão à s p os sib i-lid ad es d e s en tid o o u d e s ilê nc io na a pr ee ns ão d as o br as d e ar te e d os e ve nt os p ol íti co s. O q ue é g er ad o e nq ua nt o e fe ito po lít ic o s ó p od e s er v is lu m br ad o n o m od o c om o a s o br as o u os a co nt ec im en to s v ão p ro du zi nd o m un do e a fe ta nd o s ub je -tiv id ad es q ue s e e xp õe m e s e t ra ns fo rm am a p ar tir d aí . Q ua nd o a i nd efi ni çã o s ob re o q ue s ej a a rt e é r ad ica l, a pa rt ic ip açã o j ud ica tiv a e nq ua nt o a fe to q ue p ro du z e fe ito s s e fa z n ec es sá ria . P ar a is so , d ev e-se d ife re nc ia r u m ju íz o q ue é p ro cu ra / c ri aç ão d e s en tid o d e u m j uí zo qu e é c on de na -çã o e e nq ua dr am en to . J ulg ar a í é u m s en tir a tiv o, u m a fe to cr ia tiv o q ue p ro du z d ife re nça s; é u m ex er cí ci o d e n eg oc ia çã o co ns ta nt e d e ca da u m c on si go m es m o e c om o s o ut ro s, e m s i e f ora d e s i, n o s en tid o d e q ue re r d is se m ina r u m a e xp er iê n-ci a e p ô-la e m r el aç ão c om v iv ên ci as a nt er io re s d e ca da u m e f or m as d e s en tir d is tin ta s d e q ua lq ue r u m , q ue e vi de nc ia m 方 式 操 作 ， 乃 至 于 何 种 程 度它 是 行 为 者一 方 所 采 的 觉 悟 的 问 题 ； 至 少 这 种 觉 悟 以 其 最传统 的 概 念 上 会 给行 动 以 方 向 并 制 造 出效 果 。 如 何创 造 参 预 的 新 模 式 ， 不 通 过 由 传 统 继 承 的 手 段 ，却 又 不 放 弃 对 抗 成 命 的 潜 力 。 示 威 活 动 有一 种 不 可 争 辩 的 变 化 ， 就 是 放 弃了 由 主 席 台 和 动 员 口 号 所 构 成 的中 心 思 想 。 取消 主 席 台 ， 而 涌 现 出 分 散 遍 地 的 声 音 和 海 报 ， 构 成 临 时 的 演 讲中 心 ， 产生 于 抗 议 活 动 的 进 程 的 本 身 。 诚 如 佩 特 · 帕 尔 · 沛 尔 巴 特 所 说， “ 我 们 说 的 是 欲 望 ， 而 不 是 权 利 诉 求 ， 这 些 权 利是 可 以 得 到 满 足 的 。 集 体 欲 望意味 着 要 走 上 街 头 的 巨 大 快 感 ， 体 验 大 众 的脉 搏 ， 交 错 各 异的 呼 喊 和 身 体 ， 不 同 的 性 别 ， 各 类 的 人 物 ， 学 习 相关 网络 、 社 交 网络 、 集 体 智 慧 的 一 种 共 同 性” 2。 这 种 新 的 行 动 方式 是 怎 样 重 新 界 定 表 达 方式 ， 抑或 ， 从 这 种 新 的 政 治 形 式 究 竟产 生 何 种 的 美 学 概 念 ？ 它 以 何 种 方 式 作 用 于标 新 立 异 的 美 学 与力 量 美 学 的 临 界 之 间 ？ 要 讨 论 这 种 政治 美 学 ， 应 该 也 反 思 一 下 ， 艺 术 以 其 政治 行为 所 期 待的 幅 度 ， 如 何 逐 渐 为 自 己 设 立 了 政 治 藩 篱 。 在 二 十 世 纪 ， 实 验 诗 歌 寻 求 了 何 种方 式 参 预 ， 他 们 是 怎 样开 辟 了 一 个 政 治舞 台 来 抵 御 壮 观的 体 制 性 经 费 。 何 种 美 学政 治 、 吸 引 与 操 纵 — — 为艺 术 开 启新 感 官 方 式 — — 得 以 抗 拒 艺 术 的 美 学 化 ？ 若 不 在 建 树 感觉 与 思 维 的 独 特 方 式 上 如 此 重 要 的 艺 术 美学 维 度 放 手 ， 怎 能 抗 拒 美学 化 。 重 要 的 是 指 出 ， 这 种 美 学力 量 与 美 学 化 之 间 的 紧 张 关 系 继 续 维 持 着 ， 得 不 到 解 决 ， 因为 完 全 的 隔 离 这 两 个 范 畴 ， 防范 经 费 操 纵 的 政 治 抵抗 ， 似 乎 是 不 可 能 的 、 某 些 现 代主 义纯 艺 术 思 潮 所 不 愿 实 现 的 梦 想 。 在 这 种 紧 张 关 系 的 内部 ， 抵 抗保 持 活 力 ， 产 生 分 歧 的 效 果， 困 扰 着 影 响 的直 接 效 果， 将 一 切 化 解 成 形式 。 艺 术 的 特 殊 性 ， 代 引 号 的， 意 思 是 此 处 并 不 想 讨 论 某 种 事 物 属于 还 是 不 属于 艺 术 的 可 能 条 件 。 大 部 分 情况 下 ， 我 认 为对 这 一 界 线 问 题的 提 出 ， 就 象 铺 展 开不 可 回 避 的 折 叠 ， 指 向 建 立 一 种 新 类 型 的 观 众 和 新 的、 更 开 放 的、 不 确 定 的 参 与 方 式 。 我没 有 兴 趣 在 此讨 论是 否 与 观 众 这 一 概 念 有 关 系 ， 我 所 感 兴趣 的 是 分 析 艺 术 如 何 产 生 感 染 世界 的 影 响 和 效 果 的 方 式 。 现 成 品的 杜 尚 艺 术 所 提 出 的问 题 ， 恰 恰 是构 成 一种 态 势 ， 使 得 一种 事 物 可 以 同 时 既 是 艺 术 又 是 非 艺 术 。 所 谓 是 艺 术， 是 指 它所 产 生 的 关 系 和 开 创 的 过 程 。 而 6月 示 威 运 动 中 的 集 体设 计的 参 预 ， 在 空 间 与 时 间 上 的 巨 大 跨 越 ，示 威 、 还 有 那 些 照 片 和 米 迪 娅 •宁 雅 的 电 影 ， 和 所 有 在 示 威 游 行中 表 演 的 集 体 ， 并非 都是 艺 术 性 的 。 正 如 巴 巴 拉 •瓒 聂 基 在 讨 论 示 威 的美 学 与 政 治 力 量的 时 候 写 道 ：“ 在 最 后 的 几 个 月 ， 网 络 和 街 道 上 ， 编 派 出层 出 不 穷 的 语 言 ， 是 里约 热 内 卢 都市 生 物 政 治 的 ’ 艺 术 ’ 创 作 ， 在 面 对 矛 盾 与 危 险 的 时 刻 ，应 该 给 我 们 的 集 体 决 策 和 共 同 的 生 命 2 帕 尔 . 沛 尔 巴 特 ， 佩 特 ： 《 记 下 了 ： 我 谁 都 不 是 》 ，《 圣 保 罗 之 页， 201 3/ 07 /1 9 ， 倾 向 于 辩 论 ，第 2页。13
ered as art or not. Mostly, I would say that problematizing this frontier, as some sort of unavoidable unfolding, points out towards the composition of a new spec-tator along with more open and undefined ways to participate. I am not interested in discussing here whether it is pertinent or not to use the term spectator, but rather to analyze how art produces affections and effects that spread throughout the world. The problem brought out by Duchamp’s ready-mades was exactly the constitution of a gesture capable of turning something into art that can also be non-art. What makes it art refers to the relations it produces and the procedures it engenders. On its turn, making a huge leap in time and space, the interven-tions of Coletivo Projetação during the June protests are simultaneously artistic and non-artistic, just as the photographs and videos by Mídia Ninja and several others collectives that acted on the demonstrations. As Barbara Szaniecki puts it, when discussing the aesthetics of the manifestations and their political power: “What the past few months called forth in a wide range of languages, both on the networks and the streets, is the ‘artistic’ aspect of the biopolitical work in Rio de Janeiro, which, faced with the current hazards and contradictions, must give an ethical meaning to our collective decisions and our common life. On the days to come, this multitude art will consist in keeping this connection active, bound, intense.”3 The point is to discuss how some political action strategies redeem a
dissonant distribution of the sensible, which refers to how art produced sense during the period that Jacques Rancière named the aesthetic regime of arts. “The arts only ever lend to projects of domination or emancipation what they are able to lend to them, that is to say, quite simply, what they have in common with them: bodily positions and movements, functions of speech, the parcelling out of the visible and the invisible. Furthermore, the autonomy they can enjoy or the sub-version they can claim credit for rest on the same foundation.”4
To what extent can art continue to be art and simultaneously be politics? To what extent can the political intervention simultaneously be politics and point towards a heterogeneous sensible proper to art making? How to talk about this political pretension of arts or the artistic reverberation of politics, now that both artistic and political institutions are in crisis? When the traditional forms of po-litical representation are constantly put at stake by current events, the ideolo-gies that used to give us some safety regarding our expectations can no longer aggregate more hearts and minds, and the question on the political character of arts and the artistic dimension of politics gains a peculiar urgency.
The question that seems crucial to me was the one posed by Duchamp: how to make a work of art that is not a work of art? What matters the most in this question, at the same time ironic and deep, is the need to think the arts beyond
3 Szaniecki, Barbara – “Amar é a maré Amarildo: multidão e arte”, in: http://uninomade.net/tenda/ amar-e-a-mare-amarildo-multidao-e-arte-rj-2013/
4 Rancière, Jacques. “The Politics of Aesthetics”, translated by Gabriel Rockhill. New York: Contin-uum Impacts, 2011, page 19.
what was then considered possible as art. With this transgressive and contradic-tory grounds that go beyond what is already established and open new jurispru-dences concerning what is art, a new political energy was inserted in art making, which seems determinant to me. This political potency is directly proportional to the possibility of art always becoming something more than art itself, more than what used to be considered as art. Therefore, it seems interesting to me to think of a political becoming of art as well as of an artistic becoming of politics, in which both, within a radical identity crisis, are putting themselves in ques-tion, thus forcing and combining heterogeneous meanings and temporalities that give room for the new to rise, unattached of its institutional practices and conventions.
It is faced with this perception of a new politics of arts on the sidelines of its politicization that I see the non-political engagement of Duchamp and his ap-parent nonchalance towards the programmatic politics, essentially as political acts. The invention of a new artistic possibility summons the spectator-partic-ipator to position him/herself and to take part in the way that the non-art be-comes art. This participation would be constituted (as) from the effects that the proposition, at first nothing more than a state of art without art,5 would be
capa-ble of producing new ways of feeling and thinking for the spectator-participator. By disputing their affections and making them public, each one would then participate in a common, shared, and plural world, while each work would then produce effects to constantly displace and recreate themselves. If we consider a video like the one made during a manifestation in Rio – in which a protestor dressed as Batman talks to a filmmaker that lives in Leblon and to his assumedly right-wing followers –, we observe the formation of a political contest scene, in which any ideological parameter is suspended, and the capacity of producing di-vergent affections is elevated to its maximum power. Made by a French journal-ist in an attempt to follow a manifestation or “rolezinho” (synonym for “stroll”) at Shopping Leblon, everything proves the differences, and nothing composes the minimum grounds of ideological articulation besides the genuine will of the French journalist to understand what goes on in Brazil. A scene like that can only take place when the political moods flourish and the need to step in/ fictionalize the reality is confronted with the normative discourse’s volition of framing it in a fixed logic – in which Batman, for instance, would be the hero of the international capitalism, contrary to the ideological left-wing pamphlet that they wanted to paste on the protester. On the one hand, politics, through the fic-tionalizing action of Batman, displaces the fixed identities; on the other, the
po-5 The expression. “state of art without art” was coined by the Brazilian artist Lygia Clark to account her therapeutic interventions and the way the relational objects created by her would act along with the body of the patient-participator. It is also important to remark how much her poetics, along with Hélio Oiticica’s, would give room to transform the traditional work-spectator relationship into the contemporary notion of proposition-participation. The ways that the participation happens, as well as the positive and negative aspects of operating, are not part of the scope of this article.
