Categoria: Aulas Abertas

How do we manage to stay resistant in times where irritation becomes innovation and critique a corporate culture. Focused on artistic resistance within dominant systems such as the market, my artistic practice and research challenges traditional notions of appropriation, proposing that being “already appropriated” becomes a strategic tool for Parasite Art and subversive practice.
In the lecture I will elaborate on parasitic tactics (Maria Lugones, de Certeau) to gather different ways of subversive practice, as well as give an overview on the genealogy of the parasite as a social figure and theoretical concept (Michelle Serres, Chantal Mouffe). In the presentation I will mainly focus to my personal artistic projects weaving them together with theory and will explore how artistic research can support a grounded critical artistic practice.

Wilfredo Prieto é um transgressor do meio, um recodificador do objeto e de expressões em que a ideia persiste sempre. Constrói narrativas a partir de artefactos aparentemente supérfluos, mas que escondem uma cosmologia inesgotável de signos que refletem a realidade. Explora o quotidiano e realiza uma operação cirúrgica do contexto para encontrar o que já existe e tentar modificá-lo através de intervenções mínimas. O seu trabalho fala da realidade com a realidade.

A partir de alguns dos seus trabalhos, serão exploradas as temáticas recorrentes da sua prática artística. A conversa abordará processos mutáveis que interseccionam corpo, linguagem e ambiente, integrando elementos dramáticos e tecnológicos. Com a exibição de vídeos e a escuta de peças sonoras, será aprofundada a dinâmica entre sistemas humanos e não-humanos, revelando as relações que emergem nesse território híbrido.

The disputes between iconodules and iconoclasts in the Byzantine Empire, especially fervent between the 8th and 9th centuries, serve as a starting point for rethinking the controversies over the image from a theoretical and symbolic point of view. Because, although these confrontations represent political and theological positions (prohibition of the representation of God according to the Scriptures), by extension, we can think about the tensions that exist between the image and what the image points to —an absence, something that we make appear without being, a lack (a desire). This lack, this appearing without being, is especially present in the iconic image, the image par excellence of the invisible. This presentation aims to expose some «derivations» of these tensions in modern and contemporary art, as well as serving as a brief tour through the notion of image, taking into account its symbolic dimensions of negation, prohibition or lack.

Starting from a journey through the works developed in recent years, Hugo de Almeida Pinho will focus in his presentation on the most recent investigations developed through artistic residencies, cycle of studies, and international exhibitions. This artistic research of speculative proposals has been characterized by formal diversity and interdisciplinary intersection. Condemning a form of heliocentrism that develops procedures of marginality, appropriation and energy neocolonialism, his most recent project reflects on certain social and ecological issues linked to policies of visibility and invisibility of solar capitalism, and their different implications and critical realities. 

Desenvolvo o projeto NBP desde o início dos anos 1990, procurando trabalhar questões em torno do conflito entre as dimensões imaterial (em suas vertentes conceitualistas) e material (portadora de intensidades sensoriais) das práticas artísticas contemporâneas, compreendendo seu impacto na economia dos processos de produção, recepção, circulação, distribuição e fruição da obra de arte, assim como sua dimensão comunicacional. Nesta apresentação, irei comentar momentos de presença do campo sônico em NBP, indicando regiões de contato com a indústria cultural, até trabalhos recentes, em que elementos discursivos são vocalizados e construídos como camadas de sonoridade…

In her talk, Ines Schaber will focus on a work that she conducted together with the artist Stefan Pente from 2009-11. unnamed series features a succession of artworks pro­voked by photographs that art historian Aby Warburg had taken as part of his travels to the Hopi Indians in 1898. Warburg noted that the images should never be published, but in the 1990s, the Warburg Institute in London made the images available as part of a glossy hardcover book. The art work and an accompanying text circulate around a series of aspects that the encounter between Warburg and the Hopis evokes.

Gwendoline Robin is a Belgian visual and performance artist. She lives and works in Brussels.

Gwendoline Robin’s work revolves around installation, performance and video. Fire and explosives, glass, earth, water and stones are all elements she confronts in ephemeral actions that seem to densify time and space.

Schirin Kretschmann’s work oscillates between painting as installation art and its liminal convergences with process-based practices. Her artistic work is situational and processual in that it takes an artistic gesture as a point of departure and initiates developments or fluctuating processes, in which the viewers themselves usually play an active role and perception is understood to be a multifaceted, synaesthetic, constantly changing and thus unfinished process. The intervention of a material in a specific exhibition context is always a direct reaction to the conditions of the respective context and its material components.

Exhibition as Research. The case of “Les Immatériaux” (Paris, 1985).
Andreas Broeckmann is an art historian and curator who lives in Berlin. He is currently engaged in a research project about the exhibition „Les Immateriaux“ (Paris, 1985) at Leuphana University Lüneburg (2021-2024). He teaches at the Academy of Fine Arts, Leipzig, and is a tutor in the PhD program of the Art Academy in Malmö. He lectures internationally about the history of modern and contemporary art, media theory, and digital culture. He is the author of „Machine Art in the Twentieth Century“ (MIT-Press, 2016), and of „The Making of Les Immatériaux“ (forthcoming, 2025).