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  • “L.O.V.E.” de Maurizio Cattelan colocada Piazza Affari em Milão, em frente ao Palazzo Mezzanotte (1932), sede da Bolsa de Valores e um edifício marcante da arquitectura fascista.
    Photo by Andrea Melzi

    Cattelan descreve a escultura “L.O.V.E.” como um statement anti-fascista. He transformed Italy’s Fascist hand salute from the 1930s by cutting off the fingers and mutilating the hand. The artist stated he was criticizing the totalitarianism that ravaged Europe in the last century. As it’s placed, it points away from the stock exchange, and not at it.

    Milan finally accepted the donation of “L.O.V.E.” by Maurizio Cattelan. The 36-foot marble sculpture is placed outside the stock exchange in Italy’s financial capital. The giant marble middle finger is for sure a controversial symbol greeting

    The artist decided to donate the sculpture to the city last year on the condition that it grace Piazza Affari, and a few days ago refined the change of ownership. “L.O.V.E.” has become permanent installation for the next forty years.
    Joana Vasconcelos no Palácio da Ajuda
  • Guerrilla Girls
    [no title] 1985-90

    This is one of thirty posters published in a portfolio entitled Guerrilla Girls Talk Back by the group of anonymous American female artists who call themselves the Guerrilla Girls. Tate’s copy is number twelve in the edition of fifty.
    Since their inception in 1984 the Guerrilla Girls have been working to expose sexual and racial discrimination in the art world, particularly in New York, and in the wider cultural arena. The group’s members protect their identities by wearing gorilla masks in public and by assuming pseudonyms taken from such deceased famous female figures as the writer Gertrude Stein (1874-1946) and the artist Frida Kahlo (1907-54). They formed in response to the International Survey of Painting and Sculpture held in 1984 at the Museum of Modern Art, New York. The exhibition included the work of 169 artists, less than 10% of whom were women. Although female artists had played a central role in experimental American art of the 1970s, with the economic boom of the early 1980s in which artwork prices rose steeply, their presence in museum and gallery exhibitions diminished dramatically. Dubbing themselves the ‘conscience of the art world’, in 1985 the Guerrilla Girls began a poster campaign that targeted museums, dealers, curators, critics and artists who they felt were actively responsible for, or complicit in, the exclusion of women and non-white artists from mainstream exhibitions and publications.
    Like American artists Barbara Kruger (born 1945) and Jenny Holzer (born 1950), the Guerrilla Girls appropriated the visual language of advertising, specifically fly-posting, to convey their messages in a quick and accessible manner. They pasted up their first posters on SoHo streets in the middle of the night. Combining bold block text with lists and statistics that were compiled by the Girls themselves or reinterpreted from existing sources such as art magazines and museum reports, the posters named New York galleries that showed no more than 10% women artists (Tate P78810) and listed successful male artists who allowed their work to be shown in galleries showing little or no work by women (Tate P78809). Other posters, such as ‘We Sell White Bread’ (1987, Tate P78800), first appeared as peel-off stickers on gallery windows and doors. With such posters as ‘The Advantages of Being a Woman Artist’ (1988, Tate P78796) and ‘Relax Senator Helms, the Art World is your kind of place (1989, Tate P78792) the Girls used wit and irony to point a critical finger at double standards prevalent in the art world and elsewhere.
    The group gradually widened their focus, tackling issues of racial discrimination in the art world and also made more direct, politicised interventions. They organized forums at the Cooper Union where critics, curators and dealers could tell their side of the story (1986, Tate P78805), inserted flyers inside the covers of all the books in the Guggenheim Museum’s bookstore, and, concurrently with the 1987 Whitney Biennial, made an exhibition of information exposing the museum’s poor record on exhibiting women and artists of colour (Tate P78798). In 1992, at the opening of the Guggenheim Museum SoHo, after instigating a postcard-writing campaign attacking the museum for proposing to show only white male artists, they organized a demonstration, handing out bags with gorilla heads printed on them for protesters to wear over their heads. To date they have produced more than ninety posters, three books, numerous stickers and other printed projects and have undertaken actions about discrimination in art, film and politics. They make presentations and run workshops at schools, museums and various organisations. Their individual identities are always concealed behind the signature gorilla masks.
    This print is based on the 1989 poster that asks ‘Do women have to be naked to get into the Met. Museum?’ above a reclining naked woman who wears a gorilla mask. The image is based on the famous painting by Jean-Auguste-Dominique Ingres (1780-1867) entitled Odalisque and Slave (1842, Walters Art Gallery, Baltimore) and accompanied by the facts: ‘less than 5% of the artists in the Modern Art Sections are women, but 85% of the nudes are female’. The poster was originally designed to be a billboard commissioned by the Public Art Fund in New York, but it was rejected on grounds of not being clear enough. The Guerrilla Girls recount: ‘we then rented advertising space on NYC buses and ran it ourselves, until the bus company cancelled our lease, saying that the image ... was too suggestive and that the figure appeared to have more than a fan in her hand.’ (Quoted in Chadwick, p.61.)
  • Cildo Meireles
    Criticando o regime militar brasileiro por meio de notas de cruzeiro, até então impensável como suporte artístico, Cildo carimbou nas cédulas inscrições que diziam “quem matou Herzog?”. Hoje sabemos que Wladimir Herzog foi um jornalista torturado e morto por militares durante a ditadura, porém para o contexto de repressão da época a pequena provocação feita através da obra de Cildo assume dimensões gigantescas, já que os militares apontavam um suicídio como a causa de morte do jornalista
  • Cildo Meireles

    Uma outra sutil porém impactante intervenção de Cildo Meireles foi a obra “Inserções em circuitos ideológicos”, que consistia em gravar garrafas retornáveis de Coca Cola com opiniões críticas. Utilizando tipografia semelhante a original, as frases inseridas por Cildo passavam despercebidas quando o recipiente estava vazio. Porém, quando a garrafa voltava a circular, já preenchida com o refrigerante de cor escura, sentenças como “yankees, go home” eram evidenciadas. Mais uma vez a sutileza da ação pode a princípio soar como ingênua, porém dentro do cenário em que foi realizada representa uma severa crítica a dependência do Brasil em relação à economia global.
  • 1937 exposição de arte degenerada, regime nazi. Entartete Kunst.

    “the Nazi party put on two art exhibitions in Munich. The Great German Art Exhibition [the Große Deutsche Kunstausstellung] was designed to show works that Hitler approved of — depicting statuesque blonde nudes along with idealised soldiers and landscapes. The second exhibition, just down the road, showed the other side of German art — modern, abstract, non-representational — or as the Nazis saw it, ‘degenerate.’” This Degenerate Art Exhibition (Die Ausstellung “Entartete Kunst”), the much more popular of the two, featured Paul Klee, Oskar Kokoschka, Wassily Kandinsky, Max Beckmann, Emil Nolde and George Grosz.

    Junho 2012
  • Foto: Carlos Valencia

    Junho 2012
  • Foto: Carlos Valencia

    Junho 2012
  • Fonte: P3
  • Mural Lionesa
    Esquerda: Draw
    Direita: gonçaloMar
  • Miguel Januário +-
  • Post Scriptum um projecto performativo de Paulo Mendes.

    Apresentado no dia 6 de Março 2014 na Garagem Passos Manuel integrado no projecto Expedição.
  • Banksy

    Alguém acredita que Banksy pôs à venda os seus trabalhos por pouco mais de 40 euros?
    CLÁUDIA CARVALHO 14/10/2013 - 13:20
    Foi nos arredores do Central Park que o artista britânico montou uma banca para vender os seus trabalhos. No final, a maior parte voltou para o caixote. Talvez porque ninguém quis acreditar que ali estavam obras originais.

    Quando uma obra de Banksy aparece num qualquer leilão de arte, pode valer vários milhares de euros. Mas quando é o próprio artista que decide pôr à venda os seus trabalhos, numa manobra irrepetível, têm o preço único de 60 dólares (pouco mais de 44 euros). Foi o que aconteceu este sábado em Nova Iorque. Não houve aviso, passou despercebido a alguns e ao final do dia ainda muitas telas estavam por vender. Mais depressa a maioria das pessoas pensou que na banca montada nos arredores do Central Park estavam falsificações e não originais do icónico artista britânico.

    Às 18h00, a banca fecha e as telas são arrumadas. O saldo da venda foi de 420 dólares (aproximadamente 310 euros), um valor que contrasta com o stencil de uma criança que costura bandeiras do Reino Unido e que em Junho foi vendido em leilão por um milhão de euros.
  • Arte t imp

    1. 1. ARTE : TENSÃO E IMPEDÂNCIA9º Encontro Internacional das Artes • Viana do Castelo • 2014 • Helder Dias •
    2. 2. “Pouco poder tem a arte ou quase nenhum. Ainda que saibamos de situações em que um “livro salvou uma pessoa”, ou que um filme modificou para sempre uma vida, que uma canção tornou mais melancólico um político, ou que o facto de ter assistido a uma ópera alterou a biografia de uma outra pessoa. Ainda assim, a arte tem pouco poder.” (Ribeiro, 2008)
    3. 3. “A censura que se pratica sobre as obras alheias não determina necessariamente a produção de obras melhores. Bernard Fontenelle Bem hajam pela iniciativa!” • “Anónimo disse... Bem que a Camara podia gastar algum dinheiro e aproveitar no fim do evento para fazer casas de banho, coisa que não existe na cidade...”
    4. 4.