Naked-Monument (Naked-Moment)
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://doi.org/10.48619/cap.v4i2.676 |
Resumo: | These writings are developed in order to diagnose the typology of a monument to the Kaiowá and Guarani Amerindians, from the state of Mato Grosso do Sul, Brazil, to be elaborated for the capital of Portugal, Lisbon. As a way to resolve my problematic situation in this in-between –a white contemporary artist from Sao Paulo, neither indigenous nor Portuguese–, the decolonial instance is initially clarified in order to support the artistic piece and the possibility of framing myself in an epistemology of the South. Thereafter, a reflection around three “subject-objects” from Guarani material cultures –tumular kurusu, chiru’s stick or cross, and Guarani-Kaiowá (yvyra’i marangatu) and Guarani-Nhandéva (tata rendy’y) kind of “altars” – leads to the notion of the act of producing “living” bodies, in the present. Then, the definitions of anti-monument and counter-monument are discussed and they lead to the ‘naked-monument’ typology –which can also be designated as ‘naked-moment’–, befitting with the emphasized trait from the Amerindians cosmovisions. Finally, the conclusions recognize critical potentials of the naked-monument syntax, in relation to the classical monument and to the colonial and imperial monuments. On the other hand, the text identifies a Western thought trend in tune with the idea of producing “living” bodies, which holds the idea of presence culture and is able to deconstruct the coloniality of power. |
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Naked-Monument (Naked-Moment)Monumento-Nu (Mo-Nu-Mento; Momento-Nu)These writings are developed in order to diagnose the typology of a monument to the Kaiowá and Guarani Amerindians, from the state of Mato Grosso do Sul, Brazil, to be elaborated for the capital of Portugal, Lisbon. As a way to resolve my problematic situation in this in-between –a white contemporary artist from Sao Paulo, neither indigenous nor Portuguese–, the decolonial instance is initially clarified in order to support the artistic piece and the possibility of framing myself in an epistemology of the South. Thereafter, a reflection around three “subject-objects” from Guarani material cultures –tumular kurusu, chiru’s stick or cross, and Guarani-Kaiowá (yvyra’i marangatu) and Guarani-Nhandéva (tata rendy’y) kind of “altars” – leads to the notion of the act of producing “living” bodies, in the present. Then, the definitions of anti-monument and counter-monument are discussed and they lead to the ‘naked-monument’ typology –which can also be designated as ‘naked-moment’–, befitting with the emphasized trait from the Amerindians cosmovisions. Finally, the conclusions recognize critical potentials of the naked-monument syntax, in relation to the classical monument and to the colonial and imperial monuments. On the other hand, the text identifies a Western thought trend in tune with the idea of producing “living” bodies, which holds the idea of presence culture and is able to deconstruct the coloniality of power.Estes escritos desenvolvem-se de modo a diagnosticar a tipologia de um monumento aos ameríndios Kaiowá e Guarani, do estado de Mato Grosso do Sul, Brasil, a ser elaborado para a capital de Portugal, Lisboa. Como uma forma de resolver a minha problemática situação nesse entremeio, ao ser uma artista contemporânea paulistana e branca –nem indígena, nem portuguesa–, num primeiro momento explicita-se a faceta decolonial a fundamentar a peça artística em questão, assim como a possibilidade de eu enquadrar-me numa epistemologia do Sul. Por conseguinte, a reflexão em torno a três “objetos-sujeitos” das culturas materiais Guarani –kurusu tumular, pau, vara ou cruz de chiru, e tipos de “altar” Guarani-Kaiowá (yvyra’i marangatu) e Guarani-Nhandéva (tata rendy’y)– leva à emergência da noção do ato de produção do corpo “vivo”, no presente. Segue-se, então, um trato com definições de antimonumento e contramonumento, pelo que se arriba na tipologia ‘monumento-nu’ –a qual pode ser, também, indicada por ‘mo-nu-mento’ e por ‘momento-nu’–, condizente ao aspeto destacado das cosmovisões ameríndias. Por fim, nas conclusões reconhecem-se potenciais críticos da sintaxe do monumento-nu com respeito ao monumento clássico e aos monumentos coloniais e imperiais. Por outro lado, identifica-se uma vertente do pensamento ocidental que, ao estar em sintonia com a ideia de produção do corpo “vivo”, preza pela cultura de presença e é apta a desconstruir a colonialidade do poder.Urbancreativity.org2023-02-03info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://doi.org/10.48619/cap.v4i2.676https://doi.org/10.48619/cap.v4i2.676CAP - Public Art Journal; Vol 4 No 2 (2022): Artistic Studies and Sculpture; 8 - 31Cadernos de Arte Pública; v. 4 n. 2 (2022): Artistic Studies and Sculpture; 8 - 31CAP - Cadernos de Arte Pública / Public Art Journal; v. 4 n. 2 (2022): Estudos Artísticos e Escultura; 8 - 312184-6197reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAPporhttps://journals.ap2.pt/index.php/CAP/article/view/676https://journals.ap2.pt/index.php/CAP/article/view/676/424Larín, Letíciainfo:eu-repo/semantics/openAccess2023-02-05T07:08:06Zoai:journals.ap2.pt:article/676Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T16:46:13.630288Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Naked-Monument (Naked-Moment) Monumento-Nu (Mo-Nu-Mento; Momento-Nu) |
title |
Naked-Monument (Naked-Moment) |
spellingShingle |
Naked-Monument (Naked-Moment) Larín, Letícia |
title_short |
Naked-Monument (Naked-Moment) |
title_full |
Naked-Monument (Naked-Moment) |
title_fullStr |
Naked-Monument (Naked-Moment) |
title_full_unstemmed |
Naked-Monument (Naked-Moment) |
title_sort |
Naked-Monument (Naked-Moment) |
author |
Larín, Letícia |
author_facet |
Larín, Letícia |
author_role |
author |
dc.contributor.author.fl_str_mv |
Larín, Letícia |
description |
These writings are developed in order to diagnose the typology of a monument to the Kaiowá and Guarani Amerindians, from the state of Mato Grosso do Sul, Brazil, to be elaborated for the capital of Portugal, Lisbon. As a way to resolve my problematic situation in this in-between –a white contemporary artist from Sao Paulo, neither indigenous nor Portuguese–, the decolonial instance is initially clarified in order to support the artistic piece and the possibility of framing myself in an epistemology of the South. Thereafter, a reflection around three “subject-objects” from Guarani material cultures –tumular kurusu, chiru’s stick or cross, and Guarani-Kaiowá (yvyra’i marangatu) and Guarani-Nhandéva (tata rendy’y) kind of “altars” – leads to the notion of the act of producing “living” bodies, in the present. Then, the definitions of anti-monument and counter-monument are discussed and they lead to the ‘naked-monument’ typology –which can also be designated as ‘naked-moment’–, befitting with the emphasized trait from the Amerindians cosmovisions. Finally, the conclusions recognize critical potentials of the naked-monument syntax, in relation to the classical monument and to the colonial and imperial monuments. On the other hand, the text identifies a Western thought trend in tune with the idea of producing “living” bodies, which holds the idea of presence culture and is able to deconstruct the coloniality of power. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-02-03 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://doi.org/10.48619/cap.v4i2.676 https://doi.org/10.48619/cap.v4i2.676 |
url |
https://doi.org/10.48619/cap.v4i2.676 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://journals.ap2.pt/index.php/CAP/article/view/676 https://journals.ap2.pt/index.php/CAP/article/view/676/424 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Urbancreativity.org |
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Urbancreativity.org |
dc.source.none.fl_str_mv |
CAP - Public Art Journal; Vol 4 No 2 (2022): Artistic Studies and Sculpture; 8 - 31 Cadernos de Arte Pública; v. 4 n. 2 (2022): Artistic Studies and Sculpture; 8 - 31 CAP - Cadernos de Arte Pública / Public Art Journal; v. 4 n. 2 (2022): Estudos Artísticos e Escultura; 8 - 31 2184-6197 reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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