Artivismo: estratégias artísticas contemporâneas de resistência cultural

• Autor(a) principal: Vieira, Teresa de Jesus Batista
• Data de Publicação: 2007
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10216/7307
• topic: ARTE; Porto

The present dissertation explores the subversive challenge of the dominant cultural thought through mostly collective artistic projects. The most recent linkings between art, activism, politics and cultural resistance from its roots in late sixties are examined, namely the students struggles and the cultural interdisciplinarity that this artistic context had fomented, or the questioning to the most conformistical visions of the art world. A sociocultural framing distributed in decades from the undeniable references of the students revolution of May of 1968 and of the International Situacionist will be made, travelling diachronically for some of the most significant examples until beginning of XXI century. The main shades and contours of its discourse will be traced, for later developing a detailed analysis on the decades of eighty and ninety, mainly in American and European context. For time and space limitations all the merit examples will not be able to be analysed, it will be enunciated the most known and developed the ones of bigger relevancy. Examples of artistical practices that defy the sociocultural norms or that remain in the threshold of the legal legality will be approached, as for example: culture jamming, netactivism, hacktivism, subvertising etc. On the dynamic of forces dominator vs. dominated the dangers of mutual monitoring, repression and co-option will be considered, through the study of practical examples. It will be looked to clarify some given transversal questions to the analysed projects, namely: Should art become involved in (supposedly) foreign questions? It will be desirable to conciliate critical subversive thought and/or political engagement with artistic recognition? It will be possible to safeguard the cultural producer autonomy?