“2021: spell to be invisible”, invention, partnership and inventivity between artists
Autor(a) principal: | |
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Data de Publicação: | 2023 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | Palíndromo (Online) |
Texto Completo: | https://www.revistas.udesc.br/index.php/palindromo/article/view/23993 |
Resumo: | This article analyzes the performance “2021: Spell to be invisible” (2019), performed by the artists Jota Mombaça and Michelle Mattiuzzi and, later, exhibited in 2021 at the 34th Bienal of São Paulo. The interpretation will start from Mombaça's texts that reflect on the language of performance, the use of writing and the questions regarding the process of framing differences within the world of art. The argument is completed with testimonials from the artists themselves about the work and the way they understand their acting. In parallel, we bring the contribution of authors such as Michel Foucault, Judith Butler, Giorgio Agamben and Sílvio de Almeida to think about the place of racialized bodies in institutionalized environments, taking into account visibility policies and the right to opacity, a concept by Édouard Glissant that we approach the work of the artists. As final notes, we observe that the performance analyzed marks the tensions around the occupation of dissident and racialized bodies in spaces of power, which recurrently want them to be docile and controlled. |
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“2021: spell to be invisible”, invention, partnership and inventivity between artists“2021: hechizo para ser invisible”, invención, asociación e inventividad entre artistas“2021: feitiço para ser invisível”, invenção, parceria e inventividade entre artistasJota MombaçaMichelle MattiuzziArt Biennaleperformance contemporary artContemporary ArtPerformanceJota MombaçaMichelle MattiuzziBienal de Arteperformancearte contemporâneaArte ContemporâneaPerformanceJota MombaçaMichelle MattiuzziBienal de Arteperformancearte contemporaneoArte ContemporaneoPerformanceThis article analyzes the performance “2021: Spell to be invisible” (2019), performed by the artists Jota Mombaça and Michelle Mattiuzzi and, later, exhibited in 2021 at the 34th Bienal of São Paulo. The interpretation will start from Mombaça's texts that reflect on the language of performance, the use of writing and the questions regarding the process of framing differences within the world of art. The argument is completed with testimonials from the artists themselves about the work and the way they understand their acting. In parallel, we bring the contribution of authors such as Michel Foucault, Judith Butler, Giorgio Agamben and Sílvio de Almeida to think about the place of racialized bodies in institutionalized environments, taking into account visibility policies and the right to opacity, a concept by Édouard Glissant that we approach the work of the artists. As final notes, we observe that the performance analyzed marks the tensions around the occupation of dissident and racialized bodies in spaces of power, which recurrently want them to be docile and controlled.Este artículo analiza la performance “2021: Hechizo para ser invisible” (2019), realizada por los artistas Jota Mombaça y Michelle Mattiuzzi y, posteriormente, exhibida en 2021 en la 34ª Bienal de São Paulo. La lectura partirá de los textos de Mombaça que reflexionan sobre el lenguaje de la performance, el uso de la escritura y las preguntas sobre el proceso de enmarcar las diferencias en el mundo del arte. El argumento se completa con testimonios de los propios artistas sobre la obra y la forma en que entienden su interpretación. Paralelamente, traemos el aporte de autores como Michel Foucault, Judith Butler, Giorgio Agamben y Sílvio de Almeida para pensar el lugar de los cuerpos racializados en ambientes institucionalizados, teniendo en cuenta las políticas de visibilidad y el derecho a la opacidad, concepto de Édouard Glissant que nos acercamos a la obra de los artistas. Como apuntes finales, observamos que la actuación analizada marca las tensiones en torno a la ocupación de cuerpos disidentes y racializados en los espacios de poder, que recurrentemente quieren que sean dóciles y controlados.Este artigo analisa a performance “2021: Feitiço para ser invisível” (2019), realizada pelas artistas Jota Mombaça e Michelle Mattiuzzi e, posteriormente, exposta em 2021 na 34ª Bienal de São Paulo. A leitura partirá dos textos de Mombaça que refletem sobre a linguagem da performance, o uso da escrita e os questionamentos a respeito do processo de enquadramento das diferenças dentro do mundo da arte. A argumentação se completa com os depoimentos das próprias artistas sobre o trabalho e a forma como compreendem sua atuação. Em paralelo, trazemos a contribuição de autores como Michel Foucault, Judith Butler, Giorgio Agamben e Sílvio de Almeida para pensar sobre o lugar dos corpos racializados em ambientes institucionalizados, levando em conta políticas de visibilidade e o direito à opacidade, conceito de Édouard Glissant que aproximamos da obra das artistas. Como apontamentos finais, observamos que a performance analisada marca as tensões em torno da ocupação de corpos dissidentes e racializados em espaços de poder, que recorrentemente os querem dóceis e controlados.Universidade do Estado de Santa Catarina2023-10-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.udesc.br/index.php/palindromo/article/view/2399310.5965/2175234615372023e0007Palíndromo; Vol. 15 No. 37 (2023): Publicações de artista: espaço e tempo do impresso ao virtual; 1-25Palíndromo; v. 15 n. 37 (2023): Publicações de artista: espaço e tempo do impresso ao virtual; 1-252175-23461984-953210.5965/10.5965/2175234615372023reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/23993/16181Copyright (c) 2023 Jean Lopes, Tarcisio Torres Silvahttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessLopes, JeanSilva, Tarcisio Torres2024-02-29T13:57:59Zoai::article/23993Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2024-02-29T13:57:59Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false |
dc.title.none.fl_str_mv |
“2021: spell to be invisible”, invention, partnership and inventivity between artists “2021: hechizo para ser invisible”, invención, asociación e inventividad entre artistas “2021: feitiço para ser invisível”, invenção, parceria e inventividade entre artistas |
title |
“2021: spell to be invisible”, invention, partnership and inventivity between artists |
spellingShingle |
“2021: spell to be invisible”, invention, partnership and inventivity between artists Lopes, Jean Jota Mombaça Michelle Mattiuzzi Art Biennale performance contemporary art Contemporary Art Performance Jota Mombaça Michelle Mattiuzzi Bienal de Arte performance arte contemporânea Arte Contemporânea Performance Jota Mombaça Michelle Mattiuzzi Bienal de Arte performance arte contemporaneo Arte Contemporaneo Performance |
title_short |
“2021: spell to be invisible”, invention, partnership and inventivity between artists |
title_full |
“2021: spell to be invisible”, invention, partnership and inventivity between artists |
title_fullStr |
“2021: spell to be invisible”, invention, partnership and inventivity between artists |
title_full_unstemmed |
“2021: spell to be invisible”, invention, partnership and inventivity between artists |
title_sort |
“2021: spell to be invisible”, invention, partnership and inventivity between artists |
author |
Lopes, Jean |
author_facet |
Lopes, Jean Silva, Tarcisio Torres |
author_role |
author |
author2 |
Silva, Tarcisio Torres |
author2_role |
author |
dc.contributor.author.fl_str_mv |
Lopes, Jean Silva, Tarcisio Torres |
dc.subject.por.fl_str_mv |
Jota Mombaça Michelle Mattiuzzi Art Biennale performance contemporary art Contemporary Art Performance Jota Mombaça Michelle Mattiuzzi Bienal de Arte performance arte contemporânea Arte Contemporânea Performance Jota Mombaça Michelle Mattiuzzi Bienal de Arte performance arte contemporaneo Arte Contemporaneo Performance |
topic |
Jota Mombaça Michelle Mattiuzzi Art Biennale performance contemporary art Contemporary Art Performance Jota Mombaça Michelle Mattiuzzi Bienal de Arte performance arte contemporânea Arte Contemporânea Performance Jota Mombaça Michelle Mattiuzzi Bienal de Arte performance arte contemporaneo Arte Contemporaneo Performance |
description |
This article analyzes the performance “2021: Spell to be invisible” (2019), performed by the artists Jota Mombaça and Michelle Mattiuzzi and, later, exhibited in 2021 at the 34th Bienal of São Paulo. The interpretation will start from Mombaça's texts that reflect on the language of performance, the use of writing and the questions regarding the process of framing differences within the world of art. The argument is completed with testimonials from the artists themselves about the work and the way they understand their acting. In parallel, we bring the contribution of authors such as Michel Foucault, Judith Butler, Giorgio Agamben and Sílvio de Almeida to think about the place of racialized bodies in institutionalized environments, taking into account visibility policies and the right to opacity, a concept by Édouard Glissant that we approach the work of the artists. As final notes, we observe that the performance analyzed marks the tensions around the occupation of dissident and racialized bodies in spaces of power, which recurrently want them to be docile and controlled. |
publishDate |
2023 |
dc.date.none.fl_str_mv |
2023-10-19 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://www.revistas.udesc.br/index.php/palindromo/article/view/23993 10.5965/2175234615372023e0007 |
url |
https://www.revistas.udesc.br/index.php/palindromo/article/view/23993 |
identifier_str_mv |
10.5965/2175234615372023e0007 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://www.revistas.udesc.br/index.php/palindromo/article/view/23993/16181 |
dc.rights.driver.fl_str_mv |
Copyright (c) 2023 Jean Lopes, Tarcisio Torres Silva http://creativecommons.org/licenses/by/4.0 info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Copyright (c) 2023 Jean Lopes, Tarcisio Torres Silva http://creativecommons.org/licenses/by/4.0 |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Universidade do Estado de Santa Catarina |
publisher.none.fl_str_mv |
Universidade do Estado de Santa Catarina |
dc.source.none.fl_str_mv |
Palíndromo; Vol. 15 No. 37 (2023): Publicações de artista: espaço e tempo do impresso ao virtual; 1-25 Palíndromo; v. 15 n. 37 (2023): Publicações de artista: espaço e tempo do impresso ao virtual; 1-25 2175-2346 1984-9532 10.5965/10.5965/2175234615372023 reponame:Palíndromo (Online) instname:Universidade do Estado de Santa Catarina (UDESC) instacron:UDESC |
instname_str |
Universidade do Estado de Santa Catarina (UDESC) |
instacron_str |
UDESC |
institution |
UDESC |
reponame_str |
Palíndromo (Online) |
collection |
Palíndromo (Online) |
repository.name.fl_str_mv |
Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC) |
repository.mail.fl_str_mv |
palindromorevista@gmail.com || revistapalindromo@udesc.br |
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1797041813999058944 |