Papers by joão pedro amorim
Matrizes, Aug 30, 2023
RESUMO A partir de Poetry as an echological survival do artista Nuno da Luz, iremos refletir sobr... more RESUMO A partir de Poetry as an echological survival do artista Nuno da Luz, iremos refletir sobre formas de envolvência ambiental e ecológica. Esta exposição nos permite propor uma alternativa sensorial à discussão crítica sobre as narrativas do Antropoceno, respondendo às críticas colocadas sobre este conceito. A arte sonora tem um papel fundamental na redefinição da nossa relação com o planeta dadas as características materiais do som e o fato de complementar a mundividência ocidental, que privilegia a visão. O trabalho do artista cria um estar-no-mundo em que o visitante é penetrado pelas ondas sonoras, o que causa a redefinição da sua condição ecológica: criando, assim, uma "sobrevivência echológica. " Palavras-chave: Antropoceno, arte sonora, ecologia, arte contemporânea, estudos culturais.
São vários os motivos que convergem numa residência artística, juntando artistas, instituições de... more São vários os motivos que convergem numa residência artística, juntando artistas, instituições de acolhimento, mecenas, público e outros intervenientes. A residência funciona como uma plataforma de intercâmbio num contexto muito concreto, em que as suas condições materiais estão (mais ou menos) determinadas à partida. Apesar de uma residência artística estabelecer, nos bons exemplos, aquilo que nas relações ecológicas se define como mutualismo – uma relação em que todas as partes são beneficiadas –, o facto é que o artista assume uma posição central como agente da partilha. É a criação artística que estabelece a ligação entre os diferentes intervenientes. Nesse sentido, consideramos pertinente a análise crítica da residência artística, no sentido de mapear as interações que se estabelecem entre os diferentes intervenientes, com o enfoque na investigação artística. Durante outubro e dezembro de 2018 o artista sonoro Nuno da Luz esteve em residência artística na Escola das Artes (EA) ...
Welcome to the new edition of the Journal of Science and Technology of the Arts. In this new numb... more Welcome to the new edition of the Journal of Science and Technology of the Arts. In this new number, our first from our 13th year, fosters our editorial view of the journal: a thematic dossier – around sound art – that deepens the research on our focus-areas and CITAR's Strategic Plan (2020-2023), as well as works on complimentary sections: the Audiovisual Essays and the Reviews (books, in this issue). JSTA maintains its devotion to research in the fields of artistic research, finding new paths and new ways of researching art. It follows also the strategic guidelines for indexation and metadata support.
Membrana Journal of Photography, 2020
<jats:p>When one visits the rooms dedicated to Velásquez in the Museum of Prado, it is extr... more <jats:p>When one visits the rooms dedicated to Velásquez in the Museum of Prado, it is extraordinary how portraits of kings and those of jesters and peasants are laid side-by-side. The nobility and dignity given to the lower members of the court exemplifies an early example of a revolution in the politics of representation. In the antipodes of this example, we analyse how the campaign of the millionaire Michael Bloomberg to be the Democratic Candidate for the 2020 elections hired companies to produce nonsense memes and digital propaganda. Our hypothesis is that on the center of its strategy the goal was to create an image of Bloomberg that besides viral would be relatable and humorous. The article overviews the evolution of the portrait as an element of political of representation and reflects on how the development of modern and contemporary art transformed the art of political portraiture. Furthermore it deliberates on the two-way appropriation of representation techniques between art movements and political movements. Keywords: Politics of representation, digital propaganda, Diego Velázquez, Michael Bloomberg, aestheticization of politics</jats:p>
Estudantes de Giorgio Agamben. Consultado em 24 de agosto de 2017 em: http://www. revistapunkto.c... more Estudantes de Giorgio Agamben. Consultado em 24 de agosto de 2017 em: http://www. revistapunkto.com/2017/05/ estudantes-giorgio-agamben_17. html 2. Ibid. 3. Consultado em 24 de agosto de 2017 em: https://pt.wikipedia.org/ wiki/Equivalência_massa-energia 4. "La taupe est inconsciente mais elle creuse la terre dans une direction déterminée.",
Julião Sarmento's body of work crosses artistic disciplines and fields. The artist resorts to... more Julião Sarmento's body of work crosses artistic disciplines and fields. The artist resorts to film and video as a means to reach the artistic expression of an idea, open to an infinitude of interpretations. This audiovisual essay looks at the way Julião Sarmento works with moving images, focusing in three main perspectives: the word, the (feminine) body and rhythm. We conclude that each one of Sarmento's works builds a system of codes, of communication, that opens new understandings of the human relation with the 'real'.
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2020
The public health measures that were put in place to contain COVID-19 impacted the lives of peopl... more The public health measures that were put in place to contain COVID-19 impacted the lives of people and institutions alike. For its global impact and transformation, the pandemic has the potential to be classified as a mega-event. Such radical events have become great opportunities to the testing of new technologies and forms of organisation, (Masi, 2016) that might in the future become prevalent. The impact of the pandemic was particularly felt in the contemporary art world, as the entire cultural activity was suspended. During this period, art institutions and collectives around the world reacted by adapting and providing alternative materials online. This paper aims at reflecting upon the challenges facing the exhibition of contemporary art online. Following Boris Groys’ (2016) actualisation of Walter Benjamin, we problematise how the digital reproduction of art affects the aura of an artwork. Proposing a critique of the apparatus of digital platforms, we analyse how the digital r...
This second issue of 2021 is especially devoted to Arts Education. With a thematic dossier, guest... more This second issue of 2021 is especially devoted to Arts Education. With a thematic dossier, guest-edited by Catarina S. Martins and Pedro Alves, this edition brings to the front a very urgent and significant problem in education: how to teach art and how to develop and sustain art schools. In a rapidly changing world, these problems must address the digitization of our daily lives, as well as its mechanisms for (art) teaching. Moreover, being a side subject in the world of elementary schools and universities, it is even more important to study and research the ways that arts education can change education as a whole, allowing future citizens to be more aware of their worlds.
Membrana.org, 2021
When one visits the rooms dedicated to Velásquez in the Museum of Prado, it is extraordinary how ... more When one visits the rooms dedicated to Velásquez in the Museum of Prado, it is extraordinary how portraits of kings and those of jesters and peasants are laid side-by-side. The nobility and dignity given to the lower members of the court exemplifies an early example of a revolution in the politics of representation. In the antipodes of this example, we analyse how the campaign of the millionaire Michael Bloomberg to be the Democratic Candidate for the 2020 elections hired companies to produce nonsense memes and digital propaganda. Our hypothesis is that on the center of its strategy the goal was to create an image of Bloomberg that besides viral would be relatable and humorous. The article overviews the evolution of the portrait as an element of political of representation and reflects on how the development of modern and contemporary art transformed the art of political portraiture. Furthermore it deliberates on the two-way appropriation of representation techniques between art movements and political movements.
OnCurating.org, 2021
Western rationality tends to interpret, tame and solve (the problems of) reality. Science, capita... more Western rationality tends to interpret, tame and solve (the problems of) reality. Science, capital and entertainment drove colonial and globalizing processes that defined Western Modernity. In this civilization (currently contaminating the whole globe) there is no place for the unknown and the unresolved. According to this conception, as capital grows and science evolves, the world will one day be fully understood and dominated.
As an alternative to the Anthropocene and Capitalocene, Donna Haraway (2016) proposes the Chthulucene model as a non Western-centric and human exclusivist interpretation of the Present. By accepting the chaotic nature of Reality, the Chthulucene includes the uncertainty dimension that Western cultures tend to abject. Such dimension characterized by the intertwinement of art, magic and ritual is, on the contrary, very present in the epistemologies of the South (Sousa Santos, 2014), marginalized and devalued by Western domination. Magic, ritual and art expand human rationality (Gil, 2018), by creating space for the unknown and the unresolved in the understanding of the Real.
This paper intends to discuss how several artistic practices have challenged the conventional art theory based on the hermeneutics of the object and auratic approximations to art. Such critique can be extended to Rationality. The practices analysed, such as those of Ana Vaz, Kader Attia, Joseph Beuys or Karrabing Film Collective, tend to involve the body as a means of knowledge, and to foster a ritual and magic understanding of art. They challenge Rationality, as they question the dichotomies of subject/object, artist/work of art and work of art/beholder.
This overview aims to describe how contemporary artistic practices revalue and recenter the knowledge of the global South. By centering the artistic focus on the body rather than objects, by recreating rituals and magic artifacts and by documenting cultures that resist (or re-exist) against Western domination, these artistic practices engage uncertainty, irresolubility and the unknown.
Journal of Science and Technology of the Arts, 2021
Welcome to the new edition of the Journal of Science and Technology of the Arts. In this new numb... more Welcome to the new edition of the Journal of Science and Technology of the Arts. In this new number, our first from our 13th year, fosters our editorial view of the journal: a thematic dossier–around sound art–that deepens the research on our focus-areas and CITAR’s Strategic Plan (2020-2023), as well as works on complimentary sections: the Audiovisual Essays and the Reviews (books, in this issue). JSTA maintains its devotion to research in the fields of artistic research, finding new paths and new ways of researching art. It follows also the strategic guidelines for indexation and metadata support.
Journal of Science and Technology of the Arts, 2021
Julião Sarmento’s body of work crosses artistic disciplines and fields. The artist resorts to fil... more Julião Sarmento’s body of work crosses artistic disciplines and fields. The artist resorts to film and video as a means to reach the artistic expression of an idea, open to an infinitude of interpretations. This audiovisual essay looks at the way Julião Sarmento works with moving images, focusing in three main perspectives: the word, the (feminine) body and rhythm. We conclude that each one of Sarmento’s works builds a system of codes, of communication, that opens new understandings of the human relation with the ‘real’.
European Journal of Cultural Management and Policy, 2020
Higher arts education poses several specific challenges. The specificity of art in the contempora... more Higher arts education poses several specific challenges. The specificity of art in the contemporary age demands the development of unique strategies. Following a conceptual framework defined by Infection, Participation and Informality the School of Arts at Universidade Católica Portuguesa adopted since 2018 a strategy comprising a project-based methodology, informal tutoring sessions with artists, a Cultural Programme and an artistic residencies programme. This paper presents the early results of this strategy, and analyses how it could foster the critical artistic practice of the students.
Anais do Seminário de Pós-Graduação, 2019
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2020
The public health measures that were put in place to contain COVID-19 impacted the lives of peopl... more The public health measures that were put in place to contain COVID-19 impacted the lives of people and institutions alike. For its global impact and transformation, the pandemic has the potential to be classified as a mega-event. Such radical events have become great opportunities to the testing of new technologies and forms of organisation, (Masi, 2016) that might in the future become prevalent. The impact of the pandemic was particularly felt in the contemporary art world, as the entire cultural activity was suspended. During this period, art institutions and collectives around the world reacted by adapting and providing alternative materials online. This paper aims at reflecting upon the challenges facing the exhibition of contemporary art online. Following Boris Groys’ (2016) actualisation of Walter Benjamin, we problematise how the digital reproduction of art affects the aura of an artwork. Proposing a critique of the apparatus of digital platforms, we analyse how the digital reproduces and enhances ideological structures that overpass the whole of society. For that purpose we analyse how four different organisations (an artist-run space, an art gallery, a museum and an art biennale) have migrated their activity to online platforms. The case-studies will allow a broad understanding of the different approaches available – with some radically taking advantage of the digital environment, and others merely digitising the role taken henceforth by printed catalogues.
Este projecto não seria possível sem a ajuda de todos os que me receberam na Caucaso Factory, pro... more Este projecto não seria possível sem a ajuda de todos os que me receberam na Caucaso Factory, proporcionando-me um momento de aprendizagem e intercâmbio cultural incomparável. Agradeço particularmente ao Enrico que me guiou incansavelmente pela cultura italiana e fílmica e ao Stefano que me auxiliou sempre que precisei. Aprendi imenso com todas as pessoas com quem me encontrei e com quem trabalhei, aprendendo um pouco com as experiências profissionais e pessoais de todas elas.
Thesis Chapters by joão pedro amorim
Conference Presentations by joão pedro amorim
[Proceedings] Creative Industries Global Conference 2019, 2019
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Papers by joão pedro amorim
As an alternative to the Anthropocene and Capitalocene, Donna Haraway (2016) proposes the Chthulucene model as a non Western-centric and human exclusivist interpretation of the Present. By accepting the chaotic nature of Reality, the Chthulucene includes the uncertainty dimension that Western cultures tend to abject. Such dimension characterized by the intertwinement of art, magic and ritual is, on the contrary, very present in the epistemologies of the South (Sousa Santos, 2014), marginalized and devalued by Western domination. Magic, ritual and art expand human rationality (Gil, 2018), by creating space for the unknown and the unresolved in the understanding of the Real.
This paper intends to discuss how several artistic practices have challenged the conventional art theory based on the hermeneutics of the object and auratic approximations to art. Such critique can be extended to Rationality. The practices analysed, such as those of Ana Vaz, Kader Attia, Joseph Beuys or Karrabing Film Collective, tend to involve the body as a means of knowledge, and to foster a ritual and magic understanding of art. They challenge Rationality, as they question the dichotomies of subject/object, artist/work of art and work of art/beholder.
This overview aims to describe how contemporary artistic practices revalue and recenter the knowledge of the global South. By centering the artistic focus on the body rather than objects, by recreating rituals and magic artifacts and by documenting cultures that resist (or re-exist) against Western domination, these artistic practices engage uncertainty, irresolubility and the unknown.
Thesis Chapters by joão pedro amorim
Conference Presentations by joão pedro amorim
As an alternative to the Anthropocene and Capitalocene, Donna Haraway (2016) proposes the Chthulucene model as a non Western-centric and human exclusivist interpretation of the Present. By accepting the chaotic nature of Reality, the Chthulucene includes the uncertainty dimension that Western cultures tend to abject. Such dimension characterized by the intertwinement of art, magic and ritual is, on the contrary, very present in the epistemologies of the South (Sousa Santos, 2014), marginalized and devalued by Western domination. Magic, ritual and art expand human rationality (Gil, 2018), by creating space for the unknown and the unresolved in the understanding of the Real.
This paper intends to discuss how several artistic practices have challenged the conventional art theory based on the hermeneutics of the object and auratic approximations to art. Such critique can be extended to Rationality. The practices analysed, such as those of Ana Vaz, Kader Attia, Joseph Beuys or Karrabing Film Collective, tend to involve the body as a means of knowledge, and to foster a ritual and magic understanding of art. They challenge Rationality, as they question the dichotomies of subject/object, artist/work of art and work of art/beholder.
This overview aims to describe how contemporary artistic practices revalue and recenter the knowledge of the global South. By centering the artistic focus on the body rather than objects, by recreating rituals and magic artifacts and by documenting cultures that resist (or re-exist) against Western domination, these artistic practices engage uncertainty, irresolubility and the unknown.