Daniela Labra
Curador independente e escritor de arte baseada em Berlim. Trabalha entre Brasil e Alemanha. Doutora em Crítica e História da Arte pela UFRJ. Nasceu em Santiago do Chile// Independent curator and art writer based in Berlin, working between Germany and Brazil. PhD in Art History and Critique at UFRJ. Born in Santiago de Chile. Founder of Zait - platform for contemporary art studies (2020), www.zait.art
Doutora em História e Crítica da Arte pela Universidade Federal do Rio de Janeiro (2014) com a tese Legitimização Internacional da Arte Brasileira de 1940-2010, vencedora do Prêmio Gilberto Velho de Teses 2015, catgoria Artes e Humanidades. Pós-doutorado com o projeto Depois do Futuro: Ruínas e reinvenções da modernidade, na UFRJ e professora da Escola de Artes Visuais Parque Lage e da Universidade do Rio de Janeiro, UERJ. Crítica de arte do jornal O Globo, 2014-2016. Colaborador da Revista Select, São Paulo e Professor do Node Center Curatorial Studies Online. Os projetos curatoriais selecionados incluem Daniel Senise Antes da Palavra, Fundação Iberê Camargo, Porto Alegre, 2019; Trienal Frestas 2017: Entre Pós-Verdades e Eventos, São Paulo; Festival Performance Arte Brasil, MAM Rio de Janeiro 2011; Performance Presente Futuro, Oi Futuro, Rio de Janeiro 2008-2010.
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PhD in Art History and Critique at Universidade Federal do Rio de Janeiro (2014) with the thesis International Legitimization of Brazilian Art from 1940-2010, nominated best PhD thesis in Arts and Humanities with Gilberto Velho Prize 2025. Post-doc grantee with the project After the Future: Ruins and reinventions of Modernity, at UFRJ and Professor at Parque Lage Visual Arts School and at the University of Rio de Janeiro, UERJ. Labra was an art critic for the newspaper O Globo, 2014-2016. Collaborator at Revista Select, São Paulo. Teacher at Node Center Curatorial Studies Online. Selected curatorial projects to include Daniel Senise Antes da Palavra, Fundação Iberê Camargo, Porto Alegre, 2019; Frestas Triennial 2017: Between Post-Truths and Events, São Paulo; Festival Performance Arte Brasil, MAM Rio de Janeiro 2011; Performance Presente Futuro, Oi Futuro, Rio de Janeiro 2008-2010.
Address: www.artesquema.com
Doutora em História e Crítica da Arte pela Universidade Federal do Rio de Janeiro (2014) com a tese Legitimização Internacional da Arte Brasileira de 1940-2010, vencedora do Prêmio Gilberto Velho de Teses 2015, catgoria Artes e Humanidades. Pós-doutorado com o projeto Depois do Futuro: Ruínas e reinvenções da modernidade, na UFRJ e professora da Escola de Artes Visuais Parque Lage e da Universidade do Rio de Janeiro, UERJ. Crítica de arte do jornal O Globo, 2014-2016. Colaborador da Revista Select, São Paulo e Professor do Node Center Curatorial Studies Online. Os projetos curatoriais selecionados incluem Daniel Senise Antes da Palavra, Fundação Iberê Camargo, Porto Alegre, 2019; Trienal Frestas 2017: Entre Pós-Verdades e Eventos, São Paulo; Festival Performance Arte Brasil, MAM Rio de Janeiro 2011; Performance Presente Futuro, Oi Futuro, Rio de Janeiro 2008-2010.
//
PhD in Art History and Critique at Universidade Federal do Rio de Janeiro (2014) with the thesis International Legitimization of Brazilian Art from 1940-2010, nominated best PhD thesis in Arts and Humanities with Gilberto Velho Prize 2025. Post-doc grantee with the project After the Future: Ruins and reinventions of Modernity, at UFRJ and Professor at Parque Lage Visual Arts School and at the University of Rio de Janeiro, UERJ. Labra was an art critic for the newspaper O Globo, 2014-2016. Collaborator at Revista Select, São Paulo. Teacher at Node Center Curatorial Studies Online. Selected curatorial projects to include Daniel Senise Antes da Palavra, Fundação Iberê Camargo, Porto Alegre, 2019; Frestas Triennial 2017: Between Post-Truths and Events, São Paulo; Festival Performance Arte Brasil, MAM Rio de Janeiro 2011; Performance Presente Futuro, Oi Futuro, Rio de Janeiro 2008-2010.
Address: www.artesquema.com
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Papers by Daniela Labra
Abstract This critical essay deals with general aspects of performance in the visual arts environment, its process of objectification/fossilization and commodification. It takes as an example the selection of historical feminist art from the Verbund Collection in Austria and, in dialogue with the ideas of the dramaturg André Lepecki and the philosopher Jean-Luc Nancy, concludes that what is left of the performance art is mainly the verb, that is, its concept and the narrative that sustain its brief "life-in presence".
concept. The text claims, while the beginning of public museums in the 19th century could be seen as “civic engines” in line with a liberal agenda, biennials took up the neoliberal agenda early on.
ABSTRACT: This text addresses issues related to the curator's role, their training, relationship with the contemporary art system and other practical and conceptual aspects, especially in the case of Brazil. The curator is understood as an author-researcher who's action spectra is as wide as challenging each different project. Is a professional committed to explore the field of contemporary art from different perspectives , with all its interdisciplinarity. His authorship can be understood as the ongoing research object that draws the curatorial discourse behind the exhibition.
Pages 32-34
Translation: Ana Hupe
Article about Brazilian artists' and activists' collectives based in Berlin, Germany.
Thesis Chapters by Daniela Labra
This Master's degree thesis addresses issues about performatic self-representation in contemporary art, and analyzes the exhibition of the same name curated by Daniela Labra, which addresses the subject.
Orientadores/Tutors: Prof. Renato Cohen (1957-2004); Ernesto G. Boccara
Vencedora do Prêmio Gilberto Velho de Teses da UFRJ, categoria Letras e Artes, 2015.
PhD thesis that investigates the process of internationalization of Brazilian art through critical and curatorial texts of collective exhibitions of modern and contemporary Brazilian art, in Eurocentric institutions. It concludes how a stereotyped reading of the Brazilian visual arts production is formed in the international environment.
Winner of the Gilberto Velho Prize for Theses at UFRJ, category Letters and Arts, 2015.
Books by Daniela Labra
Contributors
Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Ana Paula Cohen, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Rafal Niemojewski, Ksenija Orelj, Anita Orzes, Shwetal A. Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie Zonnenberg
Curadoria-geral Daniela Labra; Produção AUTOMATICA.
Catalogue of the national performance art festival held at the Museum of Modern Art in Rio de Janeiro.
Curated by Daniela Labra; AUTOMATIC Production.
Data: 3.8 - 29.9.2019
Abstract This critical essay deals with general aspects of performance in the visual arts environment, its process of objectification/fossilization and commodification. It takes as an example the selection of historical feminist art from the Verbund Collection in Austria and, in dialogue with the ideas of the dramaturg André Lepecki and the philosopher Jean-Luc Nancy, concludes that what is left of the performance art is mainly the verb, that is, its concept and the narrative that sustain its brief "life-in presence".
concept. The text claims, while the beginning of public museums in the 19th century could be seen as “civic engines” in line with a liberal agenda, biennials took up the neoliberal agenda early on.
ABSTRACT: This text addresses issues related to the curator's role, their training, relationship with the contemporary art system and other practical and conceptual aspects, especially in the case of Brazil. The curator is understood as an author-researcher who's action spectra is as wide as challenging each different project. Is a professional committed to explore the field of contemporary art from different perspectives , with all its interdisciplinarity. His authorship can be understood as the ongoing research object that draws the curatorial discourse behind the exhibition.
Pages 32-34
Translation: Ana Hupe
Article about Brazilian artists' and activists' collectives based in Berlin, Germany.
This Master's degree thesis addresses issues about performatic self-representation in contemporary art, and analyzes the exhibition of the same name curated by Daniela Labra, which addresses the subject.
Orientadores/Tutors: Prof. Renato Cohen (1957-2004); Ernesto G. Boccara
Vencedora do Prêmio Gilberto Velho de Teses da UFRJ, categoria Letras e Artes, 2015.
PhD thesis that investigates the process of internationalization of Brazilian art through critical and curatorial texts of collective exhibitions of modern and contemporary Brazilian art, in Eurocentric institutions. It concludes how a stereotyped reading of the Brazilian visual arts production is formed in the international environment.
Winner of the Gilberto Velho Prize for Theses at UFRJ, category Letters and Arts, 2015.
Contributors
Agustina Andreoletti, Rasheed Araeen, Defne Ayas, Marco Baravalle, Alessia Basilicata, Julia Bethwaite, Amy Bruce, Sabeth Buchmann, Vasyl Cherepanyn, Sven Christian, Ana Paula Cohen, Giulia Colletti, Catherine David, Ekaterina Degot, Diana Dulgheru, Per Gunnar Eeg-Tverbakk, Okwui Enwezor, Brandon Farnsworth, Rime Fetnan, Patrick D. Flores, Natasha Ginwala, Eva González-Sancho Bodero, Resmi Görüş, Martin Guinard, Bregtje van der Haak, Catalina Imizcoz, Răzvan Ion, Andrés Jaque, Melody Du Jingyi, Anni Kangas, Daniel Knorr, Omar Kholeif, Ronald Kolb, Panos Kompatsiaris, Yacouba Konaté, Daniela Labra, Ilse Lafer, Ippolito Pestellini Laparelli, Bruno Latour, Teobaldo Lagos Preller, Eva Lin, Yung Ma, Anna Manubens, Sarat Maharaj, Oliver Marchart, Federica Martini, Vittoria Martini, Lara van Meeteren, Louli Michaelidou, Christian Morgner, Gerardo Mosquera, Bonaventure Soh Bejeng Ndikung, Rafal Niemojewski, Ksenija Orelj, Anita Orzes, Shwetal A. Patel, Delia Popa, Farid Rakun, Raqs Media Collective, Dorothee Richter, Roma Jam Session art Kollektiv, Miriam La Rosa, Mona Schubert, Henk Slager, Robert E. D’Souza, Nora Sternfeld, Fatoş Üstek, Katerina Valdivia Bruch, Mirjam Varadinis, Raluca Voinea, Wilson Yeung Chun Wai, Bart Wissink, Beat Wyss, Xinming Xia, Nathalie Zonnenberg
Curadoria-geral Daniela Labra; Produção AUTOMATICA.
Catalogue of the national performance art festival held at the Museum of Modern Art in Rio de Janeiro.
Curated by Daniela Labra; AUTOMATIC Production.
Data: 3.8 - 29.9.2019
Interview with performers from Grupo EmpreZa, in Brazil.
O projeto Das Virgens em Cardumes e da Cor das Auras surgiu a partir de um convite do curador do Museu Bispo do Rosário Arte Contemporânea, Ricardo Resende, para que fosse estabelecido o diálogo entre a arte performática de artistas contemporâneos e o legado de Bispo. O título da mostra, tão comprido quanto enigmático, evoca a visão deslumbrante das "virgens em Cardumes" bordada por Bispo em uma de suas peças.