Arquivo para a ‘Museology’ Categoria

Golden Globe: this is theirs

09 Jan

It’s a joke with two awards: Best Actor in a Drama Series: Sterling K. AKirkDogulasBrown(“This Is Us“) and Best Film Song: “This Is Me” by “The King of Show”, a consolation award for one Great movie about the owner of a circus that was successful in the US, I expected more for this movie.
Unknown to many of us, despite the fact that the best actress for the miniseries is Nicole Kidman (Batman Forever, The Others, Molin Rouge and others), “Big Little Lies” will remain in a restricted Brazilian cult elite, few will watch or be interested, for the American critic was the great winner of the day 07 last of the “Golden Globe”.
Big Little Lies, also won best supporting actor, for Alexander Skarsgård, and supporting actress, for Laura Dern.
The growth of pay-TV series dominates the film industry, I can understand young people’s interest in youtubers and independent productions.
In the movies the award for best comedy or musical movie (it’s the same thing?) Went to “Lady Bird: it’s time to fly”, won among others my favorite “The King of Show”.
Best director went to Guillermo del Toro’s film “The Shape of Water,” best supporting actor for Sam Rockwell in “Three ads for a crime”, which also won best drama film.
The film “Three ads for a crime” also won the award for best actress for Frances McDormand, and who won an even better screenplay for the film with Martin McDonagh, one can say the second highest winner of the night.
Best actor film drama went to Gary Oldman’s “The Fate of a Nation,” while best actor or musical comedy went to James Franco in “Artita’s Disaster” defeating Hugh Jackman’s impeccable performance in “The King of the Show,” the Oscar may correct this.
No news at Disney’s “Live: Life’s a Party!” Animation award that bought the Pixar studios a few years ago.
as a tribute to the career Kirk Douglas came in with daughter-in-law Catherine Zeta-Jones and was applauded standing up, it’s a picture of the 2018 Golden Globe.


The universal and parish message

05 Jan

Modern states were built on the aegis of the Enlightenment and liberalismaos-reis culture, which preaches freedom among nations, but conceals the interests of groups and milieus of culture that are nothing other than spokesmen of the current culture.
In spite of the culture of the states overlapping the culture of the people who are on their guardianship, regardless of the states there is a rich cultural diversity, in Europe this can be seen by the diversity of culture and peoples, after the fall of the Berlin Wall, if you say a culture of diversity after the fall of the Berlin Wall, give whatever name you want to give.
States are parochial culture, the idea that all problems are circumscribed and belong to that group established on the coercion of a state or a political and economic force that often subjugates those people who wish to live their “culture.”
It is the same as Christianity, while other monotheistic religions seek to universalize, even if there remain currents within them Sunnis and Shiites, for example, in the Islamic world, the “cultural” tendency is to form isolated groups where the tastes of these groups or these people do not express themselves in an integrated way.
In Christianity is a great misconception, the proposal experienced since the birth of Jesus is universal, rites and liturgy as well, but parochial feelings and groups are there, by the force of parochial coercion trying to impose universal thinking.
The fact narrated in Matthew for the liturgy on the day of the Magi (tomorrow) is symbolic but essential (Mt 1: 1-2): “(1) When Jesus was born in the city of Bethlehem in Judea in the time of King Herod, that some magicians from the East came to Jerusalem “, (2) asking:” Where is the king of the Jews, who is just born? We have seen his star in the East, and have come to worship him “.
Now the kings of the Magi, their “culture” is not known precisely, but they were neither Jews nor Christians, because this culture has just been born through Jesus, and only as an “abortifacient” (so the apostle will be called) an orthodox Jew who will experience a unique experience, and then bring to the “outside” of Judaism the proposal of JESUS to all peoples.
Perhaps without Paul this culture would remain parochial as a Jewish sect, but although present in many countries remains parochial, provincial and often, which is absurd, unrelated to the culture of local people, kings today would not enter the parish.
The coercive limitation of the nation-state of a people is what prevents it from integrating into the universal world culture, the wealth of each is not observed and is necessary changing to global vision.


Language, the Word and Christmas

22 Dec

Speech, language and semiotic language may seem the same thing but is not right, speechAMaryScripture refers to the utterance of a statement, the language to which particular people speak, for example, Portuguese and English, while language involves the complex structure of communication human, signs is diferent in diferent speech languages.
The most common of course, and the one we all do on a daily basis is speech, may not always have the syntactic correction of our language, in the Brazilian case Portuguese, but somehow we try to make ourselves understood by the other.
Language is something more complex, so complex than studies and the way language is used, words have taken on a deeper meaning, where the word has not only an origin (we say etymological, which means study and origin of words), then the word has a more fundamental meaning than that which it presents in speech.
Nominalist and realists diverged in philosophy until the end of the Middle Ages, none won because it overcame the idealism that separates subject and object, the resumption of linguistic turning is also a resumption of realism, but both still have an incomplete formulation, much of contemporary literature oscillates between realism and nominalism.
The complete meaning of the linguistic shift is that where the overcoming of subject and object dualism occurs, the realists argue that it is the material causes that define what is “real”, the modernist subjectivists claim that the real is formulated by the mind to a certain extent approaching idealism, we can mention among them since Hobbes, reaching the neo-positivists Rudolf Carnap and the linguist Ludwig Wittegenstein.
Its origin is also important for theology where John Roscelino (deceased in 1120), who despite the misunderstandings was the master of the great Abelard, created a nominalism that cast doubt on the Trinitarian dogma of God, not by chance, because all dualism is based on the idealistic principle: the being is and the non-being is not, without third hypothesis.
One can make an interesting connection like Christmas, if we think of the figure of Mary, icon for Catholics and Orthodox, and some Oriental churches, and the Word of Made Person.
It is Christmas starting, the Advent is finish,  and Mary is special for this story, was born the Word: Jesus.


Encontrar veredas e aplainar caminhos

15 Dec

The  Isaiah was called a prophet of consolation because he encouraged theasVeredas Hebrew people to say that a new path would be opened, and it was before John the Baptist that more explained the “advent” of the birth of Jesus and even the last prophet that was John Batista.
In saying, “Prepare the way of the Lord, flatten his paths” (Lk 3: 4) has a little difference from the gospel of John: ‘I am the voice that cries in the wilderness,’ flatten the way of the Lord ‘- as I said or prophet Isaiah. (Jn 1:23), because paths, which are “hidden” paths or in philosophy say that they must be “unveiled”, although in fact, already exist signs are not really easy to be found, then paths.
John the Baptist in announcing the public life of Jesus, as they both passed through the wilderness, Jesus also walked 40 days through the wilderness, encountered difficulties, the most cruel temptations, but then went public, knowing that he would have to speak truths and be of fact a new “advent”.
The Christian mystic Chiara Lubich, in one of her words of life (I wrote them monthly), wrote in December 1982: “Each of us is called to prepare the way for Jesus who wants to enter our life. It is necessary, then, to flatten the paths of our existence so that it may come to dwell in us … eliminating all obstacles: those placed by our limited way of living, by our weak will. ”
Finding paths requires a careful look, at first they seem shortcuts, sometimes difficult and not very promising, but lead us to the new, to the “advent”, what is to come is always new and can bring us true peace, that which is not which may seem distant, is usually there on a sidewalk.


Path of salvation and the advent

12 Dec

The book written by brazilian writer Jorge de Andrade between the years aVeredaDaSalvação1957 and 1963 was taken to the cinema in 1965 in an adaptation of the text for the theater of Jorge de Andrade, tells the story of the oppression in the field, and as it has a mystical exit, a montage made in 1964 under the direction of Antunes Filho was questioned by both the right and the left parties and at the time it was a failure, an assembly later in 2003 led by professor-director Marcelo Bones, with graduates of the Palace of the Arts (Palácio das Artes), all beginners.
The film directed by Anselmo Duarte (photo) tells of poor rural producers in the Northeast who join a messianic group led by Joaquim (made by actor Raul Cortez) who believes he is the reincarnation and Jesus Christ and promises his followers the road to paradise, which is the “path of salvation”, but as every false messiah slowly complicates himself.
Exercising power over the peasants, Joaquim pursues Artuliana (Ester Mellinger), who is pregnant, and asks his followers to take her son away, accusing her of being persecuted by the devil.
The film follows poor rural farmers in the Brazilian Northeast who join a messianic group, led by Joaquim (Raul Cortez), who believes he is the reincarnation of Jesus Christ. Joaquim promises to his followers that he will show them the way to paradise, the “path of salvation” of the title of the film.
With power over the peasants, the character of Raul Cortez begins to persecute those who do not pay him obedience, especially Artuliana (Esther Mellinger). Joaquim orders his followers to take the son of Artuliana, who is pregnant, accusing her of being possessed by the devil.
The film besides Raul Cortez has the participation of Lélia Abramo, José Parisi and Maria Isabel de Lizandra, and the history of messianism is nothing other than the history of Brazil, in pre-election times it is not difficult to pay attention to miracle workers and false prophets who vow to “defend the people” and promise false paths.
Roland Barthes, in his book Critique and Truth notes that the French term fait divers is structured from a search for a general news, something like a meeting.
The paths are hidden paths, what paths can be thought for the country in the coming years, what to expect for an brazilians elections in next year?.


Essenes and John the Baptist

04 Dec

Among the various Jewish groups at the beginning of the Christian eraaosEssenios were the Essenes (Issi’im), actually two centuries earlier, implying that John the Baptist was not their founder, the so-called Qumran community, and perished shortly afterwards in the year of 68, which proves his prophetic sense of announcing the coming of the Savior, as John the Baptist preached.
In the manuscripts found in 1947, they revealed that they were a “humble people, of great knowledge, originating in Egypt”, forming a group that left the cities and went to live in the region of Qumran, the shores of the Dead Sea, were vegetarians and extremely ascetic . After the Qumran manuscript was found, many controversies arose, even though Jesus was in fact an Essene, another that some fled to India and founded communities with their principles, some of these manuscripts were inside clay jars and spoke of life of Jesus Christ and said about the importance of cures with alternative medicines and the importance of vegetarian culture.
The Essenes also advocated unity and peace, for it was a period of division among the Jews, several had contact with Jesus and are present in biblical passages.
The Sadducees were people of high society, members of priestly, educated, wealthy and aristocratic families; the Pharisees did not believe in the afterlife and therefore did not say anything about their eschatological vision (of the beginning and end) being more concerned with the Jewish rules and “laws”, the Zealots rejected the payment of tributes to the Roman empire under the claiming that such an act was a betrayal of God, among the apostles of Jesus, Simon was a Zealot and Judas, the traitor also, and also the late apostle Paul of Tarsus, refers to himself as a religious zealot (Acts 22: 3 , Gal 1:14).
Within this religious confusion, the Essenes were among other groups that went to desert areas to avoid contamination of misrepresented ideas of religion, two disciples of Jesus were followers of John the Baptist: Andrew and John, but being Simon brother of Andrew many authors claim that he was also Essene, besides being zealots


Arte ideal, representação e revelação

24 Nov

To see one thing one has to see beyond the apparent, that is, what RancièreaoMatisseDançaII has already called (see in the previous post) of double vision, which means to see two things at the same time, is “not a matter of trompe l’oeil or effects. It is a problem of relations between the surface of the exposition of the forms and the inscription surface of the words” (Ranciere, 2003, p.89) and therefore can not be a play of illusions, or that idealist painting seeks the ideal of forms under immediacy of presence, that style of “dead nature” or “scenes of customs.”
This art which aimed at re-presentation or re-veil-action, we note well the etymology of these words that give them a more correct sense, that is, of renewing the presence and the other, of renewing the veil that covers the image, to see, therefore, it is not the “mediation of the words that configure the regime of the” mediaticisms” of presence.” (Rancière, 2003, p.89).
The imaginary, the playful and the spiritual escaped for a long time, but a revival began again with Kandinski, Henri Matisse and other more contemporary Pablo Picasso, Miró, a classic example was Matisse’s Dance II (in pincture), whose idea of ​​the painting would have arisen from a dance of the roda called “The Sardana” of the south of France, and was commissioned by its Russian patron Sergei Schukin, to be exposed in the Palace of Trubetskoy next to another work of Matisse “The Music”.
The sinuous dance in which the movement is transported to the bodies and legs is intentional to affirm the involvement of the dancers, and this representation in a circle becomes an eternal presentation and the re-enlightenment becomes an unveiling, that is, to remove the veil of what is hidden and therefore the nakedness of the bodies, which the patron Sergei would have disagreed at first, but after seeing the sketch would have changed at the beginning, that is, it is not the nudity but of the signification that has the dance that is the harmonious involvement of the dancers.
The ideal of form becomes forms of ideals, what Matisse himself said to look for in his art: “My sleep is to realize an art of balance, purity and serenity.”
The perfect interaction between these dancers is not an idealism, but the search for interaction between people, peoples and cultures, the dream of Matisse.
There is a time of blindness, not only in the world of culture and as a consequence of art, but also social, political and even religious blindness, what José Saramago describes in his “Blindness Essay” by a driver who suddenly stands blind in a sign, in this the author seeks to remind us “the responsibility of having eyes when others have lost them.”
Art is a wonderful way to make us see and recover the lucidity, serenity and balance that are lacking to this day, while being bold and purposeful.

RANCIÈRE, J. O destino das imagens. Rio de Janeiro: Contraponto, 2003.


(Português) Expressionismo, cegueira e véu

24 Nov

Sorry, this entry is only available in Português.


Art, autonomy and see

22 Nov

OWhat remains veiled in recent art and which is present in Hegel’s CamponesasJacobdiscourse, and even more so in the apparent rupture with the departure of the “plane” to the three-dimensional forms of the “polite” is still an idealist art of what Hegel called “autonomy” and that due to this idealism, Rancière called “autonomization.”
Rancière clarifies that it is autonomization: “one of these elements, the ‘breakdown of the threads of representation’ that bound them to the reproduction of a repetitive way of life. It is the substitution of these objects for the light of their appearance. From that point on, what happens is an epiphany of the visible, an autonomy of the pictorial presence. “(Rancière, 2003, p.87)
This autonomization is ultimately the famous “art for art” or in the opposite sense of “utilitarianism of art,” but both can not deny either the specific aspect of art and its connection with words or their usefulness “as useful as useful, “the writer Vitor Hugo would say, but it is about accepting the emancipation of the spectator through” interaction. ”
See Rancière writes in art: “Whether it be a Descent from the Cross or a White Square on a white background, it means to see two things at once” (Rancière, 2003, p.87), which is a relation between “the exposition of the forms and surface of inscription of words. “(ibidem), where the presences are” two regimes of the braid of words and forms. ”
To understand the problem of vision Rancière uses the painting of Gauguin Peasants in the field, there is a “first picture: peasants on a picture look at the fighters in the distance” (Rancière 2003: 95), the presence and the way they are dressed show that it is something else then a second picture arises: “they must be in a church” (idem), to make sense the place should be less grotesque and realistic and regionalist painting is not found, then there is a third picture: “The spectacle that it represents has no real place. It is purely ideal. Peasants do not see a realistic scene of preaching and fighting. They see – and we see – the Voice of the preacher, that is, the Word of the Word that passes through this voice. This voice speaks of Jacob’s legendary combat with the Angel, of terrestrial materiality with heavenly ideality. “(Ibid.)
In this way, Rancière affirms, the description is a substitution, the word for the image, and substitutes it “for another living word, the word of the scriptures” (Ranciere, 2003, 96)
It also makes a connection with the pictures of Kandinsky,he writes In the space of the visibility which his text constructs Gauguin’s painting is already a picture like those that Kandinsky will paint and justify: a surface in which lines and colors become more expressive signs obeying the unique coercion of ‘inner necessity'” (Rancière, 2003, p. 97), and we have explained earlier that it is not pure subjectivism because it makes a connection with both the inner thought and the thought about the description in the picture.
The important thing is the symbiosis between the image, the words and the vision resulting from a “unveiling” of the image that can be translated into words.


“Flat” painting, word and thought

21 Nov
The new is built in dialogue with tradition, not the one that is closed andADamaDeRosa impermeable, but the one that allows this dialogue for the greatness of its construction, which is the case of “flat” painting and on which one can build the future of as Jacques Rancière claims.

Rancière clarifies: “the surface claimed as media (médium) of pure painting is actually another medium (Rancière, 2003), so it can be understood that the media is nothing other than a medium, or what some areas of knowledge call it support, but media or mediums are more current words and refer to “new media”.
His criticism of Greenberg is because his formalism “wants to match intermediate (medium) and material, Kandinsky’s spiritualism, which makes him a spiritual milieu, are two ways of interpreting this disfigurement. Painting is flat as words change their function of relation to it. “(RANCIÉRE, 2003, page 88)
Rancière will give her a representative order, which she says is a “model or norm”, is something new, because if the word lacks subjectivity the painting seems to lack objectivity, even if this classical separation is idealistic, it exists and is almost a norm in modernity.
He develops his reasoning: “as poems, as profane or sacred history, they drew up the arrangement which the composition of the painting should translate.” (RANCIÉRE, idem)
Here the word is linked: “Jonathan Richardson recommended to the painter to write the story of the picture first, to see if it was worth painting” (idem), then there is the connection.
He explains that the aesthetic criticism that emerges from the romantic era is not normative, does not admit to saying what the picture should be, says only what the painter did, is the absolute idea realized.
But the misconception is “to articulate in a different way the relation of the sayable as the visible, the relation of the picture to that which it is not. It is to rephrase in another way the how of the ut pictura poesis, how art is visible, by which its practice coincides with looking and depends on a thought. “(RANCIÉRE, 203, ibid.)
And I would say almost conclude: “art has not disappeared. It has changed place and function “(idem), that is, one can not deny its relation to the thought and the eye, in which everyone agrees, but they do not agree that the”depends on the thought” and this depends on models and norms, ultimately ideals and ideologies .

You can see in the pictures of Kandinsky (Lady in Moscow and Black Spot I) where they reflect the idea of the philosopher Steiner on the “parallel action” or the double vision, where we see a material drama in the middle of the street, a black spot that seems to travel in our field of vision, and also an aura about a woman who suggests a way of thinking done in pink, the pictures are both from 1912 and were made consecutively.

RANCIÈRE, J. O Destino das imagens (The destination of the images).  Rio de Janeiro: Contraponto, 2003.