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Essays and Criticism

As an art critic, Eduardo Jorge de Oliveira wrote about artists such as Solange Pessoa, Lenora de Barros, Livia Melzi, Paulo Nazareth, Nuno Ramos, Cildo Meireles, Solon Ribeiro, Rodrigo Braga, Denilson  Baniwa, Estefania Peñafiel Loaiza, Florencia Grisanti, Flor Garduño, among others.

Revocalizar! Materialidades da voz na narrativa e poesia latino-americanas (with Adriana López-Labourdette)

Société Suisse des Americanistes, 2024


Duas situações se apresentam nos limites da voz: uma professora nota que ela não consegue ouvir um aluno que faz uma pergunta. O som chega intermitente e a palavra do outro se perde. Não consegue estabelecer, percebe ela, aquela escuta que a voz requer. Diante da súbita surdez, a professora lê os lábios do aluno e escuta, de outro lugar, a voz. Embora a comunicação não tenha sido totalmente rompida, a surdez faz com que a voz do outro desapareça, onde a subtração do mundo auditivo, cria uma nova forma de orientação a partir de uma voz sem som. Na segunda situação, um jovem pesquisador está no púlpito diante de uma grande audiência. Faltam poucos minutos para que ele faça uma apresentação importante. Os participantes o aguardam atentamente, poisserá a primeira vez que ele será escutado. Uma de suas mestras
faz parte do público. No entanto, pouco tempo antes de proferir a palestra, ele perde a voz. Áfono, não consegue se expressar e, diante da perda repentina da voz, a situação
cria um embaraço. [...]

Fiction de L'Animalité en Amérique Latine

artpress 2, 2018.

Fictions de l’animalité I : L’invention d’une peau chez Nuno Ramos

Revue Histoire de l’art, 2018.


Dans le premier chapitre de sa Théorie de la Religion (1947) intitulé « L’animalité », Georges Bataille a saisi de l’animalité les signes de l’immanence et de l’immédiateté. Étant donné qu’il est dans un rapport de force direct avec le milieu sans être subordonné, ou subordonnant, l’animal reste donc indépendant et détaché de la conscience humaine. Par une figurabilité animale, Bataille a saisi les notions d’immanence et d’immédiateté. Selon lui, les deux notions se placent à « mi-chemin » de la conscience humaine, à savoir que les humains n’arriveront jamais à appréhender l’immanence et l’immédiateté animales. Cela fait de l’animal une énigme permanente ou selon les mots de Bataille, « une énigme plus gênante2 ». Ce sera par une indissociabilité entre l’animal et l’immanence, par la production de cette énigme que Bataille arrivera à la notion d’animalité, car la poésie serait un supplément pour ce « mensonge poétique » qui est l’animalité. [...]

How to Build Cathedrals. Cildo Meireles: A Sensory Geography of Brazil

Journal of Latin American Cultural Studies, 2019.


Taking Cildo Meireles’s installation, Mission/Missions – How to build cathedrals,
as a starting point, this article will discuss artistic procedures in the artist’s work andtheir enunciations in social structures, taking land as an artistic and literary topos. Within Cildo Meireles’s Mission/Missions – How to build cathedrals (1987), there are points of intersection between artistic, philosophical, and literary forms of knowledge that ceaselessly and reflexively give rise to new questions. In this work, a sensory and schematic knowledge arranges the pillars of economy, the sacred, and animality around an architecture that is elaborated using coins, communion wafers, and animal bones. In Mission/Missions, Cildo Meireles creates a space at once geographical and historical that exposes the internal fractures of Western civilisation in
its expansion on the South American continent. Working from this installation, we will revisit the artist’s previous works to find material and conceptual elements that have been decisive for the realisation of Mission/Missions. Reading the installation through the materiality of previous works helps to orient us conceptually in an intertextual network that the very installation summons through the space created by Cildo Meireles.

Sans titre (essay de video)

UZH

Une joie animale

UZH

Towards a Phanerology of Images: Karl Blossfeldt and the Skin of the World

Natura: Environmental Aesthetics After Landscape, edited by Jens Andermann, Lisa Blackmore, and Dayron Carrillo Morell, Diaphanes, 2018.


The first collection of photographs assembled by Karl Blossfeldt in 1928 is called Urformen der Kunst (Originary forms of art). The work’s title changed over the next two decades, first to Wundergarten der Natur (Nature’s magic garden) in 1932 and later, in 1942, to Wunder in der Natur (Wonders in nature), before it reverted back to the original title in 1948.1 Even with this back-and-forth, however, a shared semantic field remained in place, which gathered the originary forms (Urformen) in a kind of “magic garden” (Wundergarten), which emphasized the “magical” condition of nature, as the forms unveiled by the artist suggested a fusion between the natural world and photographic technology. [...]

Lenora de Barros: To Double Images Is to Multiply or to Divide Ideas?

Georg Kargl, 2022.

Poesia-Crítica-Tradução:  Haroldo de Campos e a educação dos sentidos

with Kenneth David Jackson (eds.), Peter Lang, 2022.

Antropofagias: um livro manifesto! Práticas da devoração a partir de Oswald de Andrade

with Pauline Bachmann, Dayron Carrillo Morell, and André Masseno (eds.), Peter Lang, 2021.

Fictions de l'Animalité en Amérique Latine

artpress 2, no. 48, 2018.

Jean Fautrier et Georges Bataille, the Erotic Touch of Matter

in Jean Fautrier: Matière et lumière, edited by Dieter Schwarz, Musée d'Art moderne de la Ville de Paris, 2017.

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