UFPB) as well as its roles throughout 1978 and1985. This institution emerges when Brazil was going through a complex process of political openness. Meanwhile, the art system, marked by the presence of experimental artistic practices, was going through a series of reconfigurations concerning the cultural institution's functions and its concepts, ideals and artistic practices.The research's hypothesis is that despite the fact that NAC's creation was directly related to the National Cultural Politics (Política Nacional de Cultura-PNC) and Culture and Education Ministry (Ministério da Educação e Cultural-MEC) directives regarding Brazilian universities, it was the presence of Paulo Sérgio Duarte (critic) and of the artist Antonio Dias, both responsible for the conception of the institution's motions and for inserting it into the national artistic scene, that made it possible to enact an innovative model considering the northeastern institutional context. This is to be considered focusing on the production and dissemination of Brazilian experimental art. One of the central issues of this research was to identify through what extend had NAC fulfilled its objective of becoming an educational center that also disseminates and foments contemporary art in the state of Paraíba. In addition to that, one of the highpoints of the research relies on analyzing what had caused a decrease in NAC's activities, as well as a noticeable transformation of its main purposes and objectives in 1981.
considerando a prática curatorial como um espaço de poder e de disputas narrativas, apresento um relato crítico sobre o processo curatorial que culminou na exposição Pequenos gestos: memórias disruptivas,realizada entre outubro de 2019 e abril de 2020, no MAC-PR em Curitiba. Nesse sentido, reflito sobre os desafios, as possibilidades, os impasses e os limites de uma prática curatorial comprometida com os processos de decolonização do museu diante de uma coleção, constituída ao longo de quase cinco décadas, que conta com mais de 1.800 obras, majoritariamente de artistas – homens brancos – da região sul/sudeste.
Este artigo investiga o que consideramos ser a primeira tentativa de constituição e implementação de uma política para a arte contemporânea brasileira na Funarte ao longo da redemocratização. Para tanto, analisamos a trajetória institucional do crítico Paulo Sergio Duarte e sua tentativa de implementar o Projeto Arte Brasileira Contemporânea, primeiramente via o Espaço ABC e, posteriormente, no Instituto Nacional de Artes Plásticas (INAP). Buscamos elencar argumentos que demonstram como o espaço para o contemporâneo nas artes visuais brasileira foi historicamente construído, demandando, desde o início, sua institucionalização. Reivindicando não apenas um espaço nas políticas de Estado, mas também um lugar na história da arte.
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