UFMG CONSERVATORY | Av. Afonso Pena, 1534 (NOT AT CAMPUS PAMPULHA UFMG)
5:30 pm – 6:00 pm
IAA MEETING RECEPTION
6:00 pm – 8:00 pm
IAA MEETING – FOR MEMBERS OF THE EXECUTIVE COMMITTEE ONLY
8:00 pm – 9:00 pm
CULTURAL PRESENTATION – OPEN TO ALL UFMG CONSERVATORY
MONDAY 24 UFMG PAMPULHA CAMPUS | Avenida Presidente Antônio Carlos, 6627 FAFICH BUILDING (Philosophy)
8:00 am – 9:00 am
REGISTRATION / INFO REGISTRATION OFFICE
SÔNIA VIEGAS Auditorium
9:00 am – 9:30 am
OPENING CEREMONY
9:30 am – 10:15 am
KEYNOTE SPEAKER
MIŠKO ŠUVAKOVIĆ | SERBIA University of Arts in Belgrade
Strategies of contemporary art and theory: from avant-garde and neo-avant-garde through conceptual art to the production of the politics of time
I start from the question of how and when we can identify the beginning of a new century as a new temporal sequence. A sequence is "a period in which a mode operates, that is, a specific invention of some politics" (Sylvain Lazarus). My aim is to identify the contradictions and antagonisms that shape the contemporary art (Peter Osborne, Terry Smith, Claire Bishop, Hito Steyerl, Aleš Erjavec) in relation to society - in reaching, producing, comprehending or surpassing reality. Here, the first and most important task for me is how to act in situations or segments where there is simultaneously global unification and complexity of untranslatable modalities of communication in chaotic mixtures of meaning and affects. In the lecture, I speak about the difference between art and theorizations of art between the 20th and 21st century.
This refers to the difference in recognizing the beginnings of the 20th and 21st centuries. It suggests the possibility that the new 21st century begins as a kind of media or computer game: changes in public and private rules (Beyond Ludwig Wittgenstein concepts). Then, the hypothesis is explained that the new century is characterized by a tendency to abandon the security provided by the "world of art". The concept of global art is introduced. The logic of mass media TV reality show is identified in contemporary political and artistic productions. Attention is focused on the logic of symptoms as a modality of artistic action. The conditions of migrant crises and their relationship with participatory art are discussed. The concept and practice of tactical media are theorized: a dramatic reordering of visuality. This implies the importance of models based on the economy of forces, rather than on the optics of representation. In other words, the field of relations between discursive meanings and affective impacts of contemporary art is interpreted. Examples of robotic, digital, post-digital, and bio-art are analyzed in relation to theoretical bio- and necropolitics.
10:15 am – 11:00 am
KEYNOTE SPEAKER MARILENA CHAUÍ | BRAZIL USP – University of São Paulo
Atopy and acrony: The virtual world.
The emergence of the so-called "knowledge society" and the role assumed by the idea of information as the paradigm of both knowledge and power are inserted in a universe characterized by atopy and acrony as fundamental characteristics of the social relations mediated by technologies of the virtual world. This brings, among several other consequences, the emergence of a control and surveillance society under a democratic semblance and that of a new narcissistic and depressive subjectivity as well.
11:00 am – 11:45 am
KEYNOTE SPEAKER RODRIGO DUARTE | BRAZIL UFMG – Federal University of Minas Gerais
Oswald de Andrade's Anthropophagy as a Model of Transcultural Aesthetics.
Oswald de Andrade (1890-1954) was a Brazilian poet, novelist, dramatist, and philosopher who was co-responsible for the Modern Art Week of São Paulo in 1922, which introduced in Brazil the renewed artistic language of the European avant-garde from the beginning of the Twentieth Century. He also became known for his two cultural manifestoes: the first one, "Manifesto of Pau-Brasil Poetry" (1924), claimed the reversion of the century-long role played by Brazil as an importer of European cultural goods. Instead, according to this manifesto, the country's culture could also be an export item. From this period stands out the collaboration with the Swiss writer Blaise Cendrars, who became deeply interested in some aspects of the country's culture, including the so-called "Barroco Mineiro" besides the Brazilian Modern Art itself. This cooperation worked as a preparation for the anthropophagic phase of Oswald de Andrade's intellectual activities. The "Anthropophagus' Manifesto" (1928), inspired by the cannibalistic ritual practices of Brazilian aboriginals, stated that artists of this land should swallow contents of foreign cultures and merge the best of it with topics of autochthonic production. This blend should yield brand-new cultural goods that fulfill the avant-garde claim of innovation and the need to establish a genuinely Brazilian artistic expression. After Oswald de Andrade joined the Brazilian Communist Party in 1931, the idea of cultural Anthropophagy turned more and more political, and in the fourties and beginning of the fifties, he attempted to establish it as broader Weltanschauung, covering not only artistic matters but also political, ideological and philosophical viewpoints. Since then Oswald de Andrade's Anthropophagy inspired lots of important Brazilian artistic movements with international repercussion like Concrete Poetry in the fifties, and Tropicália, in the sixties. Nowadays, his Anthropophagy is more and more considered a model of decolonial philosophy.
KEYNOTE SPEAKER JACQUES POULAIN | FRANCE Paris VIII University, Saint-Denis
L’esthétique transculturelle de la parole et l’art de faire monde.
En identifiant dans la prosopopée verbale le secret l’imagination, l’anthropologie philosophique reconnaît dans la parole la voie d’accès à notre propre réalité et à celle d’autrui. Dans l’énonciation qui identifie l’objectivité de l’acte de parole que nous énonçons et nous fait partager avec nos allocutaires la vérité que nous y affirmons, nous nous faisons jouir réciproquement de l’adhérence à nos croyances, à nos actions et à désirs. Au lieu d’être de purs états mentaux justifiant des actes qu’il suffit de dire pour faire, nous y adhérons comme aux fruits mêmes d’une parole dont le partage de la vérité nous rend heureux.
Il en va de même dans l’art et la culture. L’art de faire monde dans les arts, dans la vie sociale et dans la vie mentale y développe cette même esthétique de vérité et de bonheur. Nous nous réjouissons des œuvres d’art à la façon dont nous nous réjouissons de la réponse d’autrui à nos paroles. La culture de la parole nous apprend à entendre les besoins de vérité des uns et des autres et à y répondre favorablement de façon aussi gratifiante que la voix de notre mère, entendue dans l’écoute intra-utérine. La culture de la parole et de l’art nous permet d’inventer ainsi notre propre humanité, de la reconnaître comme telle et d’en jouir comme d’un bonheur à la fois individuel et commun.
5:30 pm – 6:30 pm
KEYNOTE SPEAKER TANIA RIVERA | BRAZIL UFF – Federal University of Niterói
Parody, mockery and delirium. When art goes off the rails
Artistic productions put into action discursive strategies that dialogue with hegemonic narratives in Culture in order to transform them, even if minimally. The tactics used are diverse and it would be fruitless to list them in the broad and poorly delimited field of artistic practices today. We will examine just one of the paths traced in its complex cartography: the one in which the use of parody and pastiche, commonly related to the notion of postmodernism, becomes radicalized as a dismantling of the structure of representation itself. In our reflection around this strategy, we resorted to the notion of delirium as a kind of clinical-theoretical operator, underscoring its clinical performativity in the construction of deviant realities and its concomitant denunciation of the arbitrariness constituting the narrative to which we usually adhere as a perceptual and cognitive reality, naturalizing as undisputed evidence that it consists of a complex web of shared beliefs. The delirious power of deviating from the lines of such weft of rails implies, therefore, a vigorous micropolitical affirmation of singularity. But this does not mean that it cannot be transmitted, as shown by the work of Arthur Bispo do Rosário, in which delirium and art are in complete coalescence, explaining a modality of parody that we call imitation. Far from referring to “crazy” artists or the so-called “Art Brut” or “Outsider Art”, it is an (anti)representative logic that can be explored in works by numerous artists, among which we highlighted Balé Literal [Literal Ballet](2019) by Laura Lima.
6:45 pm – 7:45 pm
CULTURAL PRESENTATION
WEDNESDAY 26 UFMG PAMPULHA CAMPUS | Avenida Presidente Antônio Carlos, 6627 FAFICH BUILDING (Philosophy)
KEYNOTE SPEAKER JOSEF FRÜCHTL | NETHERLANDS University of Amsterdam
Giving Birth to Feelings. The presentative power of art.
Going back to the general thesis that feelings play an indispensable role in the political-democratic dispute, I emphasize first of all that they demand re/presentation (in German “Darstellung”), and furthermore that this re/presentation can be achieved in an excellent way through art and popular culture. In the field of aesthetics feelings are presented, i.e. introduced and envisioned as certain feelings. Art and popular culture (pop music, film, video clips) give birth to feelings. Against the background of the so-called affective turn, Spinoza and Deleuze offer themselves as explanatory instances in philosophy. Spinoza offers good arguments for the fact that feelings have to be transformed and compensated, Deleuze on the other hand for the fact that feelings have to be presented aesthetically. Admittedly, Deleuze is, as always, ambiguous. My plea is not with Deleuze as a theorist of affect, but with the alternative theorist of reason.
6:15 pm – 7:15 pm
KEYNOTE SPEAKER FIONA HUGHES | ENGLAND University of Essex
Thresholds of Expression: Uncovering a heightened sensibility for ‘Emergent Sense’ displayed in Prehistoric and Contemporary Art.
In my presentation I will investigate how the concept of ‘liminality’ or threshold illuminates the importance of what I call ‘emergent sense’ in expression and meaning. To be on a threshold is to be situated on a turning point between one thing and another. I will show how a sensibility for the emergent is particularly evident within prehistoric art. In order to get a better understanding of the importance of emergence for any expression, I will take up some examples from Latin American art. In particular I will consider art from Argentina (Cueva de las Manos) and Brazil (Sao Francisco style prehistoric art from Minas Gerais) but also the much more recent performative art of Hélio Oiticica.
THURSDAY 27 UFMG PAMPULHA CAMPUS | Avenida Presidente Antônio Carlos, 6627 FAFICH BUILDING (Philosophy)
KEYNOTE SPEAKER RICHARD SHUSTERMAN | USA Florida Atlantic University
Somaesthetics and the Art of Living
After briefly explaining the genealogy, aims, and structure of the field of somaesthetics, this lecture will focus on one of its central concerns: the art of living. It will discuss somaesthetics and the art of living primarily in connection with the idea of philosophy as a way of life, both with respect to its classical models and to contemporary revivals of this idea. The lecture will also examine how the art of living raises issues concerning the blurring of conventional contrasts between art and life and between the ethical and the aesthetic.
12:10 pm – 2:10 pm
LUNCH BREAK
2:00 pm – 3:30 pm
IAA MEETING – FOR MEMBERS OF THE EXECUTIVE COMMITTEE ONLY ROOM 4094 (4th floor)
CULTURAL ACTIVITY SIGHTSEEING AT PAMPULHA COMPLEX For previously enrolled participants only MEET UP AT THE BUILDING’S MAIN ENTRANCE
7:00 pm – 10:00 pm
SOCIAL ACTIVITY DINNER AT XAPURI RESTAURANT For previously enrolled participants only MEET UP AT THE RESTAURANT Rua Mandacarú, 260 – Trevo, Belo Horizonte, 31370-270
FRIDAY 28 UFMG PAMPULHA CAMPUS | Avenida Presidente Antônio Carlos, 6627 FAFICH BUILDING (Philosophy)
CULTURAL PRESENTATION ARTUR MIRANDA AZZI | BRAZIL Territories in Dialogue
2:15 pm – 3:15 pm
KEYNOTE SPEAKER GISELLE BEIGUELMAN | BRAZIL USP – University of São Paulo
Image Policies: Artificial Intelligence, Art and Dissident De-programming.
Images have become the main interfaces for mediating daily life, occupying communication, affective relationships, infrastructure, aesthetics, and bodies. When speaking of image policies, I argue that images are, beyond being a place for transmitting ideas and languages, the very field of political tensions and disputes of the present, among which the transversality of data colonialism and historical colonialism are imposed. With the popularization of Artificial Intelligence systems, based on so-called natural languages, these issues deepen, while suggesting the dilution of certain ontological and epistemological boundaries, relativizing the legacies of anthropocentrism and language specificities. This repositioning places art at the center of contemporary reflections. In this conference, we will discuss the contemporary context of algorithmic images and the power of artistic creation in the process of destabilizing dominant apparatuses.
3:15 pm – 4:15 pm
KEYNOTE SPEAKER MOLEFI KETE ASANTE | USA Temple University
Asserting An African Aesthetic Episteme: An Afrocentric View
My objective is to advance an epistemic idea quite apart from Eurocentricity that undergirds a plural African aesthetics capable of covering Africa, the Caribbean, and American continents. Beginning with classical ideas from the Nile Valley cultures this paper will then use contemporary artists like Abdias Nascimento to reveal polyrhythms, textural layering, resplendent colors, cultural motifs, and effusive energy to demonstrate beauty and provide the source of African aesthetic values and judgments.
