scholarly journals The life of the line: A sketch by Paulo Mendes da Rocha for the Museu de Arte Contemporânea da Universidade de São Paulo

REVISTARQUIS ◽  
2016 ◽  
Vol 5 (1) ◽  
Author(s):  
Daniele Pisani
Keyword(s):  
Contemporary Art ◽  
Sao Paulo ◽  
Point Of View ◽  
São Paulo ◽  
Museum Of Contemporary Art ◽  
The Many ◽  
Source Of Information ◽  
The Universe ◽  
Arte Contemporáneo

Resumen En oposición a la tendencia de considerar el dibujo arquitectónico como una simple fuente de información sobre el proyecto, o limitarse a contemplar su eventual belleza, este ensayo pretende analizar un boceto en su especificidad. Para hacer este tipo de experimento, el texto utiliza uno de los muchos bocetos realizados por Paulo Mendes da Rocha durante la preparación del proyecto para el Museo de Arte Contemporáneo de la Universidad de Sao Paulo (1974-1975). El objetivo no es aislar artificialmente un dibujo entre los muchos otros que le dan una autonomía que no le es propia, sino adoptar un nuevo punto de vista, a través del análisis de un diseño dentro del universo de diseño específico del arquitecto brasileño.Abstract Against the tendency to consider the drawing in architecture as a simple source of information about the project, or simply to contemplate its potential beauty, this essay aims to analyse one it in its specificity. To carry out this experiment, the text uses one of the many sketches made by Paulo Mendes da Rocha during the preparation of the project for the Museum of Contemporary Art from University of São Paulo (1974-1975). The aim is not to artificially isolate one drawing among the many, giving it an autonomy that it does not possess, but to adopt a new point of view on the universe of the Brazilian architect.

scholarly journals DESLOCAMENTO, FORMAÇÃO E LEGITIMAÇÃO: uma análise de programas de residência artística no Brasil

Caderno CRH ◽  
2019 ◽  
Vol 32 (87) ◽  
pp. 561
Author(s):  
Guilherme Marcondes
Keyword(s):  
Contemporary Art ◽  
Rio De Janeiro ◽  
Sao Paulo ◽  
Private Institutions ◽  
São Paulo ◽  
Mots Clés ◽  
Residency Programs ◽  
Belo Horizonte ◽  
The Universe ◽  
Red Bull

<p>No universo da arte contemporânea brasileira, instituições públicas ou privadas divulgam anualmente editais voltados para jovens artistas, cujo objetivo é fomentar o seu deslocamento para espaços diferenciados de interação social e trocas, a fim de incentivar sua produção. Nas residências, o artista complementa e aprimora sua formação através de novas experiências com o entorno, desenvolvendo seu trabalho longe do ambiente de costume. Neste artigo, objetiva-se compreender como tais programas têm alterado os processos de formação e legitimação de artistas no Brasil. Para isso, são analisados os editais de seleção de três programas de residência artística: o Programa Bolsa Pampulha, promovido, desde 2003, pela Prefeitura Municipal de Belo Horizonte, no Museu de Arte da Pampulha; a Casa B-Residência Artística, lançada em 2016 pelo Museu do Bispo Rosário Arte Contemporânea (MBRAC), no Rio de Janeiro, com incentivo da FUNARTE; e a Residência Artística Red Bull Station, iniciativa financiada pela empresa austríaca Red Bull em São Paulo, desde 2013.</p><p> </p><p>DISPLACEMENT, TRAINING AND LEGITIMATION: an analysis of artistic residency programs in Brazil</p><p>In the universe of Brazilian contemporary art, public or private institutions annually publish notices aimed at young artists, whose purpose is to encourage<br />their displacement to different spaces of social interaction and exchanges, in order to encourage their production. In the residences, the artist complements and improves his formation through new experiences with the surroundings, developing his work away from the usual environment. This article aims to understand how such programs have altered the processes of formation and legitimation of artists in Brazil. For this, the selection notices for three artistic residency programs are analyzed: the Programa Bolsa Pampulha, promoted since 2003 by the Belo Horizonte City Hall at the Museu de Arte da Pampulha; the Casa B-Residência Artística, launched in 2016 by the Museu do Bispo Rosário Arte Contemporânea (MBRAC), in Rio de Janeiro, with the encouragement of FUNARTE; and the Residência Artística Red Bull Station, an initiative funded by the Austrian company Red Bull in São Paulo, since 2013.</p><p>Keywords: Contemporary art. Young artists. Artistic residences. Displacement. Legitimation. Career.</p><p> </p><p>DÉPLACEMENT, FORMATION ET LÉGITIMATION: une analyse des programmes de résidence artistique au Brésil</p><p>Dans l’univers de l’art contemporain brésilien, les institutions publiques ou privées publient annuellement des avis destinés aux jeunes artistes, dont le but est d’encourager leur déplacement vers différents espaces d’interaction et d’échanges sociaux, afin d’encourager leur production. Dans les résidences, l’artiste complète et améliore sa formation à travers de nouvelles expériences avec l’environnement, en développant son travail loin de l’environnement habituel. Cet article vise à comprendre comment ces programmes ont modifié les processus de formation et de légitimation des artistes au Brésil. À cette<br />fin, les avis de sélection pour trois programmes de résidence artistique sont analysés: le Programa Bolsa Pampulha, promu depuis 2003 par la mairie de Belo<br />Horizonte au Museu de Arte da Pampulha; la Casa B-Residência Artística, lancée en 2016 par le Museu do Bispo Rosário Arte Contemporânea (MBRAC), à<br />Rio de Janeiro, avec l’encouragement de FUNARTE; et la Residência Artística Red Bull Station, une initiative financée par la société autrichienne Red Bull à São Paulo, depuis 2013.</p><p>Mots-clés: art contemporain. Jeunes artistes. Résidences artistiques. Déplacement. Légitimation. Carrière.</p>

scholarly journals Cigarrinhas dos Citros, Vetoras da Bactéria Xylella fastidiosa Wells et al.: Pragas Potenciais para a Citricultura Sergipana

2015 ◽  
Vol 8 (1) ◽  
pp. 01-07
Author(s):  
Ruberval Leone Azevedo ◽  
Marcel Faria Lima
Keyword(s):  
Xylella Fastidiosa ◽  
Sao Paulo ◽  
The State ◽  
Northern Coast ◽  
São Paulo ◽  
Citrus Industry ◽  
National Production ◽  
Potential Pest ◽  
The Many

A citricultura no Brasil exerce um papel de grande importância econômica, social, gerando empregos, renda e desenvolvimento. O Brasil é o maior produtor mundial de citros, o Estado de Sergipe destaca-se em 5º lugar nacional em produção. Dentre os vários problemas fitossanitários enfrentados pela citricultura brasileira está a Clorose Variegada dos Citros (CVC), conhecida como amarelinho, causada pela bactéria Xylella fastidiosa Wells et al. A CVC foi identificada oficialmente no Brasil, em 1987, em pomares do Triângulo Mineiro e do Norte e Noroeste do Estado de São Paulo. No Nordeste, foi constatada em 1996 em Sergipe no município de Boquim, e em 1997 na Bahia, nos municípios de Rio Real e Itapicuru. O objetivo foi revisar a literatura sobre as espécies de cigarrinhas vetores da CVC, e verificar se ocorrem no estado de Sergipe. Os primeiros sintomas são vistos nas folhas, passam posteriormente para os frutos e acabam afetando toda a planta, e para serem percebidos pode levar entre 5 meses e 2 anos. Os principais vetores da X. fastidiosa em citros são as cigarrinhas da família Cicadellidae. No Brasil já foram confirmadas 12 espécies de cigarrinhas vetoras. Para o estado de Sergipe, são escassas a informações sobre Cicadellidae vetoras, os dados são limitados ao Litoral Norte da Bahia, com exceção de vaga citação sobre quatro gêneros (Oncometropia, Acrogonia, Dilobopterus e Homolodisca) e três espécies (Homolodisca ignorata Melichar, Acrogonia sp. e Homolodisca spottii Takiya, Cavichioli & McKamey). Citrus leafhoppers, Vectors of of Bacterium Xylella fastidiosa Wells et al.: Potential Pest of Citrus Crops in Sergipe State Abstract. The citrus industry in Brazil plays a role of great economic, social, generating jobs, income and development. Brazil is the largest producer of citrus, the State of Sergipe stands out in 5th place in national production. Among the many pest problems faced by Brazilian citrus is Citrus Variegated Chlorosis (CVC), known as the yellowing caused by the bacterium Xylella fastidiosa Wells et al. The CVC was officially identified in Brazil in 1987, in orchards of “Triângulo Mineiro” and North and northwest of the state of São Paulo. In the Northeast Region of Brazil, was found in 1996 in the municipality of Boquim Sergipe, and Bahia in 1997, the municipalities of Rio Real and Itapicuru. The aim was to review the literature on the species of leafhoppers vectors of CVC, and verify that occur in the state of Sergipe. The first symptoms are seen in the leaves, then go for the fruits and end up affecting the entire plant, and to be perceived can take between five months and two years. The main vectors of X. fastidiosa in citrus are the sharpshooters of the family Cicadellidae. In Brazil 12 sharpshooters species have already been confirmed. For the state of Sergipe, is scarce information about the Cicadellidae vectors, the data are limited to the northern coast of Bahia, except for vague quote about four genus (Oncometropia, Acrogonia, Dilobopterus and Homolodisca) and three species (Homolodisca ignorata Melichar, Acrogonia sp. and Homolodisca spottii Takiya, Cavichioli & McKamey).

scholarly journals Police Case or Public Health Issue? Printed Journalism Frames on Crack Use in São Paulo

2017 ◽  
Vol 13 (3) ◽  
pp. 162
Author(s):  
Giulia Sbaraini Fontes ◽  
Paulo Ferracioli
Keyword(s):  
Public Health ◽  
Public Safety ◽  
Sao Paulo ◽  
Point Of View ◽  
Health Issue ◽  
Public Health Issue ◽  
São Paulo ◽  
Safety Aspects ◽  
Crack Use ◽  
Sobre Todo

Based on Entman’s (1993) and Iyengar’s (1996) concepts , this article intends to identify the frames practiced by O Estado de São Paulo (OESP) and Folha de S. Paulo (FSP) for the crack issue during Gilberto Kassab’s (2009 to 2012) and Fernando Haddad’s administrations (2013 to 2016). For that, 120 texts were analyzed, with the hypothesis that the newspapers’ political positions are also translated in their information material - and, therefore, FSP and OESP would present different coverages. The results confirmed this hypothesis, since OESP addressed the issue from the health point of view in both periods, with emphasis on public safety during the second administration. In addition to the health issue, FSP has focused on public safety aspects in Kassab’s administration and economy in Haddad’s administration. Despite this, newspapers have brought similarities, such as the use of episodic frame in most of the texts.Partindo dos conceitos de Entman (1993) e Iyengar (1996), esse artigo pretende identificar quais os frames praticados por O Estado de S. Paulo (OESP) e Folha de S. Paulo (FSP) para a questão do crack durante as gestões de Gilberto Kassab (2009 a 2012) e de Fernando Haddad (2013 a 2016). Para tanto foram analisados 120 textos, com a hipótese de que as posições políticas dos jornais se traduzem, também, em seu material informativo – e, por isso, FSP e OESP apresentariam coberturas distintas. Os resultados confirmaram tal hipótese, pois OESP abordou o assunto sob a ótica da saúde nos dois períodos, com destaque para a segurança pública durante a segunda gestão. Já FSP enfocou, além da questão de saúde, aspectos de segurança pública na gestão Kassab e de economia na de Haddad. Apesar disso, os jornais trouxeram semelhanças, como o uso do frame episódico na maioria das matérias. Desde los conceptos de Entman (1993) y Iyengar (1996), este artículo tiene como objetivo identificar los enmarcamientos usados por O Estado de S. Paulo (OESP) y Folha de S. Paulo (FSP) para cestión de crack durante las administraciones de Gilberto Kassab (2009-2012) y Fernando Haddad (2013-2016). Por lo tanto, se analizaron 120 textos, con la hipótesis de que las posiciones políticas de los periódicos se traducen también en su material de información - y por lo tanto, FSP y OESP presentarían diferentes coberturas. Los resultados confirmaron esta hipótesis, ya que el OESP se acercó a la cuestión desde la perspectiva de la salud en ambos períodos, sobre todo para la seguridad pública durante el segundo término. Ya el FSP se centró, más allá del tema de la salud, los aspectos de seguridad pública en la gestión Kassab y economía en Haddad. Sin embargo, los periodicos trajeron similitudes, tales como el uso de enmarcamiento episódico en la mayoría de los textos.

scholarly journals Hidra de duas cabeças: Configuração ricoeuriana e narrador impuro numa narrativa do HC-FMUSP / Two Heads Hidra: Ricoeurian Configuration and Impure Narrator in a Narrative of HC - FMUSP

2013 ◽  
Vol 2 (2) ◽  
Author(s):  
Fabiana Carelli ◽  
Andrea Funchal Lens ◽  
Amanda Cabral Carvalho Alcântara De Oliveira ◽  
Ariadne Catarine Dos Santos ◽  
Mariluz Dos Reis ◽  
...  
Keyword(s):  
Literary Theory ◽  
Paul Ricoeur ◽  
Sao Paulo ◽  
Point Of View ◽  
São Paulo ◽  
Cultural Aspects ◽  
School Of Medicine ◽  
Paul Ricœur ◽  
The University ◽  
De Medicina

ABSTRACTFrom the point of view of literary theory and comparative literature, this article aims to analyze how it is configured the narrative of life of a patient of the General and Didactic Clinic of the University of São Paulo School of Medicine, in the context of a consultation with the resident who attends her, and how that narrative is reconfigured by the same resident, both in the conversation with her assistant and at the resumption of the consultation with the patient, in which diagnostic hypotheses, predictions and treatments will be transmitted. The analysis undertaken here is based mainly on the concepts of prefiguration, configuration and refiguration established by Paul Ricoeur in his book Time and Narrative (2010); narrator and narrative point of view, as in Arrigucci Jr. (1998) and Friedman (2002); and the cultural aspects of the comic genre, as in Aristotle (s/d), Darnton (1996), Bakhtin (1999) and Baudelaire (2002). In conclusion, this paper aims to propose some analytical and theoretical grounds for the concept of a “cleaved’ or “impure” narrator in the context of the relations between narrative and medicine.RESUMENEste artigo busca analisar, do ponto de vista da teoria literária e da literatura comparada, o modo como é configurada, por ela mesma, a narrativa de vida de uma paciente do Ambulatório Geral e Didático do Hospital das Clínicas da Faculdade de Medicina da Universidade de São Paulo num contexto de consulta com a médica residente que a atende, e de que modo essa narrativa é reconfigurada pela mesma residente, tanto na conversa com seu assistente quanto na retomada da consulta com a paciente, na qual hipóteses diagnósticas, prognósticos e tratamento lhe serão transmitidos. A análise empreendida aqui funda-se essencialmente nos conceitos de prefiguração, configuração e refiguração, tal como estabelecidos por Paul Ricoeur em sua obra Tempo e narrativa (2010); narrador e ponto de vista narrativo, tal como em Arrigucci Jr. (1998) e Friedman (2002); e do riso em suas articulações culturais, tal como em Aristóteles (s/d), Darnton (1996), Bakhtin (1999) e Baudelaire (2002). Ao final, este trabalho visa a propor bases analíticas e teóricas para a definição do conceito de narrador “clivado” ou “impuro”, no contexto das relações entre narrativa e medicina.

scholarly journals Considerations about exhibition design after the creation of an audiovisual display for the exhibition Paul Klee - Unstable Balance

2020 ◽  
pp. 50-51
Author(s):  
Daniel Grizante
Keyword(s):  
Exhibition Design ◽  
Sao Paulo ◽  
Point Of View ◽  
São Paulo ◽  
Cultural Center ◽  
Paul Klee ◽  
Design Project ◽  
The Creation ◽  
Belo Horizonte ◽  
Object Of Study

In 2019, I was with the design team of the exhibition Paul Klee - Equilíbrio Instável, held in the various spaces of the Banco do Brasil Cultural Center, in the cities of São Paulo, Rio de Janeiro and Belo Horizonte. It was an exclusive exhibition for Brazil that brought together 120 works by the artist, from the collection of Zentrum Paul Klee from Bern, Switzerland. At that time, I made an audiovisual display on five screens, which presented to the visitors aspects of the artistic techniques developed and used by the artist in his vast work. This research is part of a broader one, on the use of audiovisual in expographic projects that is the subject of my doctoral thesis, in progress. At this moment, however, a reflection will be presented on this specific audiovisual display, held for the exhibition cited. Our goal was to look at the various tensions that apply to the process of construction of a piece of this type, from the point of view of the design project. As well as the search for the function performed by it within the exhibition project. To do this reflection we started with a contextualization of this modality of exhibition using as object of study its edition held at the Banco do Brasil Cultural Center of São Paulo (CCBB-SP), looking at the spaces and their exhibition issues and its influence on the development of the project. We present, in the sequence, a description of the exhibition as a whole from the visitor point of view and from its catalog. Production files from this audiovisual display were researched, such as first drawings, scripts, concept development archives, photographic material and versions developed until its final. This material was observed from the concept of the creation networks, by Cecília Almeida Salles. We also held a dialogue with other members of the creative team, from different levels of the production process, in order to know the tensions that are applied in the production of this limited element of an expographic project like this. We saw, in this specific case of producing an audiovisual display, how each constituent element of an exhibition like this is traversed by tensions of various types, which are common within an exhibition design project, with many professionals from different areas involved. In addition to the identification of external factors that directly influence its production. We conclude then that the development of an exhibition is now inserted within what we know as a culture of design, which allows us to look at thistype of cultural manifestation as something that can no longer be limited to previous models of idealization of the exhibition space or abstain from the use of technologies and possibilities of connection with the public.

scholarly journals Un nuevo centro de producción de cultura contemporánea: la Fondazione Prada en Milán, Italia

2019 ◽  
pp. 142-151
Author(s):  
Tommaso Cigarini
Keyword(s):  
Contemporary Art ◽  
Stimulus Space ◽  
Palabras Clave ◽  
Production Of Culture ◽  
Peripheral Area ◽  
The Creation ◽  
Museum Of Contemporary Art ◽  
Infrastructure Rehabilitation ◽  
Arte Contemporáneo

La Fondazione Prada de Milán, Italia, es un paradigma y un ejemplo del mecenazgo moderno. En este documento se analiza de qué forma un museo de arte contemporáneo puede generar cambios positivos en el barrio donde se localiza, más aún si ese vecindario se ubica en una zona periférica de la ciudad que ha pasado por un proceso de degradación urbana. Veremos el caso de un museo como elemento rehabilitador de infraestructura y un espacio de estímulo para la creación y producción de cultura. El museo le da una nueva vida a una edificación abandonada que anteriormente estaba destinada a la producción industrial. Los amplios espacios de manufactura, hoy en día abandonados, son ideales para instalar obras de arte contemporáneo.  Palabras clave: Fondazione Prada, Miuccia Prada, Rem Koolhaas, museografía moderna, cultura contemporánea, arte contemporáneo   AbstractThe Fondazione Prada in Milan, Italy, is a paradigm and an example of modern patronage. This document analyzes how a museum of contemporary art can generate positive changes in the neighborhood where it is located, especially if that neighborhood is located in a peripheral area of thecity that has gone through a process of urban degradation. We will consider the case of a museum as an infrastructure rehabilitation element and a stimulus space for the creation and production of culture. The museum gives a new life to an abandoned building that was previously destined forindustrial production. The large manufacturing spaces, now abandoned, are ideal for installing works of contemporary art. Keywords: Fondazione Prada, Miuccia Prada, Rem Koolhaas, modern museography, contemporaryculture, contemporary art

The second-generation ethanol in the state of São Paulo - Brazil: understanding the stakeholders' point of view

2012 ◽  
Vol 11 (4) ◽  
pp. 412
Author(s):  
Ricardo Raele ◽  
Joao Mauricio Gama Boaventur ◽  
Adalberto Americo Fischmann ◽  
Greici Sarturi
Keyword(s):  
Second Generation ◽  
Sao Paulo ◽  
The State ◽  
Point Of View ◽  
São Paulo ◽  
Second Generation Ethanol

The Bauhaus in Brazil: Pedagogy and Practice

ARTMargins ◽  
2016 ◽  
Vol 5 (2) ◽  
pp. 27-49
Author(s):  
Adele Nelson
Keyword(s):  
Cold War ◽  
Contemporary Art ◽  
Rio De Janeiro ◽  
Sao Paulo ◽  
São Paulo ◽  
German School ◽  
The 1950S ◽  
Art Schools

This article analyzes the rhetorical and discursive resonance of the claims by artists and art professionals in Brazil in the 1950s of a connection to the Bauhaus. I examine the curricula of two new art schools established in São Paulo and Rio de Janeiro, emphasizing the role of central figures, including Mário Pedrosa, and the works by artists trained at the schools, and study paintings by Lygia Clark that in part elicited Alfred H. Barr, Jr. in 1957 to dismiss Brazilian contemporary art as “Bauhaus exercises.” Rather than a case of imitation, as Barr suggested, Brazilian actors transformed Bauhaus ideas, mediated by Cold War re-interpretations of the German school and its approaches to artistic education, to articulate tactics of citation and adaptation and to assert a non-derivative, radical conception of modernism.

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