scholarly journals O corpo mediador: dança e mediação no museu

REPERTÓRIO ◽  
2017 ◽  
pp. 390
Author(s):  
Aila Regina Da Silva
Keyword(s):  
Contemporary Art ◽  
Sao Paulo ◽  
Heterogeneous Group ◽  
Human Being ◽  
São Paulo ◽  
Dance Performance ◽  
Site Specific ◽  
Specific Process ◽  
And Performance

<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">De um simples piscar de olhos a um pulo, a dança traz ao ser humano novos meios de conectar-se consigo e com o espaço a sua volta. Este artigo é um estudo sobre as relações da mediação com dança em comparação aos processos do <em>site specific</em> e performance, como produtos indiretos da experiência mediativa. Recorte da pesquisa de mestrado <em>Proibido tocar, permitido dançar: dança e mediação no museu de arte contemporânea</em>, que submete um grupo heterogêneo de pessoas a vivências de dança e, posteriormente, ao diálogo sobre a obra de arte no Museu de Arte Contemporânea da Universidade de São Paulo.</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Dança. Performance. <em>Site specific</em>. Mediação.<span class="Apple-converted-space"> </span></p><p class="p3"><span class="Apple-converted-space"><br /></span></p><p>MEDIATOR BODY: DANCE AND MEDIATION IN THE MUSEUM</p><p class="p1"><em>Abstract:<span class="Apple-converted-space"> </span></em></p><p class="p5"><em>From a simple blink of eyes to an action of jumping, the dance provides to the human being new connections with himself and with the space around him. This article is a study about the relation among the mediation with dance, ‘site specific’ process and performance as indirect products from the mediation experience. Part of the Masters’ project “Do not touch. Dance, though. Dance and mediation in the Contemporary Museum</em><span class="s2"><em>”, the project put a heterogeneous group into living mediations that combine dance improvisations as a way to talk about contemporary art.</em></span></p><p class="p6"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Dance. Performance. Site specific. Mediation.</em></p>

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.

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 Fifty-Year History of the Ibovespa

2019 ◽  
Vol 17 (3) ◽  
pp. 47
Author(s):  
F. Henrique Castro ◽  
William Eid Junior ◽  
Verônica F. Santana ◽  
Claudia E. Yoshinaga
Keyword(s):  
Stock Exchange ◽  
Sao Paulo ◽  
São Paulo ◽  
Economic Crises ◽  
Market Capitalization ◽  
History Of ◽  
And Performance ◽  
Index Calculation

<p>We summarize the fifty-year history (1968-2017) of the Ibovespa, a gross total return index that comprises the most liquid stocks traded on the São Paulo Stock Exchange in Brazil. We provide contextual material on the Brazilian economy during this 50-year period (such as the fight against hyperinflation, the privatization of companies, and economic crises) and its impact on the index composition and performance. We discuss the effect of the change in the index calculation<br />methodology that took place in 2014, when companies with lower market capitalization became less representative in the index. Finally, we discuss the representativeness of each industry on the Ibovespa portfolio.</p>

scholarly journals La noción de site-specific en el discurso teórico del Teatro da Vertigem

Revista Actos ◽  
2021 ◽  
Vol 3 (5) ◽  
pp. 67-78
Author(s):  
Rodrigo Bruna
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Site Specific

En el año 1992 la compañía de Teatro da Vertigem presentó, en una emblemática iglesia de São Paulo, su primera pieza site-specific titulada O Paraíso Perdido. A partir de esta obra la compañía estableció un modelo de trabajo donde la dramaturgia y lo escénico se nutre de las cualidades formales y simbólicas de los lugares que ocupa. En atención a esta premisa nos planteamos las siguientes preguntas: ¿qué tipo de relación teórico-formal establece la compañía Teatro da Vertigem con la noción site-specific? ¿qué puntos de encuentro se pueden evidenciar entre las artes visuales y escénicas a partir de las particularidades específicas de un lugar? Para dar respuesta a estas preguntas, establecimos una metodología de trabajo centrada en el análisis crítico de documentos, registros audiovisuales e imágenes, acciones que nos permitieron situar el problema con el fin de comprender el discurso teórico de esta compañía.

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