GL�RIA FERREIRA: MILIT�NCIA CR�TICA / Gl�ria Ferreira: critical militance

O texto apresenta brevemente a trajet�ria de Gl�ria Ferreira, cr�tica de arte, professora, pesquisadora,�editora de livros, guerrilheira, aborda sua import�ncia no campo art�stico brasileiro e discute as escolhas que definiram a sele��o do material reunido no dossi� dedicado ao seu�legado. A autora identifica as quest�es recorrentes no pensamento de Gl�ria Ferreira, referentes �s profundas transforma��es operadas na pr�tica de artistas e no sistema de arte a partir do que ela nomeia ?colapso nervoso do modernismo?, que determina a crise dos valores associados �modernidade e o universo de experimenta��o que caracteriza a arte contempor�nea a partir de ent�o, abordadas nos textos reunidos na parte II do dossi�. A apresenta��o situa ainda o in�cio da atua��o de Ferreira no contexto dos movimentos pela redemocratiza��o do Brasil na d�cada�de 1980 e enfatiza o tr�nsito entre arte e pol�tica como algo estruturante de sua trajet�ria como�cr�tica a partir de textos e imagens integrantes da parte I do dossi�, referentes � funda��o doClubinho Experimental Saci Perer�, uma experi�ncia na interface entre arte, cultura e educa��o,�e a sua participa��o no grupo feminista C�rculo de Mulheres Brasileiras durante seu ex�lio na Fran�a. Esse tr�nsito se objetiva n�o apenas nos temas de pesquisa privilegiados pela autora,�mas, sobretudo, em seu modo de fazer, determinando ainda o car�ter p�blico e engajado de sua atua��o, a qual a autora se refere como ?milit�ncia cr�tica?.Palavras-chave:Gl�ria Ferreira. Arte. Pol�tica. Cr�tica. Milit�ncia.�Abstract�In the text, the author briefly introduces the trajectory of Gl�ria Ferreira, art critic, professor, researcher, editor,�insurgent, talks about her importance in the Brazilian artistic field and discusses the choices that defined the selection of materials presented in the dossier she composed, dedicated to Ferreira?s legacy. The text�identifies the author?s recurring concerns, referring to the deep transformations that impacted artistic practice and the art system, starting from what she nominates as the ?nervous breakdown of modernism?, as addressed by the texts in the second part of the dossier. The text also places the beginning of Ferreira?s work in the context of the movements for the re-democratization of Brazil in the 1980s and emphasizes the transition between art and politics as something that gave structure to her trajectory as a critic, from�the texts and images presented in the first part of the dossier, which refer to the foundation of the ?Clubinho Experimental Saci Perer�?, an experimentation with the interface between art, culture and education, to her participation in the feminist group ?Circulo de Mulheres Brasileiras? during her exile in France. That transit is an object not only for the themes the author privileges in her research, but, most of all, for her way of doing, also defining the public and the commitment of her work, to which the author refers as ?critical militance?.Keywords:Gl�ria Ferreira. Art. Politics. Critic. Militance.

Anarchives – Differential Moments of Affirmation through Revolutionary Love

"In order to counter the idea that there is no way out of the grand narratives of separation between the Western, dominant modes of production of knowledge, art and politics and the opposing ones, anchored either in the movements of liberation of the Third World or in the transition from the ex-Communist to a global capitalist model, I propose a type of practice that I call revolutionary love. This practice may generate a space of “differential consciousness” (Sandoval), related to a space of “relational matrices,” which involves discord and dissension, “adventitious growth,” and “surplus movements” (Massumi). Revolutionary love is poetically transcribed in the micropolitical gestures of anarchives – a toxic input that can free desire from the imperceptible repressions it is obeying."

Insurgent words: challenging the coloniality of language

This article explores language ideologies and sociolinguistic scales from the perspective of decolonization. Coloniality is a multi-scalar world system that affects micro-level interactions in multiple locales, both in the metropole and in the former colonies. Not only does coloniality exist on a world scale, resistance to it is scaled up too and engulfs the world. The linguistic tradition that I seek to trace in this article is imaginative, creative and oriented towards alternative decolonial futures. It speaks to the experience of the coloniality of language, of language as alienating and oppressive, and to the corresponding desire, and need, for a different language. It articulates a decolonial philosophy and brings art and politics together to change the world. I show that the global south was, and is, an intellectual-artistic-political vanguard, articulating and shaping discourses about language and revolutionary action. In philosophical, artistic and political practice – stretching from Martinique to Paris, from Cape Town to Kingston – language and revolutionary practice merge into one: language no longer just reflects reality, it can change it.

Infinite Interpretations? A Corpus-based Study for the Identification and Interpretation of Competing Frames in Parliament-representations in Hungary

Political communication highly depends on generic figurative frames such as Politics Is War, Object, Sport, Art and Politics Is Landscape. Regarding political art, it is suggested that artists use complex cognitive solutions (e.g. parallel issue-specific frames) in creative ways which are connected with one of the major generic frames. The study discusses parliament-representations (made between 2006 and 2015) which are not only attractive elements of the cityscape; thus, not literary representations of the building. Using the method of visual framing, the analyses (1) describe the artworks, (2) interpret the occurring symbols and metaphors determined contextually, and (3) reveal the ideological and power relations. Summing up, political artworks can be comprehended according to conventional mental schemas. However, artists usually create a minimum of two competing specifications of the general frames occurring at the same time, and let the viewer choose the one that fits better with their worldview.

Homenagem: Remembering the Life and Work of Abdias Nascimento

This essay provides a brief introduction to this special issue focused on the life and work of Black Brazilian scholar-activist Abdias Nascimento. The contributors include, Vera Lucia Benedito, Ollie Johnson, Zachary Morgan, Elisa Larkin Nascimento, and Cheryl Sterling who all participated in a 2015 conference at Africana Studies at Brown University. This group of scholars aptly illustrate that Nascimento had long contributed to the internationalization of Black Studies as a field in US academe and he was crucial in establishing Brazil as a central component of the Black World. The essays have much to teach us about Nascimento’s views on the relationship between art and politics, the role of military service in shaping his activism, the significance of black politicians in the reconceptualization of Brazilian democracy, and the importance of preserving archives and expanding our understanding of the Black radical tradition.