Projekte-und-Forschung

Eduardo Jorge de Oliveira. As an Assistant Professor at the University of Zurich he is currently aiming to link research and teaching in the following three axes:

 

1. Invented skins: Surfaces, texts, and procedures in Brazilian Art and Literature

 

What does 'invention of skin' mean? In general, inventing a skin is an exercise of observation, allowing us to consider details and teaching us the patience of critical operations with texts, objects, performances and images. In one hand, like any surface, the skin demands that we pay attention to its appearance, flaws and textures. On the other, a skin could be read like a word, which we need to think in terms of philology and, finally, procedure, when artists are inventing their works. Artists take part in inventing the skin through the creation of an economy of non-perceptible et perceptible forms, phrases and syntaxes that they formulate. This economy of images, objects, texts, and performances are also the very basis upon which we may consider knowledge in biology, zoology, politics, psychology and literature art itself. Through such a notion of invented skin, each performance would allow us to look at the value of the surface, examining in writing itself its movements where at first it is alive, elusive, in a second it releases a materiality, which invites us always to look in detail. This proposal is organized in two ways: Firstly, a historical approach of the question Invented Skin in Brazil, more precisely with the writings, schemes, and works of Helio Oiticica and his notion of 'parangolés'. His relationship with the poet Haroldo de Campos allows us in 1971, when they both met at the Chelsea Hotel, in New York, where they discussed visual arts, translation, poetry or more precisely the Noh theater's ritualistic emphasis on wardrobe, most famously the feather mantle in Hagoromo. Next to Helio Oiticica, Lygia Pape was another important artist who reflected upon the 'Invented Skin' with fabric, but also with her notion of 'magnetized space, referring to the street merchants in Brazil who attract customers by yelling'. Secondly, with these artists we will start to see multiples inventions of the skin, allowing us to quote other artists like Cildo Meireles, Rosangela Rennó, Mira Schendel, Nuno Ramos and Ricardo Aleixo. Finally, we will discuss the dynamics and contradictions in artistic and literary creation in Brazil and how these artists have common ground in regards to epidermal concepts such as surfaces, accidents, exchanges, and memory, which form the skin of Brazilian culture.

 

“Invented skins” is a part of a project between LZZ (Lateinamerika-Zentrum Zürich – LZZ) and ZKK (Zentrum Künste und Kulturtheorie – ZKK) at Cabaret Voltaire.

Nuno Ramos: procedures in Art and Literature (Romanisches Seminar 28.05.2019)

 

 

Peles inventadas: Escrita, Performance e Teoria no Brasil.

 

“Peles inventadas” é parte de um projeto entre LZZ (Lateinamerika-Zentrum Zürich – LZZ) e ZKK (Zentrum Künste und Kulturtheorie) no Cabaré Voltaire. Conferências, filmes e performances são práticas infalíveis para inventar um novo espaço. Através da colaboração entre LZZ e ZZK, artistas do Brasil encontram um lugar no Cabaré Voltaire. Neste projeto nós buscamos novas materialidades na literatura Brasileira e Sul-americana. A primeira convidada, a escritora brasileira Veronica Stigger, apresentou uma conferência performática “The book” combinando textos ficcionais com documentos pessoais, como a própria certidão de nascimento, diluindo, assim, as fronteiras entre ficção e realidade. Nesta performance a própria Veronica desaparece. Isto recorda a dimensão teórica do “desaparecimento do autor” encontrada em Roland Barthes e em Michel Foucault. Através das histórias em “The book”, sejam elas crime ou mistério, Veronica nos transporta para um gênero intitulado “autoficção”.

As próximas leituras serão com os poetas Ricardo Chacal e Ricardo Domeneck. Eles realizarão uma performance no dia 28 de abril no Cabaret Voltaire.

 

  1. Materialities of literature in the age of museums.  

 

The XXth century was a period when Museums were a place to confirm the role of the images in the modern civilizations. The avant-gardes rose in this context with several divergences and engagements, firstly with manifestos, performances, and magazines and objects, and latter, with new ways of passing on ideas of a tradition and the refusal to accept own cultural western heritage. Therefore, we have a new kind of approach looking for to the primitives forms of non-western cultures, in which we can include Latin America and more precisely, Brazil. In this sense, our research argues the relationship between the materialities from the avant-gardes, with some notions of Ethnography, Geography, Literature and Art from Brazil. In this sense, we study this hypothesis in the artwork of some artists among whom Cildo Meireles was a precursor in the end of 1960’s.

 

Related seminar:

Sensitives geographies from Brazil: History, Art and Culture from Cildo Meireles’ works (August – December 2016).

Related publication:

              A literatura depois da virada icônica (2019)

              More information here

               PDF (PDF, 197 KB)

 

Materialidades da literatura na era dos museus

O século XX foi um período no qual os museus confirmaram o papel das imagens nas civilizações modernas. As vanguardas fizeram emergir diversas divergências e engajamentos, primeiro, com manifestos, performances, e revistas e objetos, e depois, com novos modos de transmitir ideias em relação a uma tradição, precisamente com a recusa da aceitação da própria herança cultural do ocidente. De agora em diante, temos um outro modo de observar as ditas formas primitivas de culturas não-ocidentais do ponto de vista do próprio ocidente. Assim, podemos incluir a América Latina e, mais precisamente, o Brasil.Nesse sentido, a presente pesquisa discute a relação entre as materialidades das vanguardas com algumas noções de Etnografia, Geografia, Literatura e Arte do Brasil. A partir de tal aspecto, estudamos a presente hipótese com mais detalhe na obra de alguns artistas, onde Cildo Meireles foi um precursor no final dos anos sessenta.


Seminário relacionado: Geografias sensíveis do Brasil: História, Arte e Cultura a partir da obra de Cildo Meireles (Agosto-Dezembro de 2016).  

 

  1. Poetry and machines

From the metaphor “A máquina do mundo” “the Machine of the World” issued from the Portuguese epic poem Os Lusiadas (The Lusiads) this research argues the material of this machine in the Brazilian poetry in two historical moments: firstly, the astronomy of 15th century as studied by Camões and used in its poem. This conception from the Celestial mechanics influenced by several poets in Brazil, of whom the most representative is Carlos Drummond de Andrade with the poem “A máquina do mundo” (“the Machine of the World”), 1951. Furthermore, in 2000, Haroldo de Campos produced “A máquina do mundo repensada” (the Machine of the World rethought”). Secondly, we argue another conception of the machine which is more common and useful throughout the 20th century, that of progress and modernity. In other words, the rhythm of the machines influenced the rhythm of the poetry itself and its vocabulary. Finally, the poetry of Ricardo Aleixo, more precisely “Máquina zero” (“Zero Machine”), from 2004, will allow us to arrange a “tryptic” of machines when reading the Brazilian contemporary poetry.

 

Related seminar: Contemporary poetics I: the poem like a word’s machine (2017.1).

Related activity: Workshop with the Portuguese philosopher Maria Filomena Molder.

 

Poesia e máquinas

Da metáfora “A máquina do mundo” vinda da épica portuguesa Os Lusíadas, esta investigação tem por objeto as transformações dessa máquina na poesia brasileira em dois momentos históricos: primeiro, a astronomia do século XV estudada por Camões e o seu uso no poema. A concepção da mecânica celeste camoniana influenciou vários poetas no Brasil, onde o mais representativo seria Carlos Drummond de Andrade com o poema “A máquina do mundo”, publicado em 1951 em Claro Enigma. Em seguida, no ano 2000, Haroldo de Campos produziu “A máquina do mundo repensada”, sendo um dos mais expressivos poemas que dialoga com Drummond e Camões. Em um segundo momento, seguimos por uma concepção de máquina mais comum e utilitária com a qual vários poetas se confrontaram ao longo do século XX, onde a noção de progresso e modernidade se integram ao ritmo das próprias máquinas. Estas, por sua vez, influenciaram o ritmo e o vocabulário de diversos poetas. Finalmente, a poesia de Ricardo Aleixo (Belo Horizonte, 1960), mais precisamente “Máquina zero”, de 2004, nos guia a um tríptico de máquinas para lermos esse aspecto na poesia brasileira contemporânea.