Sobre la potencia crítica del arte: los Domingos da Criação, una experiencia entre artístico y pedagógica disruptiva en tiempos de dictadura cívico-militar en Brasil

In this work we inquire about a collective experience between art and pedagogy organized in 1971 in Brazil by the Coordenador de Cursos of the Museum of Modern Art in Rio de Janeiro Frederico Morais: the Domingos da Criação. During a fierce military dictatorship, this proposal consisted in a big cre...
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Autor*in:	Lucía Cañada [verfasserIn]

Format:	E-Artikel
Sprache:	Englisch ; Französisch ; Portugiesisch

Erschienen:	2021

Schlagwörter:	Brazil art-education Civic-military dictatorship Museum of Modern Art–Rio de Janeiro (MAM-RJ)

Übergeordnetes Werk:	In: Nuevo mundo - Mundos Nuevos - Centre de Recherches sur les Mondes Américains, 2005, (2021)
Übergeordnetes Werk:	year:2021

Links:	Link aufrufen Link aufrufen Link aufrufen Journal toc

DOI / URN:	10.4000/nuevomundo.83603

Katalog-ID:	DOAJ101638841

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spellingShingle	Lucía Cañada misc GN1-890 misc F1201-3799 misc Brazil misc art-education misc Civic-military dictatorship misc Museum of Modern Art–Rio de Janeiro (MAM-RJ) misc Anthropology misc Latin America. Spanish America Sobre la potencia crítica del arte: los Domingos da Criação, una experiencia entre artístico y pedagógica disruptiva en tiempos de dictadura cívico-militar en Brasil
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title	Sobre la potencia crítica del arte: los Domingos da Criação, una experiencia entre artístico y pedagógica disruptiva en tiempos de dictadura cívico-militar en Brasil
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abstract	In this work we inquire about a collective experience between art and pedagogy organized in 1971 in Brazil by the Coordenador de Cursos of the Museum of Modern Art in Rio de Janeiro Frederico Morais: the Domingos da Criação. During a fierce military dictatorship, this proposal consisted in a big creative, open and collective day of action. For this, the organizers chose a material that -the day of the event- was made available to the public in large numbers and in multiple formats in the courtyards and gardens of the museum. Those who came to participate for free could act freely individually or collectively with everything they found at their disposal. The target was for everyone to express themselves freely through this creative and playful doing.We are interested in reflecting here on the possibilities and ways of wielding a critical gesture from art and culture in times of censorship and persecution in Brazil. We start from the assumption that it is in the many ways of doing and in that they try to mobilize in the public, that the experience addressed here (like others in Latin America) can be read as a critique of the dictatorship and the ways of life that it proposed.
abstractGer	In this work we inquire about a collective experience between art and pedagogy organized in 1971 in Brazil by the Coordenador de Cursos of the Museum of Modern Art in Rio de Janeiro Frederico Morais: the Domingos da Criação. During a fierce military dictatorship, this proposal consisted in a big creative, open and collective day of action. For this, the organizers chose a material that -the day of the event- was made available to the public in large numbers and in multiple formats in the courtyards and gardens of the museum. Those who came to participate for free could act freely individually or collectively with everything they found at their disposal. The target was for everyone to express themselves freely through this creative and playful doing.We are interested in reflecting here on the possibilities and ways of wielding a critical gesture from art and culture in times of censorship and persecution in Brazil. We start from the assumption that it is in the many ways of doing and in that they try to mobilize in the public, that the experience addressed here (like others in Latin America) can be read as a critique of the dictatorship and the ways of life that it proposed.
abstract_unstemmed	In this work we inquire about a collective experience between art and pedagogy organized in 1971 in Brazil by the Coordenador de Cursos of the Museum of Modern Art in Rio de Janeiro Frederico Morais: the Domingos da Criação. During a fierce military dictatorship, this proposal consisted in a big creative, open and collective day of action. For this, the organizers chose a material that -the day of the event- was made available to the public in large numbers and in multiple formats in the courtyards and gardens of the museum. Those who came to participate for free could act freely individually or collectively with everything they found at their disposal. The target was for everyone to express themselves freely through this creative and playful doing.We are interested in reflecting here on the possibilities and ways of wielding a critical gesture from art and culture in times of censorship and persecution in Brazil. We start from the assumption that it is in the many ways of doing and in that they try to mobilize in the public, that the experience addressed here (like others in Latin America) can be read as a critique of the dictatorship and the ways of life that it proposed.
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