Keywords: Brazil, Heritage, Margin, Mário Pedrosa, Technophagy, Technological Disobedience, Rolezinhos, Virtual Museum
This article looks at current and future issues in the field of art, science, and technology—from the challenges of its own historicizing process to the curatorial exclusion of cultural heritages usually located at the margins of mainstream research. It argues the need for “other” histories and knowledge inclusion from overlooked sources such as oral cultures. With a few curatorial examples coming from Brazil, the paper emphasizes the social inequities in that country, as well as a deep rooted colonial mindset, unfortunately still dominant in many circles.
By emphasizing critical and original examples of artists, critics, and curators who uphold contemporary art alongside heritages from black, indigenous, folk and outsider groups, the paper examines strategic uses of technology, for instance, in the phenomena of the rolezinhos, and that of a nomad museum.
- Simone Osthoff is Professor of Art and Critical Studies in the School of Visual Arts, Penn State University, USA. She focuses her research upon contemporary art and decolonial histories. Osthoff holds graduate degrees from the University of Maryland and from The School of the Art Institute of Chicago, in addition to a Ph.D. from the European Graduate School. She is a Fulbright Fellow, a frequent participant and organizer of symposia, and since 2013, part of the editorial board of the journal Flusser Studies. Among her multiple publications is the book Performing the Archive: The Transformation of the Archive in Contemporary Art from a Repository of Documents to an Art Medium (Atropos, 2009).
Full text (PDF) p. 372-377