PORTO ARTE: Revista de Artes Visuais

O desafio das ações mínimas

2024-12-23T20:00:36-03:00

Este ensaio fotográfico é resultado de uma residência artística realizada em várias localidades de Manaus, no ano de 2023. O conjunto de imagens selecionado para este dossiê apresenta açõesmínimas derivadas do impacto da incursão ao interior da Floresta Amazônica e propõe-se a produzir uma perspectiva poética sobre as camadas do encontro que pode tecer o artista visual em contato físico e crítico com o ambiente da floresta, justo neste momento da urgência de nossas reflexões sobre o antropoceno. Dessa maneira, o trabalho tanto se soma quanto comenta sobre a miríade de processos artísticos interessados nas questões contemporâneas entre arte, paisagem e natureza.

Eno (Choveu)

2024-08-30T12:47:37-03:00

From the hieroglyphic art based on the genetic relationship established between the Pharaonic
language and modern Kandian (African) languages, this art represents an image-speech that addresses
the reaction pf waters when the human being harms the earth. The art introduces the discussion from a
Kandian perspective. If the earth and the human derive from the same source (organic and linguistic),
the damage done to the earth will have consequences in life (human and others).

Amazon Avenue

2024-09-06T00:29:06-03:00

How would you react knowing these photos were taken a month before the floods in Porto Alegre? This photo essay of Amazonas Avenue, which I walked along in March 2024, was manipulated with Artificial Intelligence to simulate a flood and discuss the climate crisis. Compiled into a video, they were interspersed with fake advertisements for anti-flood products. At the end of May, the simulation became a reality. But what is reality nowadays, if not an overlap of simulacra?

Shore of Mud

2024-12-13T14:55:49-03:00

Porto Alegre was a city colonized by Azoreans who settled on the shores of Lake Guaíba in the late 18th century. Over the course of two centuries, urban planning policies filled in areas bordering the lake with the intention of tripling the size of the Historic Center and surrounding neighborhoods.

In the May 2024 flood, one of the areas most affected by the waters that advanced in the city were those where there were landfills, such as the neighborhoods of Centro Histórico, Cidade Baixa and Menino Deus. This essay is a brief inventory that aimed to document the muddy water marks on iconic and residential buildings in these central regions of the capital of Rio Grande do Sul shortly after the waters were drained, when the Guaíba receded and returned to its normal bank.

Desertificação da terra roxa

2024-08-28T21:16:01-03:00

The change in the structure of the terra roxa soil, in the Ribeirão Preto region, has been gradually caused over the last century by extensive agriculture, especially sugarcane monoculture. The visual essay features works by two artists from the interior of São Paulo, with overlaps and parallels between photographs by Bruna Caroline Pereira and paintings and installations by Lu Martins, in which the red of the land in the process of desertification is contrasted with the painting in collapse.

O baldio domesticado

2024-08-12T16:52:49-03:00

Abstract: This article presents the wasteland as a concept that involves unused landscapes and spaces. Biological fact poses questions to thought, which, in turn, disorganizes knowledge systems, moving them towards natural disorder in which organic powers dynamize life. This movement establishes itself as a complex method of manipulating the landscape and the garden with permissiveness, management of plants with a tendency to wander and reflections that go beyond ecological understandings that form the basis for a planetary garden.

Keywords: Wasteland [Friche]. Landscape. Garden in movement. Vagabond Plants.

Editorial

2024-12-23T14:22:33-03:00

Expediente

2024-12-23T20:10:39-03:00

Ekpyrosis

2024-12-23T14:55:13-03:00

A visita: notas sobre o tempo a partir do encontro com uma árvore multi-centenária

2024-12-23T15:29:21-03:00

Este ensaio tem como base um conjunto de fotografias e anotações realizadas durante a ação de observação de uma araucária multi-centenária, ação realizada ao longo de um único dia, da alvorada ao crepúsculo, na Floresta Nacional de São Francisco de Paula, na Região Serrana do Rio Grande do Sul, Brasil. O texto aborda, entre outros temas, a dinâmica de expansão das florestas, a oposição entre o tempo cíclico das árvores e o tempo linear da História e o próprio processo de contemplação contínua de um ente que é percebido comoimpassível e ancestral. Empreendido poucos meses após a morte de duas pessoas amadas, este ensaio verbo-visual inevitavelmente se impõe como uma reflexão fundamentada na experiência do luto.

The nature as creation: when the city navigated

2024-11-23T11:39:18-03:00

This article reflects on a set of photographs as historical testimony in relation to the climate emergency. It takes three conceptual axes: the image as testimony in Didi-Huberman articulated with the sense of the sublime in Kant; inhabiting the Earth in Latour and the intrusion of Gaia in Stengers; the notion of ruin in Simmel. This climate tragedy explains the unequal relationship of the territory, the negligence of local government and climate denialism, a direct reflection of neoliberal policies.

LAS MENINAS AFTER THE FLOOD: CULTURE, BARBARISM, CIVILIZATION

2024-09-10T20:48:59-03:00

After the floods of May 2024 in Porto Alegre, the author found a reproduction of Diego Velázquez's painting Las meninas on the street. After being collected, the reproduction became part of the Museu de Resgates, which the author created in collaboration with a rubbish collector. Through the collection and subsequent integration of Las Meninas into the museum, the article relates image, barbarism, culture, civilization and temporality to various authors, including Walter Benjamin and Hannah Arendt.

Four Seasons

2024-11-22T16:05:49-03:00

Based on the allegories of the Four Seasons, painted in oil on wood in 1774 by Bernardo da Silva Pires, on the side walls of the main chapel of Nossa Senhora do Pilar Church, in Ouro Preto, Minas Gerais, this text presents some possibilities for reflect on how different forms of perception and representation of non-human nature cyclical phenomena were constituted (with emphasis on the Seasons of the Year), based on elements specific to 18th century European thought and its traduction in the colonized territory.

Critical landscape dimensions: Maria Graham e Claudia Hamerski

2024-12-23T17:57:41-03:00

The focus of this article is on the landscapes of the nineteenth-century traveling artist Maria Graham and the contemporary artist Claudia Hamerski, observing their critical dimensions regarding man's relationship with nature. Based on the notion of historical anachronism formulated by Didi-Huberman, the text proposes a dialogue between characters who, in different times and different geographies, would have expressed similar concerns. The discussion moves away from the more traditional historiographical bias that links the apprehension of the landscape and flora to the registration of spaces and botanical cataloging with merely scientific-mercantilist purposes. In view of this, based on the images and in their comparison with the artists' statements, the approach suggests that their representations of nature be taken as monuments, which, in turn, would refer to the idea of inverting anthropocentric logic.

Futuros possíveis: pensando as crises ambientais a partir da interconexão arte, natureza e tecnologia

2024-09-06T00:23:09-03:00

não consta.

Territorial biopoetic activism agency in the living

2024-09-10T12:06:05-03:00

In a contemporary world marked by climate emergency, poetics linked to the territory emerge that seek to reconfigure the dialogues between humanity and the living. In order to recognise these poetics, we have carried out a conceptual mapping of poetic operations generated by activist collectives aware of this problem. We investigate, in a posthumanist key, their critical-political practices and identify recurrences in the need to deepen the knowledge of the sensitive links between poetics and life, thus redefining the production matrixes of historical artistic activism.

Following the Frogs: Arts, Sciences and Catastrophes

2024-10-16T16:13:14-03:00

We learned from the frogs that in times of catastrophes it is necessary to go beyond the denouncement of the impacts of capitalized human activities. We need sensitive practices that value multispecies interaction. Combining work surfaces, artistic residency and collective exhibition we seek to mimic the frogs’ varied ways of existence, making them “companion species” for research-creation. We present and analyse these experiences highlighting how they make us think about the potential of encounters between arts and sciences to reconnect us to a living Earth.