Por que Museu?
This paper seeks to understand the relationship between art institutions and the artistic proposals of Nelson Leirner since the sixties. In order to attain our objective, we have sought to consider exhibitions, which have had both the subversion of the conventional expositive meaning and broad or sp...
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| Format: | Article |
| Language: | English |
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Artciencia.com
2017-06-01
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| Series: | Artciencia.com |
| Online Access: | https://artciencia.com/article/view/12187 |
| _version_ | 1818947637802434560 |
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| author | Emerson Dionisio Gomes de Oliveira |
| author_facet | Emerson Dionisio Gomes de Oliveira |
| author_sort | Emerson Dionisio Gomes de Oliveira |
| collection | DOAJ |
| description | This paper seeks to understand the relationship between art institutions and the artistic proposals of Nelson Leirner since the sixties. In order to attain our objective, we have sought to consider exhibitions, which have had both the subversion of the conventional expositive meaning and broad or specific interaction with the public, as a double purpose. The period under consideration runs from the sixties – when the exhibitions brought about a critical impact, causing controversy amongst cultural and economic agents – to the 2000s – when the artist himself recognizes that the art circulation system has assimilated his provocations and has domesticated works of art previously considered participative and challenging, a fact Leirner considers worse still...
O presente trabalho buscou compreender a relação entre as instituições da arte e as propostas artísticas de Nelson Leirner desde os anos 1960. Para alcançar nosso objetivo, buscamos mapear exposições que tiveram como duplo propósito a subversão do sentido expositivo convencional e a interação com o público, amplo ou específico. O percurso pontuado vai dos anos 60 – quando as mostras surtiam impacto crítico, polemizando com os agentes culturais e econômicos – aos anos 2000 – quando o próprio artista constata que o sistema de circulação da arte já havia assimilado suas provocações e, o que Leirner considera mais grave, domesticado obras antes participativas e questionadoras. |
| first_indexed | 2024-12-20T08:34:05Z |
| format | Article |
| id | doaj.art-55415a4b46944dad90961e7114c25f87 |
| institution | Directory Open Access Journal |
| issn | 1646-3463 |
| language | English |
| last_indexed | 2024-12-20T08:34:05Z |
| publishDate | 2017-06-01 |
| publisher | Artciencia.com |
| record_format | Article |
| series | Artciencia.com |
| spelling | doaj.art-55415a4b46944dad90961e7114c25f872022-12-21T19:46:36ZengArtciencia.comArtciencia.com1646-34632017-06-011410.25770/artc.12187Por que Museu?Emerson Dionisio Gomes de OliveiraThis paper seeks to understand the relationship between art institutions and the artistic proposals of Nelson Leirner since the sixties. In order to attain our objective, we have sought to consider exhibitions, which have had both the subversion of the conventional expositive meaning and broad or specific interaction with the public, as a double purpose. The period under consideration runs from the sixties – when the exhibitions brought about a critical impact, causing controversy amongst cultural and economic agents – to the 2000s – when the artist himself recognizes that the art circulation system has assimilated his provocations and has domesticated works of art previously considered participative and challenging, a fact Leirner considers worse still... O presente trabalho buscou compreender a relação entre as instituições da arte e as propostas artísticas de Nelson Leirner desde os anos 1960. Para alcançar nosso objetivo, buscamos mapear exposições que tiveram como duplo propósito a subversão do sentido expositivo convencional e a interação com o público, amplo ou específico. O percurso pontuado vai dos anos 60 – quando as mostras surtiam impacto crítico, polemizando com os agentes culturais e econômicos – aos anos 2000 – quando o próprio artista constata que o sistema de circulação da arte já havia assimilado suas provocações e, o que Leirner considera mais grave, domesticado obras antes participativas e questionadoras.https://artciencia.com/article/view/12187 |
| spellingShingle | Emerson Dionisio Gomes de Oliveira Por que Museu? Artciencia.com |
| title | Por que Museu? |
| title_full | Por que Museu? |
| title_fullStr | Por que Museu? |
| title_full_unstemmed | Por que Museu? |
| title_short | Por que Museu? |
| title_sort | por que museu |
| url | https://artciencia.com/article/view/12187 |
| work_keys_str_mv | AT emersondionisiogomesdeoliveira porquemuseu |