Contracultura brasileira após 1968 em conferência internacional na Alemanha
em 18/05/2018

Mesmo após 50 anos, os eventos de maio de 1968 em Paris continuam sendo referência nos debates políticos e culturais no mundo ocidental. Enquanto os olhos se voltam à metrópole européia neste cinquentenário, a conferência internacional The Other 68: Antropophagic Revolutions in Brazilian Counterculture After 1968 (O Outro 68: Revoluções Antropofágicas na Contracultura Brasileira depois de 1968) se debruça sobre uma revolução diferente, ou um conjunto de revoluções: a revolução da Tropicália e outras revoluções antropofágicas na arte, literatura e cinema no Brasil em 1968 e na década de 1970. O evento acontece entre 23 e 25 de maio, com entrada gratuita, em Frankfurt, na Alemanha.

 

The Other 68: Antropophagic Revolutions in Brazilian Counterculture After 1968

23 a 25 de maio de 2018

Museu Angewandte Kunst, Foyer, Schaumainkai 17, Frankfurt am Main

Conferência em Inglês. Entrada gratuita.

 

Programa da conferência (em inglês):

 

Wednesday, May 23

Museum Angewandte Kunst, Foyer, Schaumainkai 17

3:30 p.m.: Conference Opening Vinzenz Hediger (Frankfurt), Paula Macedo Weiss (Frankfurt)

4:00-5:30 p.m.: Opening Keynote

Victoria Langland (Ann Arbor)

 

Body Politics in 1968 Brazil: Student Militancy, Gender and Embodied Struggles for Social Transformation

This talk addresses the centrality of the gendered body for the student protests of 1968 in Brazil. From the martyred figure of young male militants, to the much more ambivalent representations of female activists’ sexualized bodies, it asks how the discursive and material bodies of student activists became key sites for social transformation. By looking at how students made bodies central to both their protest tactics and their political demands, it allows us to consider the importance of the body as a site of public protest during 1968 and into the post-68 period.

 

Victoria Langland is Associate Professor of History and Romance Literature and Director oft the Center for Latin American and Caribbean Studies at the University of Michigan in Ann Arbor. She is the author of Speaking of Flowers: Student Movements and the Making and Remembering of 1968 in Military Brazil (2013)

 

Followed by two screenings at the Kino des Deutschen Filmmuseums (Schaumainkai 41):

 

An Evening with … Helena Ignez

Helena Ignez is the star of both Cinema Novo and Cinema Marginal, the Brazilian new wave and underground cinemas of the 1960s and 1970s. In addition to her work as an actress, she is herself an accomplished filmmaker. This evening celebrates her work with a recent fiction film and one of her most famous starring roles in a film directed by her husband Rogério Sganzerla.

 

6 p.m., Kino im Deutschen Filmmuseum, Schaumainkai 41

A Moça do Calendário (My calendar girl), R: Helena Ignez, BRA 2017, 86 min.

In the presence of Helena Ignez

 

8:15 p.m., Kino im Deutschen Filmmuseum, Schaumainkai 41

Copacabana Mon Amour, R: Rogério Sganzerla, BRA 1970, 85 min.

In the presence of Helena Ignez

 

Thursday, May 24

Museum Angewandte Kunst, Foyer, Schaumainkai 17

Panel 1: Writing the Revolution

Chair: Daniel Fairfax (Frankfurt)

 

10 Uhr / 10 a.m.

Peter W. Schulze (Köln)

“Brasíliocartésiomaquias“: Colonial History and Post-‘68 Counter Culture in Paulo Leminski‘s Novel Catatau

Catatau, an experimental novel published in 1975 by Paulo Leminski, one of the protagonists of concrete poetry in the 1960s, reprises Oswald de Andrade‘s antropofagia in the spirit of Tropicalist counter culture. It shows a fictionalized René Descartes waiting in the botanical garden of Dutch Brazil (1630-1654) for the Vice-Governor of the colony, who staggers by in drunken stupor at the end of the novel. The novel interlaces the colonial history of Brazil with that of the capital city of Brasília, inaugurated in 1960 and turned into the seat of the military regime four years later. Through a reading of the novel’s kaleidoscopic regime of time, this paper highlights Leminiski’s ironic inversion of Cartesianism as a kind of “colonialist rationalism” (Glauber Rocha).

Peter W. Schulze is professor of Latin American Studies and Director of the Portuguese-Brazilian Institute of the Universität zu Köln. His books include Strategien kultureller Kannibalisierung. Postkoloniale Diskurse vom brasilianischen Modernismo zum Cinema Novo (2015)

 

11 a.m.

Oliver Precht (München/Berlin)

Chickening out. On the Revolution of Clarice Lispector

„Onward we march“, proclaims Oswald de Andrade: from the French to the Bolchevik to the anthropophagic revolution, and on to 1968. Every revolution that is truly revolutionary must appropriate, sublate and trascend every preceding revolution and strive towards a higher goal. Every new revolution must tell an even greater story than the last, and trace its origins even further back. But it is hard to decide which came first: The revolution, or its origins, the chicken or the egg. This paper attempts to trace a muted, but solidary critique of revolutionary heroism and the totalitarian philosophy of history that is often its corollary, through the works of one of the most important Brazilian authors of the 20th century, Clarice Lispector.

Oliver Precht is a philosopher and writer based in Berlin. He teaches philosophy at the LMU Munich. His recent translations include Oswald de Andrade’s Manifeste (2016) and Eduardo Viveiros de Castro’s Die Unbeständigkeit der wilden Seele (2017)

Panel 2: Revolutionizing Art

Chair: Laura Teixeira (Frankfurt)

1:30 p.m.

Moacir dos Anjos (Pernambuco)

An underdeveloped art

Culture and politics in Brazil during the 1960s were informed by the concept of underdevelopment. From the work of economist Celso Furtado about Latin America to the works by Hélio Oiticica, Glauber Rocha, Caetano Veloso and others, underdevelopment was considered both a condition for those who lived in Brazil (“of adversity we live”, said Oiticica) and something to surpass. Underdevelopment was a concept that guided the “experimental art” made in Brazil and Cinema Novo, and it was at the core of the only written manifesto of Tropicalismo, published in 1968 by poet and filmmaker Jomard Muniz de Brito. This paper will address the Brazilian artistic production of the period as one that reflected, both thematically and formally, the paradoxical environment in which it was produced: an underdeveloped art.

Moacir dos Anjos is senior researcher and curator at Fundação Joaquim Nabuco in Recife. He has curated the Brazilian Pavilion at 54th Venice Biennale (2011) and the 29th Bienal de São Paulo (2010). His books include Local/Global: arte em trânsito (2005), ArteBra Crítica (2010), Política da Arte (2014) and Contraditório (2017).

 

2:30 p.m.

Lena Bader (Paris)

„Interventions in Ideological Circulations“: The Rebellion of the Well-Versed Images

This paper revisits the origins of the anthropofagia movement in the 1920s in order to discuss its resurgence and popularity in Brazilian protest culture in the 1960s, and in particular in the Tropicália movement. The focus will be on individual artist, whose work emerged as pivotal moments of a transcultural modernity. With what we might call their pictorial migrations, they offer an important corrective for universalist approaches to a “Global Art History”. From an art history point of view, these works are significant because they highlight the politics of artistic engagement. The protest that they articulate anticipates figures and models of thought that become explicit in later, post-colonial debates and address basic questions of cultural identity.

Lena Bader is an art historian and head of research at Deutsches Forum für Kunstgeschichte in Paris, where she directs a focus on „Travelling Art Histories“. Her current research focuses on image migrations between South America and Europe.

 

4 p.m.

Max Jorge Hinderer Cruz (Rio de Janeiro)

New Alliances, New Sex, New Cocaine: Exile and the Relations of Production in Hélio Oiticica’s Life and Work in New York 1971-75

Many protagonists of Brazil’s post-68 counterculture were living in exile. It is fair to say that some of the most emblematic of Brazil’s counter cultural music, film and art works have been produced abroad. For visual artist Hélio Oiticica (1937-80) – a key figure of the Tropicália and counter cultural movement – life in exile, first in England and later in the USA, led to profound changes in the way he conceived both his life and work. Yet, art history and history largely fail to account for the impact of these radical shifts on Oiticica’s work. This paper aims to de-center the standard accounts of Brazil’s counterculture of the 1970s.

Max Jorge Hinderer Cruz is an author, art critic, theorist and curator living in Rio de Janeiro.

 

Friday, May 25

Museum Angewandte Kunst, Foyer, Schaumainkai 17

Panel 3: Anthropophagic Sounds

Chair: Rembert Hüser (Frankfurt)

 

10 a.m.

Christopher Dunn (New Orleans)

Tom Zé, or, Side B of Tropicália

This presentation will focus on experimental pop artist Tom Zé, a key figure in the tropicalist movement of 1968 together with Caetano Veloso, Gilberto Gil, and Gal Costa, who all came from the northeastern state of Bahia. Although he enjoyed some early commercial success, Tom Zé pursued experimental/avant-garde musical practices (ie. the use of unusual time signatures, discordant harmonies and melodies, tape loops, street recordings, aleatory sounds, and invented instruments), constituting an alternative tradition within Tropicália, which may be understood as kind of “side B” to the more commercial “side A” on a vinyl record.

Christopher Dunn is Professor of Portuguese and Brazilian Studies at Tulane University in New Orleans. He is the author of Brutality Garden: Tropicália and the Emergence of a Brazilian Counterculture (2001) and Contracultura: Alternative Arts and Social Transformation in Authoritarian Brazil (2016).

 

11 a.m.

Detlef Diedrichsen (Berlin)

Short Summer of Distortion

On first look it might seem as though the Brazilian popular music of the rebellious year of 1968 was in perfect sync with the creations of the colleagues from the northern part of the continent and overseas. The recordings of Gilberto Gil, Caetano Veloso and Mutantes were bubbling with psychedelic guitar insanities, sound effect overkill and exalted vocals. On a closer look we find that the distorted guitars of the Tropicalists were significantly different from the majority of the contmeporary psychedelic guitar players. This paper explores that difference.

Detlef Diedrichsen is a musician, scholar, music critic and journalist He is the head of music and performing arts at the Haus der Kulturen der Welt in Berlin, where he has curated festivals like „Worldtronics“ and „Wassermusik“.

Panel 4: Revolutionary and Other Screens

Chair: Vinzenz Hediger (Frankfurt)

 

1:30 p.m.

Daniel Fairfax (Frankfurt)

Cancer : Glauber Rocha in 1968

The most globally renowned of the Cinema Novo filmmakers following the international success of Deus e o diabo na terra do sul (1964) and Terra em transe (1967), Glauber Rocha was also the Brazilian director whose practice was most fundamentally transformed by the worldwide political earthquake of 1968. The spirit in which Rocha experienced the seismic events of 1968 is best embodied in a work that even today remains one of his least known (and least viewed) films: Cancer. This paper will seek to place Cancer in the context of Brazilian politics and culture in the 1960s, as well as integrating this critically neglected film into Rocha’s broader corpus of cinematic works and critical/theoretical writings.

Daniel Fairfax is an assistant professor in film studies at Goethe-Universität Frankfurt. His study of the transformation of Cahiers du cinema and film theory in the wake of 1968 will be published in 2019.

 

2:30 p.m. Closing Keynote

Robert Stam (New York)

Anthropophagy, the Carib Revolution, and Popular Culture: the Transnational Gaze on the Radical “Indian”

This lecture/video presentation will focus on the circulation around the “Red Atlantic” of the image of the misnamed “Indian” as “exemplar of freedom,” both in popular media culture (film, music, the internet) and in social thought. It will highlight interconnections between radically indigenizing social discourses in the U.S., France, and Brazil, especially emphasizing the 500 year Franco-Brazilian-indigenous dialogue which traces back to the 16th century French colony in Brazil. The focus will be on moments, in social philosophy and in popular culture, where indigenous critique and western awareness of the egalitarian communal freedom of some native societies catalyzed expanded notions of freedom and equality and the radical interrogation of social norms.

Robert Stam is University Professor at New York University and author of some seventeen books on film, the media, and cultural studies, including Tropical Multiculturalism: A Comparative History of Race in Brazilian Cinema and Culture (1997)

 

4 p.m.

Round table discussion

Permanent Revolutions

Moderator: Marc Siegel

17 Uhr: Conference end

 

Leia mais sobre The Other 68: Antropophagic Revolutions in Brazilian Counterculture After 1968.

 

Tags:

Deixe um comentário

*Campos obrigatórios. Seu e-mail nunca será publicado ou compartilhado.

This site uses Akismet to reduce spam. Learn how your comment data is processed.