- What is the work of the artist when it is intangible?
- Would it be possible to make use of daily circumstances as an extension of artistic operations? How can we relate and combine external activities to the production of works (of art)?
- I wonder how we (as artists) can operate without reducing our practice to simply making products? How can we make art move through the institutional circuit of the art world, without becoming isolated? How do we communicate with non-artists?
- From the Western European perspective, we can see a significant change in the new generation. From the beginning of the 90’s, the artist leaves the position of ‘transcendental’ subject and takes the role of an operator of signs, modeling production and structures in order to provide significant meanings. This recent position is much closer to the entrepreneur, the politician and the director. This current tendency was named by Nicolas Bourriaud as:
- The social-political context from the 60’s and 70’s when Brazil was under military dictatorship - imposed by the logic of hegemony - was a relevant factor for Brazilian contemporary art production. The process of restoring civil rights in combination with the subjectivity present in Brazilian daily life, stimulated artists, and gave them the opportunity to position themselves as ‘micro-political agents’, operating within an environment of imposed social preconditioning. This important factor has contributed to: