Name: LUCIANO BARRETO RAMOS
Publication date: 26/09/2014
Examining board:
Name |
Role |
|---|---|
| APARECIDO JOSE CIRILO | Internal Examiner * |
Summary: This research aims to analyze the series of drawings entitled O Negro, made by Brazil based Argentine artist Luis Trimano, by reflecting on the concepts of testimony and appropriation in the field of Art. It seeks to understand the testimony, and how this notion, when asserted in an ethical-political perspective, may mean a twist of the significances that objectify the enslaved black within an official history of slavery (or "principle of measurement" in Antonio Negri), deconstructing, in this context, all that was needed to legitimize their stay. The dissertation seeks to establish connections between Art and testimony through the device O Negro, while confirming the inseparability towards the political, considering it may enable the access of the experience of slavery in the present, ensuring that the work in this sense helps leverage such affection. For this endeavor, authors such as Márcio Seligmann-Silva, Antonio Negri and Rosalyn Deutsche, contribute in the theoretical articulation of such concepts. In this same direction, through the inputs of Guy Debord, Douglas Crimp and Benjamin Buchloh, the work also intends to highlight possible strategies of appropriation adopted by the artist, as he takes possession of late nineteenth century photographs of urban slaves, taken in Rio de Janeiro by Portuguese photographer Christiano Junior. The notions of fragmentation and amendment that the work presents, a result of the rejection of the idea of an idealized form of the world, help in the discussions about appropriation, considering that the images of slaves, animals and everyday objects appropriated by Trimano are incorporated into the work deprived of their primary functions and meanings and under a highly political deviation, establishing new connections and meanings.
