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During the s, he lived in Paris, where he earned a PhD in information technology. Between and , he held a guest professorship at St. He has published widely on art, culture, and technology. Melanie Vietmeier interviewed him for What are your expectations regarding your curatorial residency? My stay of several weeks in the magnificent Schmela Haus, a chance to visit current exhibitions at the K20 and the K21 and to exchange ideas with curators, and to attend solo shows in galleries and other museums, is an opportunity for me to find out why modern and contemporary art was so important here, and how the city's public institutions succeeded in making artistic life a part of everyday reality.
What were your lasting impressions of this event? It goes beyond questions of form. With regard to a distancing from classical modes of depiction, to be modern also means in some sense to comprehend the "primitive. In this work, this Indian modernist artist emphasizes that she is the "Other of the Other. For me, the perspectives are reversed here: to identify with the "Other" is not just a problem that preoccupies artists from the periphery, but Europeans as well.
When we consider this aspect, an expanded modernism becomes more complex, richer. How would you characterize the situation for art in Brazil? Since the turn of the 21st century, the Brazilian art system has changed and improved as a consequence of external and internal factors.
Globalization has made it easy easier for Brazilian artists and artworks to be shown abroad; technological developments and the digital age have opened up new options for the promotion of Brazilian art and the circulation of information and knowledge.
At the same time, there have been government initiatives designed to integrate large segments of the impoverished segment of the population into the economic, political, and social system, as well as to develop strategies designed to make culture more accessible, and to create incentives for creative production. The current political and economic crisis seems to be weakening this trend — but in my view, the future is not as gloomy as the one painted by the Brazilian media.
Back in January, in the framework of the Futur 3 program at the Schmela Haus, Garcia dos Santos presented the multimedia opera Amazonas — Music Theatre in Three Parts, produced as a cultural experiment with his involvement. This collaboration between European and Brazilian researchers, as well as inhabitants of the Yanomami village in Amazona not only thematized the consequences of the destruction of the rainforest, but also addressed issues such as the relationship between the conceptual world of indigenous magic and a Western scientific orientation.
Screened on February 18, will be his experimental film Xapiri on Yanomami shamanism. Videos of the lectures from the Futur 3 program can be viewed here. Melanie Vietmeier is an art historian who works for the Kunstsammlung Nordrhein-Westfalen in the framework of the program museum global?
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