Ana

Maria
Maia

Arte-veculo
VEHICLE-ART
Interventions in Intervenes
the Brazilian na mdia de massa
mass media brasileira
3ns3
Adbusters Media Foundation
A revoluo no ser televisionada
Analvia Cordeiro
Antonio Manuel
Amilcar de Castro
Caetano Veloso
Centro de Mdia Independente e Videohackers
Cildo Meireles
Contrafil
Daniel Santiago
Di
Ducha
Eder Santos
Eduardo Coutinho
Eduardo Kac
Fernando Barbosa Lima
Flvio de Carvalho
Frederico Morais
Frente 3 de f evereiro
Geraldo Anhaia de Mello
Glauber Rocha
Jac Leirner
Jaguar
Jomard Muniz de Britto
Lenora de Barros
Luiz Paulo Baravelli
Marcello Nitsche
Mrcia X
Mrio Ramiro
MICO
Nelson Leirner
Olhar Eletrnico
Paulo Bruscky
Reynaldo Jardim
Ricardo Basbaum
Rubens Gerchman
Sandra Kogut
Tadeu Jungle
TVDO
TV Viva
Yuri Firmeza
Waltercio Caldas

1 Edio
Recife
2015
Editora Aplicao
M217 Maia, Ana Maria, 1984-
Arte-veculo: Intervenes na midia de massa brasileira -
Vehicle-art: Interventions in the Brazilian mass media / Ana Maria Maia.
- Recife: Editora Aplicao, 2015.
336p. : il.

Texto em portugus e ingls.

ISBN 978-85-66593-05-1

1. Artes. 2. Arte Contempornea.

I. Ttulo. II. Ttulo: Vehicle-art

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O PROJETO Arte-veculo: intervenes na mdia de massa brasileira FOI CONTEMPLADO

PELO MINISTRIO DA CULTURA E PELA FUNDAO NACIONAL DE ARTES FUNARTE NO EDITAL BOL-
SA FUNARTE DE ESTMULO PRODUO EM ARTES VISUAIS.

DISTRIBUIO GRATUITA VENDA PROIBIDA

i n t r odu o introduction
Experimentar tambm em Experiment also at
outros horrios other times 225

l ug a r por f a z e r a place to be made

195576 195673
The newsroom as an experi-
Redao como laboratrio mental laboratory:
experimental: a inveno the invention of a place and
de um lugar e trs noes three notions of project 228
Flvio de Carvalho and
de projeto the emotional impact on the
Brazilian nation 230
Flvio de Carvalho e o impacto emocional I can only edit by drawing:
na nao brasileira the redesign of the Jornal do
S sei editar desenhando: a reforma Brasil 235
Analvia Cordeiro and inter-
action between artist
Analvia Cordeiro e a interao artista performer spectator 240
intrprete espectador

a d i s pu t a do l ug a r the pursuit of the place

196882 196882
Medidas de negatividade, Negation, insertion and disap-
pearance measures 245
insero e desapario The virus of negation 247
Today, art is this
O vrus da negatividade announcement 253
Hoje, a arte este comunicado What is the place of
Qual o lugar da arte? art? 257

197185 197185
Pela redemocratizao, um In the name of redemocratiza-
tion, another place:
outro lugar: desaparecer to vanish from the coverage of
da cobertura de cultura e arts and culture and re-emerge
as a social fact 261
reaparecer como fato social It is neither journalism nor
cinema, it is life 263
No jornalismo nem cinema, a vida Once on the outside
Daqui pra fora tudo se expande everything expands
itself 273
vo z e s e t t i c a s voices and tactics
198396 198396
Aesthetics of inversion:
Estticas de inverso: either you are with
ou est com todos everyone else or you are
ou est por fora the odd one out 280
Independent even from
Independentes mesmo dentro within 282
The fly in the ointment of
A mosca na sopa da sociedade de consumerist society 293
consumo The populace speaks on
O povo fala na parablica e na satellite dishes and in the
comunidade community 300

200208
2 0 0 2 1 0 Tactics to be the media 303
Tticas para ser a mdia Semiotic arrastes
[dragnets] 310
Arrastes semiticos Neither truth nor lie,
Nem verdade nem mentira, a inveno invention 317

final considerations
cons i d e r a c e s f i n a i s
Annotations for going
Anotaes para continuar, forward, before speaking
antes de falar de algoritmos of algorithms 323

Bibliography
Levantamento Arte-veculo: Intervenes (in Portuguese) 326
Vehicle-art mapping:
miditicas pesquisadas at o fechamento Research into mediatic
desse livro, em novembro de 2015 interventions carried out until
the closing of this book, in
November 2015
(in Portuguese) 329
 5

i n t r odu o

experimentar
tambm em
outros horrios
-

-
sentar-se das 11h s 13h30 e das 18h30 s 20h no local do casting, o

-
los limites de fora da obra e dos seus lugares tradicionais de exibio,

Experincias desde
1931, a mdia de massa era um espao no qual costumava estar presen-
-

O partido de Flvio de Carvalho sobre uma implicao discursiva

e miditica para a arte, muito alm dos aparatos institucionais que a
especializam e protegem, me motivou a continuar observando casos de

exerccio de investigao curatorial iniciado por volta de 2013, de manei-

ra ainda no sistemtica, localizei outros exemplos que me permitiram

aos momentos em que eram abordados pela crtica de arte ou pelo jor-
nalismo cultural, nem tampouco a quando fundavam canais alternati-

princpio o gesto proativo e intempestivo dos artistas nas estruturas da

6

As hipteses de pesquisa foram se evidenciando a partir do confronto

Carvalho, no Dirio de S.Paulo Jornal do Brasil, pela

-
Inseres em Jornais de Cildo

de Glauber Rocha no Programa Abertura, to inspirador para produto-

de Geraldo Anhaia de Mello, na rdio e na TV, aos semanrios de Lenora

fakes, de Yuri Firmeza, como artista
invasor, invaso real de coletivos como 3ns3, A Revoluo No ser

Com a Bolsa de Estmulo s Artes Visuais, que me foi concedida pela

sobre o assunto, que, embora longe de haver se esgotado, ganhou neste

intenso, pude fazer algumas viagens, entrevistar artistas e personagens

fundamentais para essa histria e consultar os acervos da arte e da
imprensa onde se encontram os documentos originais, muitas vezes dis-

Ao longo desse processo, no tive interesse nem condio de realizar

um mapeamento completo do assunto, mas, sim, sugerir derivas pos-
sveis entre os dois marcos que circunscrevem o paradigma da mdia

inaugurou o sinal de televiso tendo em vista atingir uma populao

crescente e modernizar seus hbitos de vida e consumo, assim como

incio dos anos 2000, que deu acesso a uma discusso internacional
sobre mdia ttica e, dentro de poucos anos, provocou um rearranjo

O intervalo de cinquenta anos acarretou mudanas contundentes

-
 7

aos contextos em que ocorreram, reexaminando, para tanto, tais ca-

tegorias, fez com que a organizao dos captulos desse livro se desse

atribudos a partir do advento de criao das obras, que, apesar de di-

ferentes e nem sempre relacionadas, muitas vezes parecem responder a

O primeiro ensaio parte de usos das redaes como laboratrios

-
-

ensaios abarcam de 1983 a 2008, quando, seja como convidados ou in-

tornaram acessveis os meios de produo, mobilizaram vozes e tticas

intervenes miditicas tm em comum a motivao ambivalente de, em

-
ta maneira, uma noo propositivamente problemtica, ou problema-

internacional de artistas conceituais que dedicavam suas atividades a

que os artistas deveriam abrir bem a boca1 para ampliar seus espaos

Com a metfora de um gesto biolgico que simultaneamente am-

2

seja, ao mesmo tempo que apontava a vocao comunicativa da arte (a

-
tros veculos, ou circuitos, como os fruns polticos e a grande impren-
sa, tensionando, de dentro, suas lgicas de funcionamento, agendas e

A busca de um meio termo entre a autonomia poltica e epistemol-

gica da arte e sua existncia social, em veculos irrestritos e massivos,
foi tomada como paradigma desta pesquisa, que, por isso, pegou em-

que se encontram, um para designar uma prtica e outro um lugar e/

ou circuito, apontam uma estrutura necessariamente engendrada para
a arte, que a torna motivadora de correspondncias e deslocamentos, e

1 DAVOSSA, Antonio; FARKAS,

Solange de Oliveira. Joseph Beuys:
a revoluo somos ns. Catlogo
da exposio realizada no SESC
Pompia entre setembro e novem-
bro de 2010. So Paulo: Edies
SESC SP, 2010, p. 13.
2 Cf. Ibid., p. 16.
8

-
misso empregadas na comunicao de massa suscitam os experimen-
tos artsticos, tornando possvel um vis de leitura das intervenes
-
nhar como um outro critrio de anlise o potencial que a imprensa ar-
regimenta, tanto tcnica quanto poltica, econmica e sociologicamente,

-
-

original, quanto na sua possibilidade de suscitar a direo contrria3

Arte-veculo ocupou-se de analisar um conjunto de aes ocorridas

nesse processo, assumindo, para tanto, um compromisso tico perante

status quo sem furtarem-se em re-

4
5, ou seja, outros usos, conotaes e audincias para os

6, que

Giseli Vasconcelos descreveu j em 2006, fazendo ressoarem ao longo

das dcadas os termos de uma relao que se d entre a mdia de massa

Esta pesquisa no haveria se concretizado sem a colaborao ines-

foram fundamentais o auxlio dos arquivos e centros de documenta-

o consultados, bem como da Trienal de Sorocaba e do Porto Iracema
-

e instituies, Funarte, equipe de Arte-veculo, aos colaboradores,

interlocutores e incentivadores que encontrei e sigo encontrando nessa

3 MACHADO, Arlindo. Arte e 5 WARNER, Michael. Pbli-

mdia. Rio de Janeiro: Jorge
Zahar Editor, 2007, p. 17.
4 SHEIKH, Simon. Representa-
tion, Contestation and Power:
The Artist as Public Intellectual.
Republicanart, Outubro 2004.
Disponvel em: <http://goo.gl/
mSCDm7>. Acesso em
05/09/2015.
cos y contrapblicos. Barcelo-
na: MACBA e Universidad
Autonoma de Barcelona, 2008.
6 ROSAS, Ricardo; VAS-
CONCELOS, Giseli (Org.).
Net 1.0: digitofagia. So Paulo:
Radical Livros, 2006.
11
P. 9 Flvio de Carvalho, Experincia N4
(casting Deusas Brancas), 1958
Foto: Edouard Fraipont
P. 1011 Flvio de Carvalho, Casa,
homem, paisagem, 1955-1956
Dirio de S.Paulo
Foto: Jos de Holanda
P.12 Flvio de Carvalho,
Experincia N3, 1957 |TVTupi
P. 13-14 Flvio de Carvalho, Casa,
homem, paisagem, 1955-1956
Dirio de S.Paulo
Foto: Jos de Holanda
P. 15 Flvio de Carvalho,
Experincia N3, 1956
P. 16-17 Flvio de Carvalho, Casa,
homem, paisagem A moda e o novo
homem, 1956-7
Dirio de S.Paulo
Foto: Jos de Holanda

13
A l gum a f o l h a i n t e i r a
com a co l un a d e
F l v i o d e C a r v a l ho ?
15
17
19
P. 189 Amilcar de Castro, Ferreira
Gullar, Odylo Costa Filho, Jnio de
Freiras e colaboradores, Reforma grfica
e editorial do Jornal do Brasil, 1957-1961
P. 20 Jornal do Brasil antes da reforma
P. 2123 Reynaldo Jardim e
colaboradores, Suplemento Dominical
do Jornal do Brasil, 1956-1960

21
23
P. 2426 Analvia Cordeiro, 0=45 P. 27 Analvia Cordeiro, M3x3, 1973 P. 29Analvia Cordeiro, Gestos, 1975
(notao), 1974-1998 TV Cultura TV Cultura
P. 2526 Analvia Cordeiro, O coregrafo P. 28 Analvia Cordeiro, Cambiantes,
programador, 1976 1976 |TV Cultura

25
27
29
P. 30 Cildo Meireles,
Inseres em jornais
Clareira, 1970
Jornal do Brasil
Foto: Pat Kilgore
P. 31 Frederico Morais,
Agnus Dei Nova Crtica,
1970
Cildo Meireles, Inseres
em circuitos ideolgicos
Projeto Coca-cola, 1970
Foto: Pat Kilgore
P. 3233 Cildo Meireles,
Inseres em jornais, 1970
Jornal do Brasil
Foto: Pat Kilgore

31
33
P. 34 Daniel Santiago, Eu como
poesia, 1977
Dirio de Pernambuco
P. 35 Daniel Santiago, Interessa a
algum, 1974
Dirio de Pernambuco

35
37
P. 3637 Equipe Bruscky & Santiago,
Esqueam a Copa, 1990
Dirio de Pernambuco
P. 38 Equipe Bruscky & Santiago,
Composio Aurorial, 1976
Jornal do Brasil

P. 39 Paulo Bruscky, Rudos adventcios

da ausculta pulmonar (gabarito), 1987
Jornal do Commercio
P. 4041 Paulo Bruscky, Mquina de
filmar sonhos (projeto, classificado e
carta-resposta), 1977

39
41
43
45
47
P. 4243 Antonio Manuel, Flans - Poema
Classificado, 1975
O Dia
P. 4447 Antonio Manuel, Clandestina,
1973
O Dia
P. 48 Antonio Manuel em cena do filme
Annimo e incomum (1990), de Rogrio
Sganzerla
P. 49 Antonio Manuel, Exposio de
Antonio Manuel: das 0:00 s 24 horas,
1973
O Jornal
P. 50 Antonio Manuel, Fantasma, 1994

P. 51 Eduardo Coutinho, Globo

Reprter: Sete dias em Ouricuri, 1967
TV Globo

49
51
P. 5253
Fernando Barbosa Lima,
Abertura, 19791980
TVTupi

53
P. 5455 Glauber Rocha,
Quadro de entrevistas no
Abertura, 1979
TVTupi
55
57
59
61
P. 56 Rubens Gerchman, Os artistas
pelas diretas: Juntos pelas diretas, 1984
Folha de S.Paulo
P. 57 Marcello Nitsche, Os artistas pelas
diretas: Vamos colorir o Brasil, 1984
Folha de S.Paulo

P. 5859 Luiz Paulo Baravelli, Carta a

um jovem artista, 1985
Folha de S.Paulo
P. 6061 Luiz Paulo Baravelli, Sim (arf
arf), quero sim!, 1985
Folha de S.Paulo

P. 6263 Domingos da criao: Domingo,

terra-a-terra, 1971
63
65
67
P. 6465 3ns3,
Ensacamento, 1979
Folha da Tarde,
ltima Hora e Dirio
da Noite
P. 6467 3ns3,
X-Galeria, 1979
Jornal da Tarde e
Folha de S.Paulo
P. 6667 3ns3,
Arco 10, 1981
Folha de S.Paulo e
TV Globo
P. 68 3ns3,
A categoria
bsica da
comunicao,
1979
Folha de S.Paulo

P. 69 Mrio Ramiro, Clones

uma rede simultnea de rdio, televiso e
videotexto, 1983 |TV Cultura
P. 70 Eduardo Kac e Mrio Ramiro,
Retrato suposto, rosto roto, 1988
TV Cultura
69
71
P. 7172 TVDO e Nelson Motta, Mocidade Independente, 1981
TV Bandeirantes
P. 73 TVDO, Avesso, 1984
TV Cultura (piloto)
P. 74 TVDO, A fbrica do som, 19831984
TV Cultura
73
P. 7576 Olhar Eletrnico e Goulart de Andrade, Invente um nome para o
programa (Antenas), 1983
P. 7778 Olhar Eletrnico, O mundo no ar, 1986-1987
TV Manchete
P. 79 Fernando Meirelles e Marcelo Machado,TV Mix, 1987-1989
TV Gazeta
75
77
79
P. 8081 Geraldo Anhaia de Mello, Reprter-abelha TV Mix,
1987-1989 |TV Gazeta
Geraldo Anhaia de Mello, Sem Ttulo, 1994
Jornal da Tarde
Geraldo Anhaia de Mello, A situao, 1978
81
83
P. 8283 Lenora de Barros, ...umas, 1993-
1996
Jornal da Tarde

P. 84 Waltrcio Caldas, Arte em jornal:

Isto como sombra / aquilo como aqui,
1989
Jornal da Tarde

P. 8587
Jac Leirner, Arte em jornal: Furos, 1989
Jornal da Tarde
85
87
P. 8889 Mrcia X,
TV Studios, 1987

89
P. 90 Sandra Kogut, Parabolic People, 1991
MTV
P. 91 Sandra Kogut (Ncleo Guel Arraes),
Brasil Legal, 19941998
91
P. 9293 TV Viva, Bom dia Do, 1984-1993

93
P. 9495 A revoluo no ser
televisionada, 2002
TV Usp
P. 96 A revoluo no ser
televisionada, Famosos em passeio, 2003
Festival MdiaTtica Brasil

95
P. 97 Centro de Mdia Independente e
Videokackers, O barraco do Britto Junior,
2003

P. 98 Frente 3 de Fevereiro,
Brasil Negro Salve, 2005
TV Globo e SporTV
P. 90 Frente 3 de Fevereiro,
Zumbi somos ns, 2005
TV Record

97
99
P. 100101 Contrafil, Monumento
Catraca Invisvel (interveno urbana,
cobertura jornalstica e de opinio,
publicidade), 2004
101
P. 102 PCC naTV Globo, 2006
P. 103 MICO, No Estamos em
Rebelio, 2007
Folha de S.Paulo

103
P. 104107 Yuri Firmeza, Artista
invasor, 2006
P. 108109 Yuri Firmeza, Ecdise,
2008
Dirio de Minas

105
107
109
O lente, Quem so os artistas? O
lente currite que so os artistas? Onde
noctis equi. esto os artistas? O que fazem
os artistas? A que servem os
artistas? Onde so os artistas?
Programadores do Google.
Especuladores no mercado
financeiro. Designers da
Apple. Participantes da
Documenta de Kassel. Burocratas
empreendedores. Danarinos de
grupos de ax. Pesquisadores
em biotecnologia. Autores de
patentes. Donos do Facebook.
Cineastas de cmera-de-celular.
Pode no ser bvio, mas
o papel que se atribui ao
artista h muito tempo se
infiltra em todos os outros
papeis sociais e, sobretudo, no
desejo de incluso palavra
de ordem que pauta parte da
sociedade. Ademais, quem no
quer ascender ao status de
artista, esta persona estranha
e estrategicamente ainda
romantizada? O artista ,
cada vez mais, uma espcie de
prottipo do trabalhador ideal
seja qual for o seu trabalho.
P. 110111 Pois, ser artista, alm de
Yuri Firmeza, Ecdise, explorar-se a si prprio,
2012 agregar valor quilo que se
Jornal do Commercio faz independente do que se
faa. O imperativo torna-se
incontornvel. Todos somos
artistas, todos devemos ser
artistas.
E como poderia deixar de voltar-se crescentemente para
ser? Para comear, o artista, um esteretipo exagerado do
antes de todos, gosta do que indivduo ensimesmado. Mas
faz. E, tal como se entende o nada to simples: o artista
que ele faz, quem no gostaria? tambm aquele sujeito que
Ficar por a, pensando na vida; cria sua prpria legitimidade
criando a partir de suas seu direito existncia ,
inspiraes, cuidando das suas que, na sua individualidade,
prprias preocupaes e dos preocupa-se com todos. Tudo
interesses mais particulares, e se passa como se a arte
no seu prprio ritmo. encontrasse, ainda hoje, o
No s os prerequisitos motivo da sua existncia em si
das profisses deste sculo mesma. lugar-comum dizer que
se assemelham a como deveria os artistas tornam a vida mais
ser o artista (criativo, por vivvel; no apenas as suas,
exemplo), como, talvez mais mas as de todos.
evidente ainda, a forma mesmo Nada mesmo to simples: se
do seu trabalho: o artista est j houve qualquer radicalidade
sempre pensando, criando, potencial nas atividades
informado; em uma palavra: marginais do artista, onde
est sempre trabalhando. seria possvel encontr-la
E, trabalhador precrio por ou manifest-la? Se o artista
excelncia, o artista tampouco vai se tornando assim esse
tem muitos direitos. Lies estranho personagem hegemnico,
bsicas do que se convencionou que fazer? Como desviar, sem
chamar de capitalismo imaterial ingenuidade nem nostalgia, da
e que assola o nosso modo de governamentalizao sem-fim que
existir. O funcionrio se os nos produz? Non serviam?
torna um f; o trabalhador vira
scio; o empregado cmplice; Yuri Firmeza e Roberto Winter
o consumidor, produtor.
Pelo menos se concebermos
o artista assim; e no deixa
de ser raro faz-lo. Se o
hedonismo o motor de uma
sociedade que no conhece mais
nenhum objetivo compartilhado,
nada mais apropriado que
111
112

l ug a r por
f azer

195576
redao como
laboratrio
experimental :

a inveno de
um lugar e
trs noes de
projeto
Este ensaio aborda trs casos singulares e no necessariamente
encadeados no tempo. Suas ocorrncias isoladas irrompem o cenrio
cultural com prticas radicalmente originais, frustrando, desta forma,
leituras baseadas na coeso de um contexto histrico. Esses casos tm
em comum seu pioneirismo, o fato de haverem fundado, antes mesmo
de prticas de interveno miditica, o prprio ambiente da impren-
sa brasileira como abrigo e laboratrio de trabalho para os artistas. As
redaes os atraram em diferentes momentos dessa cronologia, seja
pela disponibilidade tcnica que envolve uma maquinria de criao

-
vas de uma intelectualidade vanguardista.
 113

Os veculos de comunicao, nesses casos, formaram e foram for-

mados pelos artistas, em disputa com outros agentes, como jornalistas,
-
dores dos experimentos criativos, que logo se deram como contrapartida
processual e de linguagem. As pginas de jornais e revistas ou o horrio

alcance social, favoreceram a concepo de arte enquanto projeto, ati-

vidade implicada, portanto, em uma existncia dialgica e propositiva,

Flvio de Carvalho articulou a prancheta de arquiteto escrita para

a coluna Casa, homem, paisagem do Dirio de S.Paulo (1955-1956),
em que projetou, durante um ano, caminhos para uma cidade moderna
que culminariam na sua Experincia N 3. Um grupo formado no Rio
de Janeiro, liderado por Reynaldo Jardim e depois Amilcar de Castro,
esgarou o grid de notcias do Jornal do Brasil para redesenh-lo segun-

e editorial que durou cerca de cinco anos, dentre os quais 1959 foi o

voltava para as colaboraes e para o reconhecimento da tela de vdeo

como espao.
-
digmticas para as intervenes miditicas no Brasil. Por meio de mo-
tivaes e recursos diversos, fundaram usos originais dos veculos de
comunicao pelos artistas, dissociados de exerccios de crtica ou ilus-

que as suas ocorrncias, resguardadas as singularidades contextuais e

histricas, se deram como respostas indiretas s iniciativas de cosmo-

o estilo de vida como, principalmente, educar a populao para acom-

panhar as mudanas.

, como pontua Barbosa, ao referir-se guinada

7

-
da pelo governo norte-americano, como parte da sua poltica de boa
8 na Amrica Latina, e culminou na inaugurao, em 18 de

7 BARBOSA, Marinalva. His-
tria cultural da imprensa: Brasil
1900-2000. Rio de Janeiro:
Mauad X, 2007, p. 18.
8 Na conferncia O inconscien-
te moderno do museu contempo-
rneo no Brasil, Cristina Freire
abordou aes culturais corres-
pondentes poltica de boa vizi-
nhana dos Estados Unidos
durante a Segunda Guerra Mundial e a Guerra
Fria. O governo Roosevelt, ao identificar condi-
es estratgicas na Amrica Latina, criaria um
departamento especial de governo o conhe-
cido Escritrio Interamericano , que seria co-
mandado por Nelson Rockefeller. O conjunto de
atividades do Escritrio o definia como uma
frente de guerra, com objetivos econmicos e
polticos absolutamente fundidos s questes
culturais. A meta final era ganhar o apoio das
naes latino-americanas para
a causa norte-americana.
(FREIRE, Cristina in FABRIS,
Annateresa; CHAIMOVICH,
Felipe; LAGNADO, Lisette;
OSORIO, Luiz Camillo (Orgs.).
Histria em movimento: minu-
tas do colquio internacional
MAM60, 2008, p. 39.)
 114

Difusora de So Paulo9. No por acaso, o mecenas desse empreendi-

mento, o industrial e dono dos Dirios Associados Assis Chateaubriand,
tambm foi responsvel pela fundao do Museu de Arte de So Paulo

Com os Museus de Arte Moderna do Rio de Janeiro e de So Paulo

10, e o Se-

aos paradigmas modernos de coleo e mostra de arte a partir da con-

sultoria do casal Pietro e Lina Bo Bardi11. Alm disso, o museu investiu
em um programa educativo de cursos e exposies didticas.
Essas iniciativas, assim como a criao da Bienal de So Paulo em
12 -
gncia que o circuito da arte compartilhou com a imprensa nesse mo-
mento: alcanar (e em alguma medida controlar) a massa. Na escala
institucional, podia-se aferir uma ansiedade por acelerar o passo de
desenvolvimento e galgar a paridade do Brasil com as potncias mun-
diais, Europa e Estados Unidos. Essa marcha, segundo o crtico Mrio
Pedrosa, teria condenado [o pas] ao moderno13, ou seja, garantido a

Entre os indivduos e grupos de artistas, surgiram sintomas ou con-

traposies ao modelo institucional. Aproveitando suas brechas e arris-
cando-se incompreenso, essas iniciativas pontuais circunscreveram
o moderno, no seu limiar cronolgico com o contemporneo, em uma

9 Cf. RIBEIRO, Ana Paula Goulart; SACRA-
MENTO, Igor; ROSO, Marco. Histria da televi-
so no Brasil: do incio aos dias de hoje. So
Paulo: Contexto, 2010, p. 17.
10 Francisco Ciccillo Matarazzo em So Paulo
e um grupo presidido por Raymundo Ottoni de
Castro Maia no Rio de Janeiro.
11 Ela arquiteta e ele historiador da arte, o casal
Lina e Pietro Maria Bardi desembarcou no Bra-
sil vindo de Roma em outubro de 1946. Basea-
ram-se em So Paulo, onde Assis Chateau-
briand queria iniciar o projeto de um museu, o
Masp. Pietro foi convidado a compor sua cole-
o e dirigi-lo. Lina ficou a cargo da reforma dos
trs andares da sede da rua Sete de Abril e de-
pois projetou a nova sede, no belvedere doTria-
non, na avenida Paulista.
12 Criado dentro da agenda do MAM, o evento
se chamava inicialmente Bienal do Museu de
Arte Moderna de So Paulo. Assim o foi at
1963, quando Ciccillo Matarazzo, patrono e co-
lecionador da instituio, desistiu de continuar
mantendo o museu e doou seu acervo para a
Universidade de So Paulo, dando origem ao
Museu de Arte Contempornea (MAC). Da por
diante, o evento bianual passou a ser organi-
zado de forma autnoma pela Fundao Bie-
nal de So Paulo. (Cf. CHAIMOVICH, Felipe.
O museu nmade in FABRIS, Annateresa;
CHAIMOVICH, Felipe; LAGNADO, Lisette;
OSORIO, Luiz Camillo (org.), op. cit., pp.
55-62)
13 Na abertura do Congresso Internacional
Extraordinrio de Crticos de Arte, que Mrio
Pedrosa organizou em 1959 em torno da cons-
truo da nova capital brasileira, ele afirmou
que Braslia no puro artifcio alheio his-
tria do pas, um escalo decisivo desta
histria, rumo assero central, copiosa-
mente repisada pela historiografia: o nosso
passado no fatal, pois ns o refazemos to-
dos os dias. E bem pouco preside ele ao nosso
destino. Somos, pela fatalidade mesma de
nossa formao, condenados ao moderno.
(Cf. PEDROSA, Mrio in CONGRESSO IN-
TERNACIONAL DE CRTICOS DE ARTE
Cidade Nova: sntese das artes. LOBO, Maria
da Silveira; SEGRE, Roberto (org.). Docomo-
mo Rio de Janeiro, 2009, p. 29)
 115

problemtica de ordem no s esttica, mas tambm tica e poltica.

No s nos museus e galerias, mas, naturalmente, tambm na mdia
de massa.

Flvio de Carvalho e
o impacto emocional
na nao brasileira
Ao voltar de uma temporada de estudos na Inglaterra, logo aps a
Semana de Arte Moderna (1922) em So Paulo, Flvio de Carvalho bus-
cou um trabalho e uma rede de interlocues. Formado em arquitetura
e valendo-se do prestgio de sua famlia aristocrata, logo empregou-se
14.

para tantas desavenas entre Flvio e seus colegas. Confrontavam-se as

buscas de um pesquisador intempestivo interessado nas relaes da
arquitetura e do urbanismo com outras disciplinas, como a etnologia,
a psicologia das multides, o teatro e a moda com os pilares de um
saber construtivo ainda acadmico, mas que desembocaria, j nos anos
Brazil Builds 15, a vertente dominante da arquitetura
moderna brasileira.
-
sorvido as aes restritas da Semana, se mantinha conservadora e pro-
vinciana, Flvio aproximou-se das redaes dos jornais, onde concen-
travam-se intelectuais de vanguarda, como os crticos Lus Martins e

-
mo convidou Flvio para ilustrar espetculos teatrais e bailados para o
14 No escritrio Barros de Oliva, Flvio de Car- 16 O termo artista-arquiteto foi adotado por Lisette Lagnado na
valho ficou de 1923 a 1925, e no Ramos de Aze- curadoria da mostra Desvos de la deriva: experiencias, travesas y
vedo, de 1925 a 1927. morfologas, que aconteceu entre maio e agosto de 2010 no Museo
15 Brazil Builds: Architecture new and old um Nacional Centro de Arte Reina Sofa, em Madri. Aps referir-se a
projeto de 1942, composto por exposio e livro, Flvio de Carvalho dessa maneira no livro da exposio (Cf. LAG-
com curadoria de Philip Goodwin, no Museum NADO. Desvos de la deriva: experincias, travesias y morfologias.
of Modern Art (MoMA) de NovaYork. Com o in- Madri, Museo Nacional Centro de Arte Reina Sofia, 2010, p. 52), a
tuito de divulgar a produo arquitetnica bra- curadora retomou esse termo no editorial da Revista Marcelina: En-
sileira, principalmente a que despontou no pas tende-se na figura do artista-arquiteto a potncia de encaminhar
aps a concepo e o incio da construo do utopias artsticas no espao comum sem entretanto negar-lhe a
edifcio do Ministrio da Educao e da Sade tenso do real (REVISTA MARCELINA, n. 6, p. 6, 2011).Ao debru-
(1936-1945) no Rio de Janeiro, o projeto reuniu ar-se sobre o comum, extrapolando, para isso, os campos restritos
trabalhos de Lcio Costa, Oscar Niemeyer, Af- atividade artstica de natureza tradicional e disciplinar, o artista-
fonso Eduardo Reidy, Rino Levi, Vilanova Arti- -arquiteto adequa-se ao iderio de arte total, preconizado na mo-
gas, entre outros. Aps Nova York, Brazil Builds dernidade por construtivistas como El Lissitzky e dadastas como
foi exibida, entre 1943 e 1945, em Londres e v- Kurt Schwitters. O termo artista total foi empregado por Rui Mo-
rias cidades da Amrica do Norte e do Brasil. reira Leite para apreciao da obra de Flvio de Carvalho entre a
arte, a arquitetura, a moda e os estudos sociais (Cf. LEITE, Rui Mo-
reira. Flvio de Carvalho: artista total. So Paulo: Editora Senac, 2008).
 116

Dirio da Noite. Os desenhos que o artista-arquiteto16

como Chinita Ullman, Carleto, Loie Fuller e Josphine Baker contribu-
ram para o desenvolvimento da tendncia expressionista17 na sua obra
plstica. Alm disso, do ambiente do Dirio saram algumas das suas

Clube dos Artistas Modernos CAM18) e a percepo de como a impren-

sa poderia continuar sendo um lugar para o seu trabalho, um campo de
-
19.

-
o em mostras de arte e concurso arquitetnicos, bem como ativi-
dade como animador cultural no CAM e nos Sales de Maio20, Flvio
sustentou sua presena incmoda na agenda da cidade com diversas
publicaes em jornais e revistas. Enviou artigos; acompanhou a reper-
cusso das suas propostas atravs das sesses de cartas dos leitores21;
criou pseudnimos para falar de si mesmo22 -

17 Luiz Carlos Daher, em sua
dissertao sobre a tendncia
expressionista da obra plstica
e arquitetnica de Flvio de
Carvalho, alegou que nos dese-
nhos de bailados o artista con-
cebeu a dana como, a um s
tempo, sntese e estiliza-
o, representao e desnatu- do. A radical intervention: the
ralizao do movimento vital.
(Cf. DAHER, Luiz Carlos. Flvio
de Carvalho: arquitetura e ex-
pressionismo. Dissertao de
mestrado. So Paulo, Universi-
dade de So Paulo, 1982, p. 130.)
18 Em 1932, Flvio de Carvalho,
Di Cavalcanti, Antonio Gomide
e Carlos Prado fundaram na
rua Pedro Lessa, centro de So
Paulo, o Clube de Artistas Mo-
dernos. Em anncio publicado
nos jornais da cidade, divulga-
vam que seria um grupo para
reunio, modelo coletivo, assi-
natura de revistas sobre arte,
manuteno de pequeno bar,
conferncias e exposies, for-
mao de uma biblioteca sobre
arte, defesa dos interesses da
classe (Cf. TOLEDO, J. Flvio
de Carvalho: o comedor de emo-
es. Campinas: Brasiliense e
Editora da Universidade
Estadual de Campinas, 1994, experimentao. Tese de dou-
p. 131). O grupo existiu at torado. So Paulo, Universi-
1934, deixando um legado que dade de So Paulo, 1994, p.
suscitou outros clubes nos 76.)
anos 1950. 21 O artista colecionou essas
19 LEITE, Rui Moreira. Flvio cartas em um lbum que figu-
de Carvalho: media artists ra atualmente no fundo de
avant la lettre in KAC, Eduar- pesquisa dedicado sua
obra, no Centro de Documenta-
Brazilian contribution to the o Alexandre Eullio (Cedae),
International Electronic Art na Universidade Estadual de
Movement, projeto especial Campinas (Unicamp).
da revista Leonardo On-Line, 22 Em 1928, enquanto partici-
vol. 37, n. 2, 2004. Disponvel pava do concurso para a nova
em: <http://goo.gl/bh8Xq9>. sede do Palcio do Governo
Acesso em: 1/7/2015. de So Paulo, nos quais os
20 Entre 1937 e 1939, Flvio de concorrentes usavam pseu-
Carvalho se envolveu com a dnimos, Flvio de Carvalho
organizao de trs edies escreveu para o Dirio da Noi-
dos Sales de Maio, ao lado te forjando ser um leitor do
do idealizador Quirino da Sil- jornal que desejava publicar
va e de uma comisso forma- suas impresses sobre os
da por Geraldo Ferraz, Paulo projetos. Aquele era um jeito
de Magalhes, Irene Bojano e de o artista-arquiteto advogar
Madeleine Roux. Ao promo- em causa prpria. O leitor in-
ver mostras e debates sobre ventado dizia ser engenheiro
arte moderna, o evento ante- e atestava a qualidade de Effi-
cedeu a Bienal no fomento ao ccia, proposta enviada justa-
circuito local de produo e mente por Flvio de Carvalho
s interlocues internacio- para o concurso. (Cf. LEITE,
nais. (Cf. LEITE, Rui Moreira. Rui Moreira, op. cit., 2004, p. 2).
Flvio de Carvalho (1899-1973):
entre a experincia e a
 117

O artista-arquiteto, que antecipou prticas contemporneas como

Experincias (com trs edies,

situaes interativas, em que se negociava o decorrer dos eventos em

tempo real23. A imprensa, assim como as ruas, era afeita a essas situ-
aes, nas quais Flvio podia ir ao encontro e tambm de encontro
multido, tornar-se um motor de alteridades, ser um reagente social24,

, alm do
25

mais ferrenha ao abstracionismo na arte e ao funcionalismo moderno

na arquitetura, Flvio iniciou no Dirio de So Paulo a coluna Casa,
homem, paisagem, que saiu no primeiro caderno do jornal quase dia-
riamente.
A coluna assemelhava-se cobertura jornalstica de assuntos rela-

Eduardo Kac defende sua singularidade.

A diferena-chave que, enquanto a cobertura

jornalstica representa a iniciativa de reprteres em
interpretar fatos em segunda instncia de acordo

artsticas e autorais, projetadas para disseminar sua

23 LEITE, Rui Moreira, op. cit., 2004, p. 4. 25 O Teatro Oficina, de Jos

24 No livro Experincia N 2, escrito em 1931 para
relatar o episdio em que Flvio de Carvalho
caminhou em uma procisso religiosa no senti-
do contrrio aos fiis, o autor afirmou que seu
objetivo era: desvendar a alma dos crentes por
meio de um reagente qualquer que permitisse
estudar a reao nas fisionomias, nos gestos,
no passo, no olhar, sentir enfim o pulso do am-
biente, palpar psiquicamente a emoo tem-
pestuosa da alma coletiva, registrar o escoa-
mento dessa emoo, provocar a revolta para
ver alguma coisa do inconsciente. (CARVA-
LHO, Flvio. Experincia N 2: uma possvel teo-
ria e uma experincia: realizada sobre uma pro-
cisso de Corpus Christi. Rio de Janeiro: Editora
Nau, 2001, p. 16.)
Celso Martinez Corra, nas-
ceria s em 1958, no Centro
Acadmico XI de Agosto, do
Largo So Francisco, com a
inteno de fazer um novo te-
atro, crtico ao aburguesa-
mento doTeatro Brasileiro de
Comdia e tambm ao nacio-
nalismo do Teatro de Arena.
(Cf. Enciclopdia Ita Cultu-
ral. Disponvel em: <http://
goo.gl/yVheV2>. Acesso em:
1/7/2015.)
 118

viso de vanguarda para audincias da arte ou no.

Seu trabalho miditico no reportava fatos externos,
26.

A Casa, homem, paisagem era composta de textos e, em alguns

casos, ilustraes a partir dos quais seu autor detalhava os caminhos de
uma cidade utpica. Em pouco mais de vinte edies, publicadas entre

bases da sua divergncia de uma arquitetura e de um urbanismo que

Misturou propostas como as de um rearranjo virio em que defendia o

subterrneo como uma soluo econmica e a velocidade como uma
condio imposta pelo desejo do homem novo27, com leituras que in-
corriam por argumentos da comunicao visual, da psicologia, da an-
tropologia e da biologia.
28, que j estava presente na tese sobre

A cidade do homem nu -
habitat humano. Nesse sentido, alegou na

29. No dia

26 do mesmo ms, escreveu que a orientao do ser vivo torna-se uma

consequncia da paisagem e da vegetao. Ele est ligado paisagem e
vegetao, de incio, por laos intestinais mais tarde, no decorrer de
rudimentar apreciao mental, formam-se os primeiros laos afetivos30.

propostas de Flvio de Carvalho, que percebeu na coluna um campo de

propagao cotidiana de sua arte total e do seu humanismo expres-
31. A coluna

e laboratorial, oriunda das experincias de indivduos curiosos e livres

do limite vagando pela rua, adentrou pelo tema da indumentria, que

mesmo da arquitetura e do urbanismo. Com esse texto, nasceu dentro

da Casa, homem, paisagem outra coluna, intitulada da por diante de

26 Cf. KAC, Eduardo in LEITE,
Rui Moreira, op. cit., 2004, p. 5.
27 CARVALHO, Flvio. As ci-
dades no amanhecer do sculo e
o novo homem. Dirio de S.Pau-
lo, Casa, homem, paisagem,
25/12/1955.
28 Flvio escreveu cinco textos
relacionados ao tema O dever
telrico do homem.
29 CARVALHO, Flvio. A pai- 31 Na conferncia A cidade do homem nu,
sagem sorridente e a floresta apresentada no V Congresso Pan-americano
a decida da rvore ori- de Arquitetura, no Rio de Janeiro, em julho de
gens do direito de proprieda- 1930, Flvio defendeu o plano diretor de uma
de. Dirio de S.Paulo, Casa, cidade-laboratrio, onde o homem intensifi-
homem, paisagem, 5/2/1956. ca suas experincias guiado por uma nica
30 CARVALHO, Flvio. XI instituio constituda, o centro de pesqui-
A paisagem sorridente e a con- sas (Cf. CARVALHO, Flvio. Uma tese
sequncia o homem a paisa- curiosa. In MAIA, Ana Maria; REZENDE,
gem post-modern e o homem Renato (orgs.). Flvio de Carvalho. Rio de Ja-
em voo. Dirio de S.Paulo, neiro: Editora Azougue, 2015, pp. 32-41).
Casa, homem, paisagem,
26/2/1956.
 119

A moda e o novo homem.

-
-arquiteto exps seus estudos e pensamentos sobre a moda como es-
trutura responsvel por um processo de sugestibilidade histrica, que

com a inteno de garantir sobrevivncia ao homem32

junho, Flvio desviou do repertrio que vinha acumulando para uma
teoria da moda e apresentou uma proposio prtica, um traje de vero
para o homem dos trpicos. Refutando o esquema de cala, colete e

masculina feita de saia, meia arrasto e bluso, com cores vibrantes e

sistema de arames que o soltava do corpo, permitindo a ventilao e
diminuindo a sensao de calor33.
A novidade j repercutia na cidade, mas Flvio queria divulg-la ain-
da mais, quem sabe no viria a ser adotada. Foi assim que, em 18 de
outubro de 1956, ele mesmo vestiu o traje apelidado new look, em
referncia ao modelo de Christian Dior34
do centro de So Paulo. No caminho, visitou o prdio dos Dirios Asso-
ciados, na rua Sete de Abril, e subiu em uma mesa da redao para que
os jornalistas o fotografassem e entrevistassem. O resultado foi uma
vasta cobertura do caso. A sua Experincia N 3 estampou jornais de
todo o Brasil, as duas principais revistas em circulao naquela poca,
Manchete e O Cruzeiro, bem como veculos da Argentina, da Itlia e dos
Estados Unidos, entre eles a Time Life 35. O artista-arquiteto colecionou
todo esse clipping de notcias e, em palestra sobre o assunto, dada em

[a roupa] causava na nao brasileira36.

-
prensa com o new look

mdia impressa e a novidade televisiva para difundir seu invento e suas

32 CARVALHO, Flvio. Autor
aponta. In COHN, Sergio; PI-
MENTA, Heyk (orgs.). A moda e
novo homem. Rio de Janeiro:
Editora Azougue, 2010, p. 13.
33 CARVALHO, Flvio. Nova
moda para o novo homem -
mode de vero para a cidade.
Dirio de S.Paulo, So Paulo,
24/6/1956.
34 O new look de Christian Dior foi lanado em
1947. Feito de saia a meia altura e tailleur marca-
do na cintura, foi considerado uma revoluo na
indumentria feminina no ps-guerra.
35 Segundo o bigrafo J. Toledo, havia cami-
nhes de reportagem da incipiente televiso, do
cinema, do rdio e de quase todos os poderosos
jornais da capital, do Rio e at alguns corres-
pondentes dos Estados Unidos (Time Life), da
Argentina e da Itlia, que aguardavam impa-
cientes pelo impondervel desfile que estava
por acontecer na conservadora capital bandei-
rante. (Cf.TOLEDO, J., 1994, p. 561)
36 LEITE, Rui Moreira, op. cit.,
2004, p. 3. Flvio queria ter
editado um livro sobre o as-
sunto, mas faleceu sem ter
feito. A editora Azougue com-
pilou os textos da coluna A
moda e o novo homem em
2010.
37 Cf.TOLEDO, J., 1994, p. 517.
 120

maestria e estardalhao37.
-
das. A performance eletrnica38, que antecipou a videoarte brasileira
-
festaes de arte de vanguarda no contexto da televiso e do vdeo39. Em
mbito internacional, ela foi precedida apenas por Spatialist Television,
experimento de Lucio Fontana em uma emissora italiana em 1952.
-
cipalmente, um trnsito livre e amplo na imprensa brasileira, apoiado

como Assis Chateaubriand. O sucesso miditico da Experincia N 3

gerou uma expectativa por novas histrias que o artista-arquiteto apro-
veitaria como demanda dois anos depois, em 1958. Quando comeou a

viagem, que ajudariam a custe-la. Dessa forma, seus relatos sobre a

misso, e inclusive sobre as brigas entre a equipe que motivaram seu
cancelamento, espalharam-se pelas pginas de noticirios como o Di-
rio da Noite, a Folha da Manh, O Globo, o Jornal da Bahia 40 e a revista
Time 41, entre outros. Sem resultar nos seus objetivos iniciais, a Experi-
ncia N 4
comunicao de massa.

S s e i e d i t a r
d e s e n h a n d o :
a reforma grfica do
Jo r n a l do Brasil
Marco na histria tanto do design moderno quanto do concretismo e
Jornal do
Brasil foi fruto de um trabalho a muitas mos, que durou cerca de cinco
anos, entre 1956 e 1961. Nesse intervalo, o peridico deixou de ser um

38 Cf. KAC, Eduardo in LEITE,
Rui Moreira, op. cit., 2004, p. 5.
39 Idem. No h registro em v-
deo da ao porque, em 1956, a
TV Tupi ainda no usava equi-
pamento de videotape, que gra-
vava as transmisses ao vivo.
Apesar de neste ano a tecnolo-
gia j haver chegado ao Brasil
na TV Continental, no Rio de
Janeiro, s foi empregada na
emissora paulista em 1959.
40 No Dirio da Noite, saram matrias como Flvio Carvalho deixou o saiote
e vai filmar ndios no Rio Negro (04/03/1958) e Flvio de Carvalho busca uma
loira para estrela de Deusa Umbelina (28/04/1958); no Dirio de Notcias foi
publicado Flvio de Carvalho: regressa dos ndios (19/11/1958); a Folha da Ma-
nh deu O Amazonas no nenhum inferno verde; as nicas feras que l vi
so do asfalto (05/12/1958); O Globo publicou Foi procurar ndios louros mas
s encontrou xirians (24/11/1958); o Jornal da Bahia noticiou Flvio de Car-
valho regressa das aventuras com ndios xirians. O volume de matrias so-
bre essa viagem enorme e bastante diverso. No fundo Flvio de Carvalho,
onde est depositava a hemeroteca do artista, encontram-se cerca de 70 itens
relacionados ao assunto. (TOLEDO, J., 1994, p. 594)
41 Em 22/11/1958, a edio latino-americana da Time relatou a viagem e uma
breve biografia de Flvio de Carvalho no texto Playboy at Work (Cf. Idem).
 121

passou a concatenar um grid -

suporte e meio expressivo.

A iniciativa, tomada da por diante como modelo a ser seguido por
diversos outros jornais brasileiros, cultivou o imaginrio de uma utopia
-
boraram para inventar no s uma linguagem, mas, principalmente, um
espao social. O fato de esse processo ter se dado na mdia de massa, e

lugar ambguo em que a reforma se deu, entre representar uma reali-

estruturas de informao.
O pontap inicial da reforma foi o Suplemento Dominical, um im-
presso dedicado ao debate cultural, conforme vinha sendo feito por
Reynaldo Jardim no programa homnimo da rdio Jornal do Brasil.
Convidado pela dona do grupo, a condessa Pereira Carneiro, Jardim
implementou o projeto no jornal em abril de 1956, primeiro como pgina
literria42 e depois como um caderno cultural de oito pginas, com cola-
boraes regulares de Ferreira Gullar, Oliveira Bastos e Mrio Faustino
e trabalhos eventuais de nomes como Mrio Pedrosa, Clarice Lispector,

O Suplemento Dominical foi uma pea fundamental, embora no

com a sua rpida repercusso nas rodas de intelectuais do Rio de Ja-

neiro, a condessa decidiu investir na reforma do jornal todo. Para tanto,
Dirio Carioca, que, como a
Tribuna da Imprensa, havia se renovado h pouco. Foi assim que chega-
ram ao Jornal do Brasil o novo editor-chefe Odylo Costa Filho e, dentre

Gustavo Port, Carlos Lemos e Jnio de Freitas43

Amilcar de Castro integrou a equipe, vindo de uma experincia prvia no
Manchete, com Gullar e Jnio.
O intuito era implementar um jornalismo empresarial e informa-
tivo, conforme o modelo norte-americano, mas no por isso apartado
de questes polticas e culturais e do papel formador de opinio que
o jornal exerceu desde quando foi fundado, em 1891. A nova equipe
investiu em uma reforma de dentro para fora, de detalhes da escrita
e da diagramao de pginas internas at, gradualmente, os ttulos, a
paginao e a capa. No mbito editorial, Jnio de Freitas implementou

42 A pgina j foi uma extenso 44 Segundo Ferreira Gullar em entrevista a

de uma coluna chamada Lite-
ratura contempornea.
43 ABREU, Alzira Alves (org.).
Imprensa em transio. Rio de
Janeiro: Editora FGV, 1996, p.
152.
Daniel Trench Bastos, esses recursos foram
criados no Dirio Carioca. (Cf. BASTOS, Da-
niel Trench. Tentativa e acerto: a reforma grfi-
ca do Jornal do Brasil e a construo do SDJB.
Dissertao de mestrado. So Paulo, Univer-
sidade de So Paulo, 2008, p. 110).
 122

lead e o sub-lead 44.

surpreendentemente culta, beirando os trinta anos45, segundo Jardim.

aplicou estudos de semitica e ergonomia ao design. Cientes dessa car-

tilha, Odylo, Reynaldo e logo Jnio e Amilcar foram limpando e hierar-

branco, a princpio s no interior dos cadernos.

tomou a iniciativa de publicar uma foto na capa. O feito contrariou o edi-

tor-chefe, mas agradou a condessa, abrindo caminho para que a prtica
continuasse e crescesse no jornal46. O episdio aponta o carter pessoal

mtodo, temos aqui um projeto que supe uma improvisao47 -

mou Amilcar em relato posterior sobre o ambiente do Jornal do Brasil
nesses anos.
O j destacado escultor que havia participado da terceira Bienal
do Museu de Arte Moderna de So Paulo Exposio
Nacional de Arte Concreta (1956) e muito em breve assinaria o Manifesto
Neoconcreto naquele mesmo Jornal do Brasil concebia a diagramao
como arte aplicada48 e, dessa forma, tarefa do artista. Nos peridicos

Rio de Janeiro, Amilcar perseguiu diferentes caminhos para a constitui-

o de uma espacialidade moderna. Assim como nas suas obras tridi-
mensionais, em que combinou funcionalidade e esttica, conhecimento
tcnico e pesquisa, praticou no Jornal do Brasil um sentido particular
de projeto.

49

45 JARDIM, Reynaldo. Suplemento Dominical 47 Cf. MATESCO, Viviane. Amilcar de Cas-

do Jornal do Brasil in BASTOS, DanielTrench,
op. cit., 2008, p. 119.
46 Ferreira Gullar relatou que no dia seguinte,
ele [Costa Filho], na redao, mandou me cha-
mar e falou assim mas voc me traiu, eu disse
como assim? Voc publicou aquela foto na
primeira pgina do jornal, voc sabe que o jor-
nal no publica fotos na primeira pgina []
Da tocou o telefone, e era a condessa. E eu ouvi
ele dizendo Ah, a senhora gostou, muito obri-
gado, ela ligou para dizer que tinha adorado a
foto na primeira pgina. (Cf. BASTOS, Daniel
Trench, op. cit., p. 22).
tro: o experimentador do espao. Bravo! En-
trevista. So Paulo, Editora Dvila, 2002, pp.
59-65.
48 SAMPAIO, Mrcio. Prmio no Salo Na-
cional (1967). In: Amilcar de Castro. So Pau-
lo,Takano, 2001, p. 258-260, p. 260.
49 STOCK, Wolfgang Jean in AICHER, Otl. El
mundo como proyecto. Barcelona: Editorial
Gustavo Gili, 2007, p. 103.
 123

sobre a reforma e o suplemento ou seja, ao referir-se a um universo

maior de autorias, dentro do qual est includo o trabalho de Amilcar

apreenso tambm idiossincrtica da ideia de projeto. O autor alega que

Se, semanticamente, essa palavra carrega uma

noo de distncia, parece estar na extrema proxi-

aparenta turvar, sem comprometer, a aplicao desse

procedimento na reforma e no SDJB [sigla para Su-
plemento Dominical do Jornal do Brasil]50.

Engajados desde a articulao de uma rede de autores at os testes

51, os artistas que estavam frente da

reforma e do suplemento acumularam novidades e conquistas edio

editoriais chegaria entre 1958 e 1959 ao pice de uma linguagem expe-

cargo de Amilcar e Jnio de Freitas, editor-chefe desde a sada de Odylo.

O suplemento seguia a cargo de Jardim, o poeta concreto que s sabia
editar desenhando52, segundo ele prprio.

redator, editor e diagramador no caderno. Ela tambm indica a indis-

Suplemento Dominical, em consonncia com os preceitos da poesia

concreta. Com Gullar, que desde outubro de 1956 havia se tornado seu
brao direito, e algumas colaboraes pontuais de Amilcar, Jardim em-
pregou proposies de vanguarda, de autores dos mais variados campos

-
mo Mannarino, somando sucesso de palavras o tempo simultneo
53.

-
ram bastante adotadas na diagramao. O grid ortodoxo rendeu-se aos
caminhos de obras precursoras como Un coup de ds -
ne Mallarm. A pgina ganhou a estrutura de um poema, dotada de re-
ferentes textuais, visuais e sonoros. Nesse regime, foram apresentados
ensaios crticos de autores como Pedrosa, Jos Guilherme Merquior e

50 Idem, ibidem.
51 Em entrevista a DanielTrench,
concedida em Braslia em 2007,
Jardim prestou o seguinte depoi-
mento: Eu sempre trabalhei na
oficina, junto com o paginador na
oficina. Era tudo linotipo, algu-
mas caixas maiores eram em
madeira. Aqueles poemas con-
cretos, aqueles quadradinhos,
aquilo era uma coisa de louco.
Eu gostava de fazer o Suple-
mento Dominical, era diferen-
te do convencional. Eu at re-
cebi um diploma da oficina,
funcionrio padro, no sei o
qu. Eu adorava esse pessoal.
(Cf. BASTOS, Daniel Trench,
op. cit., p. 107).
52 Idem, ibidem.
53 Cf. MANNARINO, Ana de
Gusmo. Amilcar de Castro e a
pgina neoconcreta. Disserta-
o de Mestrado apresentada
no Programa de Ps-Gradua-
o em Histria Social da
Cultura do Departamento de
Histria da PUC-Rio. Rio de
Janeiro, 2006, p. 11.
124

Joyce e poemas de Ceclia Meireles; e debates sobre temas do momen-

segundo Jardim, com [a revista] Noigandres, levantamento crtico de

todas as correntes estticas e literrias, apresentao de autores no
familiares aos leitores e intelectuais brasileiros54.
O movimento da poesia concreta, qual pertenciam Jardim e Gullar
bem como os editores da Noigandres

destaque, como no poderia deixar de ser. Em paralelo s publicaes

independentes, como a prpria revista, editada entre 1952 e 1961, o
movimento teve no suplemento o seu principal veculo de divulgao,

I Exposio
Nacional de Arte Concreta, fomentando debates e textos crticos sobre
o evento, que reuniu os grupos Frente e Ruptura, cariocas e paulistas,
respectivamente, no MAM de So Paulo e no Ministrio da Educao e
da Cultura no Rio de Janeiro.
Manifesto neocon-
creto

A manchete Experincia neoconcreta, diagramada por Amilcar em blo-

cos escultricos, antecipava um caderno inteiramente dedicado ao novo
-
tas e defendia a reposio do problema da expresso55.
O Suplemento circulou nas vsperas da abertura da I Exposio de
Arte Neoconcreta, em 22 de maro no MAM do Rio de Janeiro. Na mos-

-
, inerentes tanto ao
56

processo de criao quanto de fruio. Iniciava-se, com isso, um pensa-

arte vida, ao vocabulrio informal e sensvel do cotidiano.

Segundo Mannarino, a participao ou, antes dela, a desalienao e a

homem como ser criativo, que busca o imprevisto, a surpresa, opondo-se

ao trabalho mecnico e reduo de todas as atividades a um valor quan-
57. Esse homem, que mais adiante Oiticica chamaria de partici-

pador, j estava dado como prottipo desde o I Bal Neoconcreto (1958),

54 JARDIM, Reynaldo. Suple- Reynaldo; SPANDIA, The-

mento Dominical do Jornal do
Brasil (2002) in BASTOS, Da-
nielTrench, op. cit., p. 116.
55 CASTRO, Amilcar de;
GULLAR, Ferreira; VEISS-
MANN, Franz; CLARK, Ly-
gia; PAPE, LYGIA; JARDIM,
on. Manifesto Neoconcreto.
Publicado no Suplemento Do-
minical do Jornal do Brasil em
22/03/1959.
56 Idem.
57 Cf. MANNARINO, Ana de
Gusmo, 2006, p. 11.
 125

em que Jardim e Pape coreografaram slidos geomtricos no teatro do Co-

Experincias como essa e o Suplemento Dominical, que existiu at

-
retamente debruado sobre a insero social do artista, o neoconcretismo
criou alicerces para a sua ocorrncia futura. Projetou, ora como boca de
cena, ora como poema ou pgina de jornal de grande tiragem, um espao
social afeito ao confronto de convenes acadmicas sobre o uso, a forma e,
antes de tudo, a sua autoria. Envolvendo a arte em questes advindas dos
seus canais de circulao e linguagens aplicadas, o movimento misturou
produtivamente as instncias de representao e inveno da realidade. A
extensa lista de responsveis pela reforma do Jornal do Brasil e pela criao
do Suplemento Dominical contribuiu para ocupar a imprensa de massa

as mudanas por que passa a sociedade e at que ponto ela as consolida

e constri58.

Analvia Cordeiro
e a i n t e r a o artista
intrprete espectador
Levou pelo menos uma dcada para que a televiso no Brasil sas-
se de sua fase de improviso em que Chateaubriand precisou, por
-

conforto na sala de visitas59

-

Depurada como um aparato para a famlia nuclear, a grade das

-

de notcias e entretenimento formador da imaginao comunicacional

dos espectadores, que contemplaria tudo o que importa, sem nada
60.

As transmisses dos jogos de futebol promoviam a catarse coletiva em

58 Idem, p. 12.
59 Cf. RIBEIRO, Ana Paula
Goulart; SACRAMENTO, Igor;
ROSO, Marco, op. cit., p. 21.
60 Idem, p. 71.
 126

-
rada em 1969, um ano aps o endurecimento da represso com o Ato
Institucional N 5, a emissora declarava apoio ao regime militar.
Os canais de televiso nesse momento j se projetavam como uma uto-
61

-
ro, se considerado que tanto a paisagem quanto a perspectiva nascem de
propostas e, necessariamente, disputas sociais, polticas e econmicas. A
maneira de ocultar esses fatores condicionantes e manter os espectadores
alienados de um debate crtico era investindo em programas dotados de

aos quais correspondiam.

Motivada pelo mpeto oposto, de justamente abordar os processos de
produo e recepo televisual, Analvia Cordeiro foi responsvel por algu-
mas das primeiras iniciativas experimentais e crticas dentro de uma emis-

62

Faro, que imprimiu planos intimistas e grande originalidade cobertura

-
das e, em alguns casos, especialistas do laboratrio de computao da Uni-

-
duo e justamente investigarem estatutos de criao de videodana como
fruto de um trabalho coletivo e coordenado, as intervenes inauguraram
no Brasil a trajetria do que Analvia chamou de vdeo institucional63, ou
seja, um vdeo feito com os mesmos aparatos da mdia de massa a partir de
uma ocupao temporria das suas corporaes.
Direta ou indiretamente, a concepo deu-se como resposta aos pos-
Artenica, em

contempornea so a inadequao dos meios de comunicao, enquanto

gem, pensamento e ao64.
61 Idem, pp. 23-24.
62 A TV Cultura foi inaugurada
em So Paulo em 20 de setem-
bro de 1960 e pertencia aos Di-
rios Associados. Em 1969, a
emissora passou para a Funda-
o Padre Anchieta, organiza-
o que a administra at hoje e
que transmite seu sinal por
satlite para todo o Brasil.
63 Em entrevista dada por
Analvia Cordeiro a Ana Ma-
ria Maia na Granja Viana, So
Paulo, em 11/6/2015.
-
64 CORDEIRO, Waldemar.
Artenica, in MASCARE-
NHAS, Nelson; VELHO, Luiz;
HESS, Lilia. Waldemar Cordei-
ro: Artenica. So Paulo: Sibi-
grapi, 1993, pp. 21-23.
 127

Analvia se diferenciou dos primeiros vdeos experimentais65

por nomes como Anna Bella Geiger, Sonia Andrade, Fernando Cocchia-

era diferente entre o set de gravao dos cariocas e o de Analvia. O incio

-
tacaram-se os registros rpidos e a assimilao do improviso, do outro
cunhou-se uma potica orquestrada com extremo controle, devido sua

M3x3
dupla articulao. Dispunha do convite de Faro, mas, por sua pouca
idade, 18 anos na poca, ainda precisava convencer a diretora da emis-
sora, Nydia Lcia. Em paralelo, teve seu projeto selecionado para ser
exibido na sesso Man, machine, society do Festival de Edimburgo,

Cultura e agendar a gravao.

A artista fundamentou sua obra no mtodo Laban66, que estruturou
sua educao em dana com a professora Maria Duschenes, e no Bal
tridico (1922) de Oskar Schlemmer, coregrafo e professor da Bauhaus.
De diferentes maneiras, ambas as referncias se baseavam na escrita
analtica do movimento humano e na sua relao com o espao. As-
sim, como era caracterstico em algumas vertentes da dana moderna,
evocavam a expressividade do bailarino sempre em funo de um rigor
construtivo.
No entanto, alm dessas referncias, uma experincia frustrante de
M3x3. Chamada pelo coregrafo Clyde
Morgan, danou em Improvisao estruturada. A performance foi gra-
-
compasso entre o movimento do grupo de bailarinas e os planos feitos
livremente pelo cmera. A perda de imagens fundamentais para narrar
a obra67 levou Analvia seguinte ponderao: por que no planejar os
movimentos j junto com as cmeras?68.

65 Termo usado por Analvia Cordeiro em en-
trevista a Ana Maria Maia.
66 O mtodo foi criado na dcada de 1940 por
Rudolf von Laban, um dos pioneiros da dana
moderna na Europa. Ele consiste em descrever,
visualizar, interpretar e documentar as varieda-
des de movimento humano, a partir de um sis-
tema de escrita denominado labanotation.
Os pilares do mtodo so o corpo, o esforo, a
forma e o espao. (Cf. KONIE, Robin Konie, A
brief overview of Laban movement analysis,
2011, disponvel em: <http://goo.gl/kR0C6v>.
Acesso em: 9/7/2015.)
67 Em entrevista, Analvia relembrou que
Quando eu estava parada, o cmera filmava
o corpo todo. Quando eu me movia, ele estava
filmando o dedo. No teve dilogo nenhum
nem com o cmera nem com o diretor. Ns
bailarinas ficamos com cara de bobas, como
se no tivssemos nenhuma noo de espa-
o. [] E eu percebi que o pessoal da direo
da TV falava s com o coregrafo, mas como
isso seria possvel se ns bailarinas estva-
mos improvisando?.
68 Idem.
 128

A artista reconhecia o ambiente televisual e miditico como um fator

e ocupada em aes radicais. As ferramentas de trabalho e, antes disso,

os modelos de comunicao interpessoal e social que arregimenta tor-
naram-se o ponto de partida para Analvia desenvolver uma linguagem

da dana para palco porque entre o bailarino e o es-

exatamente aquilo que expressa a inteno do bai-

larino. O objetivo programarmos a cmera, os mo-
vimentos do bailarino e o cenrio. Para se trabalhar
com computador, isto , para aliment-lo, necess-
rio conhecermos as necessidades de movimentao
da cmera e do bailarino. A sada do computador e o

para o bailarino. No processo que eu criei, as cmeras

so programadas para termos os enfoques e os tem-
pos de cada um. Para o bailarino, temos posies de
corpo e o tempo para passar de uma posio para a
outra. O bailarino quem deve criar a ligao entre
uma posio e outra, conforme a fora de expresso
que ele sentir, a fora de expresso que ele quiser dar
dana que ele estiver executando69.

O movimento seria resultado da interao entre a coregrafa, o com-

putador com que programou70 instrues gerais, trs cmeras e nove
bailarinas71. O diretor e o editor do programa tambm trabalhavam
conforme as notaes computacionais, que representavam atravs de

a priori, mas
sempre como intrpretes, podendo executar as coordenadas segundo
sua liberdade e fora de expresso.

69 Depoimento de Analvia
Cordeiro dado em 1976 ao pro-
grama SOS Utilidades da TV
Cultura de So Paulo. Dispon-
vel em: <https://goo.gl/875EII>.
Acesso em: 9/7/2015.
70 Analvia era estudante da
Faculdade de Arquitetura e Ur-
banismo da Universidade de
So Paulo, mas queria se dedicar
dana e tinha interesse pelas
cincias exatas. Em entrevista
a Ana Maria Maia, ela relatou
que como eu tinha facilidade
com matemtica e fsica, eu
que programei o meu primei-
ro trabalho. Estudei a lingua-
gem por um manual, como
autodidata.
71 As bailarinas, todas numeradas conforme
os espaos que ocupavam no estdio, eram
Eliana P. Moreira (1), Silvia T. Bittencourt (2),
Marina Helou (3), Solange C. Metri (4), Fabia-
na Cordeiro (5), Analvia Cordeiro (6), Cybele
Cavalcanti (7), Nira Chernizon (8) e Beatriz
Maria Luiz (9). As formaes delas eram di-
versas, entre o bal clssico, o moderno e o
mtodo Laban.
 129

era dividida em um grid ortogonal de trs por trs, com faces de seis
metros cada. A trilha ressoava uma batida seca e repetitiva, que dava
cadncia aos passos. Feito com collant comprido e pintura facial preta,

deixando a diferena aparecer s atravs da observao atenta do movi-

mento de cada uma. A mquina e o corpo, o racional e o orgnico, eram
assim postos a conviver.
M3x3 -
pecial72

abertura diminuiu o confronto de linguagens entre o trabalho e o con-

do processo e das motivaes da artista. Esse investimento na compre-

que Analvia defendia entre seus objetivos a transmisso da mensagem

artstica para o espectador73
funo de intrprete, encerrando o ciclo de criao do trabalho.
Entre um algoritmo de computador, a complexidade de uma equipe

intimamente ligada ao ato de interpretar. Dentro desse processo, no

se pode negar a posio estratgica de Analvia como propositora, sem
esquecer, por isso, seu interesse pelas dinmicas de colaborao com
pessoas e mquinas.
Na experincia seguinte, 0 45

do laboratrio da Unicamp determinou a sequncia de passos a serem

-

Nota-Anna74. A
-
gens para mostr-las ora em sua verso positiva, ora na negativa. Pretos

binria e dialtica do trabalho, do processo ao resultado.

Em Gestos Cambiantes
-
presentao, a ponto de revel-los em cena, de maneira autorreferente.

72 No centro de documentao 74 No livro em que Analvia Cordeiro fundamenta sua meto-

da TV Cultura, o registro do
M3x3 consta como bloco espe-
cial do programa S.O.S Utilida-
de Pblica, com cerca de 15 mi-
nutos de durao.
73 CORDEIRO, Analvia. The
programing choreographer in
Computer Graphics and Art, fev.
1977, p. 28.
dologia para o estudo do movimento corporal, baseada na te-
oria de Laban, a artista afirma que a caracterstica marcante
da Nota-Anna visualizar o rastro ou a trajetria do desloca-
mento espao/temporal das partes do corpo, mostrando a es-
sncia da expresso emocional do movimento em suas mni-
mas nuanas. (Cf. CORDEIRO, Analvia. Nota-anna: a escrita
eletrnica dos movimentos do corpo baseada no mtodo Laban.
So Paulo: Annablume, 1998, p. 95)
 130

Gestos
dos bastidores da emissora. medida que Analvia e Fabiana Cordei-

monitores e funcionrios que assistiam gravao. A representao

confundia-se com a prpria rotina. Os movimentos representados, na

pelas duas bailarinas em jornais correntes. Durante alguns dias, sele-

-

cenas de guerra, sofrimento, alegria e sexo75. Desse exerccio de cola-

76 em que a

perna de soldado77, relata Analvia.

tambm em meios analgicos, a artista voltou para uma potica compu-

Cambiantes

para dar a iluso de que a forma da imagem poderia mudar. Mais do que

dessa imagem, o aparelho de televiso, cuja dimenso retangular gerou

-

medida em que quatro bailarinas78 danavam em resposta se-

quncia escrita em computador e batida sincopada da trilha, registra-

-
vam a tela em uma superfcie irregular, com retngulos ou quadrados
collant que se equiparava
-
svel pela iluso de profundidade e realidade da imagem.
Gente, vocs so todos uns viciados [em televiso]. Eu estou brin-

da sua proposta e o fato de quase nunca79 -

-
tar disso? Nem sempre a resposta rpida, conclui.

75 Disponvel em: <https://goo.gl/
PvN6nx>.Acesso em: 9/7/2015.
76 A performance Gestos tam-
bm foi inserida no programa
S.O.S Utilidades.
77 Em entrevista a Ana Maria
Maia.
78 As bailarinas eram Anal-
via Cordeiro, Beatriz M. Luiz,
Cybele Cavalcanti e Fabiana
Cordeiro. A msica foi feita
por Raul do Valle e a realiza-
o cinematogrfica por Pe- cebi uma carta do MIT, da apresentadora do
dro Farkas.
79 Em entrevista a Ana Maria Maia, Analvia
narrou a nica vez em que recebeu retorno do
pblico. Quando o MIT fez em 1976 um pro-
grama de produo de computador naWGBH,
que aTV educativa de l, eu participei. Eu re-
programa. Ela me falou das reaes que hou-
ve ao meu trabalho. Perguntas como: por que
se preocupar com o computador se voc dan-
a?. Eles daTV me mandaram essas respos-
tas ao trabalho.
 131

a d i s pu t a
do l ug a r

196882
Medidas de
negatividade ,
insero e
desapario

ganhou complexidade ttica com o Ato Institucional N 5 (AI-5) e o acir-

nela fomentar a desalienao e engajamento coletivos, era preciso, mais

do que nunca, dominar as rotinas de funcionamento das instituies e
-
trole, oportunidades de interveno. Era preciso encontrar, para isso,
como alegaria Cildo Meireles80, no s os meios, mas tambm os mo-
dos; no s os circuitos, mas tambm as inseres possveis, diante
dos recursos tecnolgicos e de linguagem e a despeito da censura.
Nas artes visuais, a Teoria do no-objeto de Ferreira Gullar j inscre-
-
ra de vanguarda, que buscava transcender os formatos tradicionais de
obra de arte (e, portanto, de exposio, recepo e coleo de arte) para
tornar-se um corpo transparente, que se d percepo sem deixar
rastro81

80 Em entrevista autora, con- 81 A Teoria do no-objeto foi escrita por Fer-

cedida em seu ateli, em Bota-
fogo, Rio de Janeiro, em 2 de
abril de 2015. Esses termos, no
entanto, constam no seu pri-
meiro texto sobre as Inseres
em circuitos ideolgicos, de
1970.
reira Gullar na ocasio da II Exposio Neo-
concreta, realizada no Palcio da Cultura do
Estado da Guanabara, entre 21 de novembro e
20 de dezembro de 1960. Nessa data, foi publi-
cada no Suplemento Dominical do Jornal
do Brasil.
 132

Silveira, Jos Roberto Aguilar e Letcia Parente, entre tantos outros pio-
neiros do happening e da videoarte.
O dado posto por Gullar sobre um tempo transitrio e uma experin-

voltil e fugidia antecipou aspectos do que foi internacionalmente cunhado

82. No entanto, no contexto brasileiro e

latino-americano, essa condio apresentou-se como uma alternativa de

mostras de arte como a Propostas 65

Em maio de 1969, aps um telefonema do Departamento Cultural

do Ministrio das Relaes Exteriores, a exposio de artistas que iriam
representar o Brasil na Bienal de Paris foi suspensa e imediatamente

Moderna do Rio de Janeiro. As obras foram consideradas subversivas e

Correio da
Manh, havia sido presa em janeiro daquele ano aps a publicao de
uma edio do jornal que foi considerada oposicionista ao regime83.
-

janeiro de 1969, o Jornal do Brasil trabalhou sob regime de censura prvia,

vetar matrias integral ou parcialmente. Bilhetes e telefonemas de ameaa

entraram na rotina dos reprteres, fotgrafos e editores, bem como uma re-
trao por parte dos dirigentes dos prprios veculos de comunicao que,
para evitar novas represlias, chegaram a praticar autocensura.
A despeito de toda sorte de restrio institucional, ou at incitados por
ela, os artistas insistiam em um projeto de construo da nossa realidade
cultural e poltica, como descrito por Oiticica no seu Esquema geral da nova
objetividade 84. A grande imprensa, como principal estrutura na disputa por
uma agenda de narrativas sociais que elegem uns em detrimento de ou-
tros e pautam um repertrio rotineiro de cadernos, quadros e assuntos
de interesse comum , ganhou fora como simultaneamente metfora e
campo de atuao poltica para a arte.
Diante de rumores sobre manipulaes de notcias e lutas pela

82 In LIPPARD, Lucy. Six years: the demateriali-
zation of the art object from 1966 to 1972. A cros-
s-reference book of information on some aesthe-
tic boundaries. NovaYork: Praeger, 1973.
83 Cf. BARBOSA, Marialva. Histria cultural da
imprensa: Brasil 1900-2000. Rio de Janeiro:
Mauad X, 2007, p. 190.
84 Assim Oiticica concluiu o seu Esquema geral
da nova objetividade, de 1967: a vitalidade,
individual e coletiva, ser o soerguimento de
algo slido e real, apesar do subdesenvolvi-
mento e caos desse caos vietnamesco
que nascer o futuro, no do conformismo e
do otarismo. S derrubando furiosamente po-
deremos erguer algo vlido e palpvel: a nos-
sa realidade. (Cf. PROGRAMA HLIO OITI-
CICA, Instituto Ita Cultural. <http://goo.gl/
hIc1t6> Acesso em 20/06/2015).
 133

liberdade de expresso, os artistas representaram diversos referentes

da comunicao social em seus trabalhos. Segundo a pesquisadora
Christine Melo, em resposta ordem corrente, o foco constantemente

-
tural e para um novo repertrio originado das mais diversas mdias de
massa85.

para o portugus de obras de Marshall McLuhan86 trouxe conceitos

como o meio a mensagem e aldeia global para o centro do debate

87.
-
cada no obiturio de um jornal sensacionalista para pintar Lindonia,
a Gioconda do Subrbio
-
redores do seu PN3 Penetrvel imagtico um aparelho de televi-
so ligado. No vdeo Estmago embrulhado

sugerir um gesto ambguo de crtica, que tanto aceita e assimila a infor-

mao ali contida quanto deseja anul-la medida que a devora.
-
nal e, nessa prtica em que se tornava uma espcie de editor de con-

dados da diagramao original , encontrou o mote para afastar-se

semelhantes desenhos para os

esse ambiente e com a equipe que ali trabalhava permitiu ao artista

efetivar uma ocupao do cerne estrutural do jornal, violentar a rama
com novos espaos e cargas emocionais, como salienta o verso do car-

representar a mdia dentro do circuito de arte e passou a apresentar-se

85 Cf. MELO, Christine. Extre- 86 As duas obras traduzidas nos anos 1960 foram Understan-
midades do vdeo. So Paulo: ding the media: the extensions of man (Os meios de comunica-
Editora Senac, 2008, p. 78. o como extenso do homem), de 1964, e The medium is the
message: an inventory of effect (O meio a mensagem: um in-
ventrio de efeitos), escrita em 1967 com Quentin Fiore e Jero-
me Agel.
87 Em textos como Museu e televiso (1976), Videoarte:
uma potica aberta (1978) e Primeiros tempos da arte/ele-
trnica no Brasil (1997). (Cf. FREIRE, Cristina (org.). Walter
Zanini: escrituras crticas. So Paulo: Annablume e MAC USP,
2013.
 134

como artista no agendamento da mdia, disputando, para isso, o acesso

a meios de produo e distribuio em escala massiva.

Eduardo Coutinho, para citar apenas alguns, so experincias a partir

das quais pode ser examinada a ideia de interveno miditica nesse
-

Apesar de radicalmente diferentes entre si, as prticas desses artistas

-
ternativa ao silncio e alienao em um status quo autoritrio. O jogo
tenso de alojar-se no sistema que objeto de sua crtica nesse caso,

penetrao social e nele experimentar medidas de invisibilidade que,

mais do que atestarem o tamanho diminuto das demandas artsticas
frente ao real, tornam a ao parasitria atributo e funo da arte.

O vrus da negatividade
Os efeitos de Maio de 1968 na Frana emanaram para outras partes do
mundo um esprito libertrio e de contestao social vinculado ideia da con-
tracultura. No Brasil, essa atitude ancorou o programa esttico e poltico do

na superao de uma atitude colonialista geradora de subdesenvolvimento

cultural, integrantes do movimento usaram a imprensa do pas para difundir
suas ideias.
No manifesto Inventrio do nosso feudalismo cultural, publicado em
abril de 1968 no Jornal do Commercio 88, no Recife, e assinado por muitos
-

apresentaram em prol de uma instaurao de novos processos criativos

89. Apesar

de no listado no texto, o jornal, como mdia de massa ocupada naquele

ato, cumpria o papel de disseminar e, simultaneamente, ativar os preceitos
contraculturais do grupo. Na forma de um artigo de opinio inserido no
caderno de cultura entre tantas perspectivas rivais por exemplo, a pers-

88 Antes da veiculao no jornal, naquele mes-
mo ano, o texto havia sido exposto na mostra in-
dividual do artista Raul Crdola na Oficina 154,
em Olinda. (Cf. DINIZ, Clarissa; HEITOR, Gley-
ce Kelly; SOARES, Paulo Marcondes
(Org.).Crtica de Arte em Pernambuco:Escritos
do Sculo XX. Rio de Janeiro: Beco do Azougue,
2012)
89 Cf. ARANHA, Carlos Antnio; BRITTO,
Jomard Muniz de; CIRNE, Moacy; DE AN-
DRADE, Marcus Vincius; FERNANDES, An-
chieta; GIL, Gilberto; GUIMARAES, Aristi-
des; GURGEL, Alexis; MARCONI, Celso;
SILVA, Falves; VARELA, Dailor; VELOSO,
Caetano apud BRITTO, Jomard Muniz de.
Inventrio do nosso Feudalismo Cultural in
Jomard Muniz de Britto. Rio de Janeiro: Edito-
ra Azougue, 2013, pp. 32-35 (Coleo
Encontros).
 135

Ariano Suassuna como lder , o manifesto tornava-se uma espcie de

happening
prpria estrutura discursiva.
Em setembro do mesmo ano, na eliminatria paulista do Festival In-

-
lhante gesto. Com aparncia e sonoridade tropicalistas, que misturavam
referncias da cultura popular brasileira a outras do imaginrio pop inter-
nacional, como a guitarra eltrica90

meno direta censura que acabara de endurecer-se no pas, ele repetia

versos como eu digo no ao no e proibido proibir.
A plateia, sempre efusiva e j reconhecida como um fator determi-
nante nos festivais anteriores, entoou uma forte vaia que levou Caetano

a mesma juventude que vai sempre, sempre, matar amanh o velhote

assumir a estrutura de festival, no com o medo que o

senhor Chico de Assis91 pediu, mas com coragem de as-

tenho nada a ver com isso []. Ns, eu e ele, tivemos co-
ragem de entrar em todas as estruturas e sair de todas92.

tenha se tornado um marco de sua histria, pelo modo como explici-

tou uma atitude de protesto em um evento com tamanha repercusso,
transmitido pelo canal de televiso pertencente ao grupo que apoiou
o regime militar desde o princpio93. Na edio seguinte do festival,

90 Dois anos antes, em 17 de ju- 91 Chico de Assis era ator de
lho de 1967, houve em So Pau- teatro e dramaturgo. Foi dire-
lo uma passeata contra a gui- tor das transmisses televisi-
tarra eltrica. Msicos como vas dos Festivais na TV Re-
Gilberto Gil, Edu Lobo, Elis Re- cord e na Rede Globo.
gina, Geraldo Vandr, Jair Ro- 92 Cf. udio original e trans-
drigues e Z Kti desfilaram crio do discurso de Caeta- e revisava o envolvimento das
pelas ruas, alguns com a ban- no Veloso no site do projeto
deira do Brasil na mo, alegan- Tropiclia Disponvel em:
do que a guitarra era um instru- <http://goo.gl/SqiE7>. Aces-
mento do imperialismo so em: 27/5/2015.
ianque.
93 Em junho de 2013, com as
manifestaes que ocorreram
em vrias cidades do Brasil, o
jornal O Globo publicou o edi-
torial Apoio editorial ao Golpe
de 64 foi um erro, que admitia
Organizaes Globo com o re-
gime militar. A verso on-line
encontra-se disponvel em:
<http://goo.gl/e4Xj7G>. Aces-
so em: 27/5/2015.
 136

avaliao posterior de feitos dos seus companheiros tropicalistas, como

o discurso de Caetano. Alegou que, para desbancar uma corrente de
-

da Universidade Federal da Paraba (UFPB), altura j aposentado com-

pulsoriamente pelo AI-5, embora fragmentada em grupos ou at mesmo

nesse mar de rosas o vrus da desobedincia, da negatividade, da di-

vergncia em face das projees e estmulos oferecidos pelo Sistema94.
A metfora serviria certamente para se considerar a atividade de jor-
nalistas que enfrentaram o golpe e o endurecimento da censura j de
dentro das redaes de grandes veculos de imprensa. Esse era o caso
de nomes como Paulo Francis e Millr, que, alm de atuarem nas prin-
O
Pasquim -
bral. Esse jornal, que, embora alternativo, sempre teve tiragens altas95,
congregou humor, ambiguidade e coragem na cobertura de poltica e de
comportamento.
O corpo editorial costumava optar pela via do enfrentamento. No

comunicao, foi instituda logo no ano da abertura do jornal, aps uma

-
do da publicao de uma stira da pintura Independncia ou morte ou
O Grito do Ipiranga (1888), de Pedro Amrico, redesenhada por Jaguar
com a frase Eu quero mocot, os editores dO Pasquim foram presos
por trs meses. Mesmo assim, devido a um mutiro de colaboradores
temporrios, o jornal resistiu.
Por uma via complementar ao enfrentamento e resistncia que
provavelmente funcionou pelo fato de os colaboradores dO Pasquim se-

, alguns artistas passaram a discutir e defender o que Ronaldo Britto

chamou de inteligncia estratgica. Rebatendo no apenas a interfe-
rncia da censura e tambm de um mercado recm-formado de gale-
rias e casas de leilo no processo criativo, em tempos de crescimento
do poder aquisitivo devido ao milagre econmico96, o crtico defendeu

94 Cf. BRITTO, Jomard Muniz.
Retomemos os debates na
universidade. Entrevista con-
cedida a Jos Carlos Targino.
Publicada no Jornal Universit-
rio Recife, em abril de 1979.
95 O Pasquim foi fundado em ju-
lho de 1969 com tiragem inicial
de 20 mil exemplares. Nos anos
1970, chegou a ter 200 mil cpias
a cada edio.
96 Entre 1968 e 1973, nos anos mais duros da
ditadura, a economia brasileira vivenciou um
ciclo de desenvolvimento. O crescimento do
Produto Interno Bruto (PIB) saltou de 9,8% ao
ano, em 1968, para 14%, em 1973, e a inflao
passou de 19,46%, em 1968, para 34,55%, em
1974. Paradoxalmente, houve aumento da
concentrao de renda e da pobreza.
 137

uma busca por maneiras de agir criticamente acerca da prpria posio

da arte na sociedade. Para isso, era preciso que os artistas soubes-
sem combater um incessante processo de recuperao e bloqueio dos

das suas propostas e como tornar a arte um instrumento que tenha o

97.

Anlise do circuito
referncia a experincias vivenciadas por artistas como Cildo Meireles e
Antonio Manuel, ambos contemporneos de Brito na cena carioca. Jus-
tamente em busca de uma existncia do seu trabalho de arte no corpo
social, Cildo comeou a investigar noes mais amplas de circuito.

1) Existem na sociedade determinados mecanismos

de circulao (circuito)

2) Esses circuitos veiculam evidentemente a ideolo-

gia do produtor, mas ao mesmo tempo so passveis de
receber inseres na sua circulao

98

Esse era o comeo da srie Inseres em circuitos ideolgicos, que,

alm da formulao textual, levou o artista a vrias demonstraes, nas
quais dava exemplos prticos de sistemas de informaes que poderiam
ser criados em circuitos vigentes do cotidiano, mas revelia do seu po-
-
rias e crticas aos circuitos que as hospedavam: a mdia, a mercadoria

A primeira delas ocorreu em 12 de janeiro99 -

cados do Jornal do Brasil, por isso foi chamada de Insero em jornal.

97 No texto Anlise do circuito, publicado na 98 Cf. MEIRELES, Cildo. Inseres em circui-

Malasartes. Entre setembro de 1975 e junho de
1976, a revista teve trs nmeros editados por um
grupo de artistas e crticos, como CarlosVergara,
Bernardo de Vilhena, Carlos Zilio, Cildo Meireles,
Jos Resende, Luiz Paulo Baravelli, Ronaldo Bri-
to, Rubens Gerchman eWaltrcio Caldas. O con-
tedo da revista relacionava-se com o debate in-
ternacional da arte conceitual e fazia crticas ao
mercado de arte que se organizava no Brasil na-
quele momento.
tos ideolgicos (1970). In: MACIEIRA, Eudo-
ro Augusto. Cildo Meireles, Rio de Janeiro:
Funarte, 1981, p. 24-25.
99 A manchete de capa do Jornal do Brasil de
11 e 12 de janeiro de 1970 era Mdici anuncia
20% aos servidores em 48 horas. A foto de
destaque trazia o sorteio das chaves da Copa
do Mundo, que aconteceria naquele ano no
Mxico. Por cobrir dois dias, domingo e se-
gunda-feira, a edio tinha 124 pginas. Cf. Bi-
blioteca Nacional, Memria Jornal do Brasil.
Disponvel em: <http://goo.gl/BnRBKY>.
Acesso em: 17/6/2015.
 138

no Cildo) porque no ato da compra o nome do artista foi mal-entendido.

-
Clareira, se destacou dos demais

estava diante dos olhos do leitor. O artista apenas declarava sua exis-
tncia experimental e desviante dos habituais usos de oferta e procura.
O Jornal do Brasil voltou a ser mdia de interveno de Cildo no dia
100 -
fcil de achar: reas. Extensas. Longnquas. Cartas para Cildo Meire-

tipo de abstrao sobre uma paisagem desconhecida, o artista j havia

jornal se esgotaram medida que percebeu que naquela mdia se esta-

va limitado pela facilidade de controle que esse circuito tem. No regime
ditatorial isso era fatal, era s chegar l e censurar, mandar empastelar
101.

arte j haviam sido alcanadas nos jornais, mas Cildo no continuaria

-
seminado entre artistas de sua gerao, junto com a arte correio. Em de-
poimento mais recente, dado autora de Arte-veculo
encontrou nas mercadorias industriais e principalmente no dinheiro a
sada para o que estava procurando: mecanismos que existem dentro
da sociedade e que so prova de censura. As garrafas de Coca-Cola
retornveis, feitas em vidro, e as cdulas de dinheiro apresentavam-lhe
essa possibilidade. Eram muito difceis de censurar, daria um trabalho
danado. Essas Inseres em circuitos ideolgicos criam muito mais pro-
blemas102.
Foi nelas, por exemplo, que o artista conseguiu grafar (em carimbo,
no caso das notas, e em silkscreen ou decalque-mania nas garrafas)

de Informaes Centro de Operaes de Defesa Interna de So Paulo

100 A edio do Jornal do Brasil da quinta-feira,
3 de junho de 1970, tinha em destaque Terroris-
tas dizem que j mataram Aramburu e Brasil
estreia contra tchecos. Em total, o jornal tinha
sessenta pginas e o classificado de Cildo Mei-
reles aparecia na pgina 3 do ltimo caderno.
Cf. Biblioteca Nacional, Memria Jornal do Bra-
sil. Disponvel em: <http://goo.gl/BnRBKY>.
Acesso em 17/6/2015.
101 Cf. RIVITTI,Thais. A ideia de circulao na
obra de Cildo Meireles. Dissertao de mes-
trado em Artes. So Paulo, Escola de Comu-
nicaes e Artes/Universidade de So Paulo,
2007, p. 78.
102 Entrevista dada a Ana Maria Maia no ate-
li do artista, em Botafogo, Rio de Janeiro, no
dia 2 de maro de 2015.
 139

(DOI-CODI) forjou evidncias de que houvera sido suicdio e assim o

caso foi amplamente noticiado pela imprensa, que no tinha liberdade
nem meios para relatar outra verso dos fatos. Usando do anonimato
e da alta capilaridade da rede de trocas monetrias, Cildo conseguiu
quebrar esse silncio, mesmo que em escala restrita e um tanto quanto
utpica.
Agnus Dei Nova cr-
tica -

Inseres em circuitos ideolgicos Projeto Coca-Cola, que tornava per-

ceptvel sua desproporo diante da escala industrial. O crtico cobriu
todo o cho da galeria com garrafas de refrigerante similares s usadas
por Cildo. Perdidas entre elas, havia apenas trs grafadas pelo artista, e,

-
. 103

O entendimento de Frederico, expresso na forma desse gesto crtico-

encampar a prpria crtica de Cildo104. Na poca, o artista recebeu essa

leitura vinda de um dos seus maiores interlocutores, vale ressaltar
como uma compreenso oportuna e didtica sobre um dos aspectos
do trabalho, a sua diluio ou risco de invisibilidade. Em depoimento

isso no o preocupava105
de Arte-veculo

[] o que eu gostava, portanto, era essa dinmica

de um indivduo, na solido da sua individualidade,
poder de alguma maneira afetar uma macroestrutu-

nenhuma esperana de que eu pudesse reverter isso

artista. O fato de as inseres desaparecerem tal-

uma prova eloquente. O trabalho informado pela

Teoria do no-objeto [de Ferreira Gullar], que eu acho
que um belssimo texto, mas que no tem nenhum

103 MUSEU DE ARTE DA PAM- 104 Cf. MORAIS, Frederico. 105 Cf. RIVITTI,Thais, op. cit.,
PULHA. Neovanguardas: cat- Frederico Morais, o crtico-cria- p. 76.
logo. Belo Horizonte, 2008, p. dor. Disponvel em: <http://
163. goo.gl/BnxEIb>. Acesso em:
25/5/2015. Entrevista concedida
a Gonzalo Aguilar.
 140

trabalho que ilustre bem essa teoria. Os Bichos [de

Lygia Clark] no rompem com o objeto. Claro que as
Inseres queriam ser um no objeto de verdade, uma
coisa que se fundasse na oralidade, uma coisa virtica,
que pegasse carona em alguma coisa pre-existente106.

A desapario tornou-se uma condio para a obra de arte que, nes-

sa conjuntura histrica, era formulada como prottipo de uma sociabi-
lidade crtica. A despeito da incompreenso absoluta ou mesmo da neu-

tendo sua existncia ligada negatividade, possibilidade de corromper

-
camente, nem que fosse sobre apenas um.

H o j e , a arte
est e com u n i ca do
Se no obra material nem projeto efetivo de transformao social, a arte
resiste na defesa dessa gerao de artistas como informao, contrainfor-
mao. Um dos principais animadores, com Daniel Santiago, da adeso
de representantes brasileiros rede internacional (ou sem nacionalidade)
107 com uma

-
tncia da prtica dessa guerrilha artstica contra a represso da ditadura
-
municado, que virou carimbo e proliferou-se por outros trabalhos de arte
correio, mas, principalmente, consolidou-se como um conceito fundamen-
tal para toda sua obra. Se arte comunicado, vale examinar onde, como e
para quem pode s-lo.
Em paralelo produo de arte correio e investigao da linguagem
dos multimeios108 (fotocpia, carimbo, fax etc.), Paulo e Daniel, ou a Equi-
-
cados em jornais do Recife, onde moravam, e tambm de outras cidades

106 Entrevista a Ana Maria
Maia.
107 O texto tem algumas reedi-
es feitas pelo artista. A final,
de 2005, encontra-se no site do
Festival de Artes 2005. Dispon-
vel em: <http://goo.gl/QUhX-
gI>. Acesso em 25/5/2015.
108 A partir de uma traduo de multimedia ou intermedia,
que vinham sendo usados internacionalmente, o termo multi-
meios foi amplamente empregado porWalter Zanini nos textos
e relatos que fez entre os anos 1970 e 1980, quando dirigiu o Mu-
seu de Arte Contempornea da Universidade de So Paulo
(MAC-USP, 1967-1978) e curou a 16 e a 17 Bienais de So Paulo
(1981 e 1983). Na introduo do catlogo da edio de 1981, ele
definiu multimeios como criatividade que configura os siste-
mas de expresso e comunicao a partir da utilizao dos no-
vos media ou ainda a produo artstica que empregue meios
de comunicao e processos de intermedia (e.g., arte realizada
com vdeo, laser, computador, livros-de-artista, fotografia, reali-
zao de performance etc.) (Cf. ZANINI,Walter. Introduo. IN:
XVI Bienal de So Paulo - Catlogo Geral. So Paulo: Fundao
Bienal de So Paulo, 1981, p. 23).
 141

do Brasil. A partir de experincias dadastas e tendo Cildo Meireles como o

antecedente mais notrio daquele tipo de prtica no Brasil, a dupla fundou

de circuitos nas Inseres em jornais

de Bruscky e Santiago foi o interesse de ambos por poesia de vanguarda,
pelo movimento Poema/processo109
visual.
Alm disso, no se pode deixar de mencionar as investidas que a equipe

os artistas praticaram happenings e intervenes que ocuparam as ruas e

Expocorpopon-
te I Exposio Internacional de Arte em Outdoor/Artdoor (1981) e Po-
esia Viva 110

certamente podem ser relacionados s aes feitas na mdia de massa. O

jornal, com sua tiragem e circuito de distribuio, era tambm a cidade.
-
-
nhava, fotografava e j demonstrava ser um vido pesquisador de arte con-

de publicidade e redaes de jornais. Somavam-se a energia e o poder de

de um com a cincia e do outro com a literatura e a performance.

Dirio de Pernambuco -
cio da equipe, intitulado Arteaeronimbo
composio aleatria de nuvens coloridas no cu do Recife111. Mais do
que uma metfora, era uma inveno que a dupla passou anos tentando
-
mentos e do aluguel de um avio. Em detrimento da falta de recursos e de
-
cados em outros veculos, como o Jornal do Brasil
e o Village Voice
O experimento de colorir nuvens no foi mesmo feito, mas, segundo

registrar a ideia. Se eu publico, est feito o trabalho112. O artista, dessa

maneira, demonstrava vincular a existncia da obra sua formulao

109 Em Pernambuco, no fim dos 111 O anncio foi publicado no caderno de

anos 1960, o movimento Poe-
ma/processo contou com a par-
ticipao do artista Paulo Brus-
cky e dos escritores Arnaldo
Tobias, Alberto Cunha Melo,
Ivan Maurcio e Jobson Figuei-
redo. (Cf. BRUSCKY, Paulo.
Arte e multimeios. Recife: Zolu,
2010, p. 94.)
110 Cf. Ibid., pp. 96-97.
classificados e tambm no de vida urbana do
Dirio de Pernambuco, na parte inferior de
uma pgina cuja manchete principal era Rui
Carneiro diz que sua preocupao a
Paraba.
112 Em entrevista concedida a Ana Maria
Maia no Sesc Campinas, em 23 de maio de
2015, durante sua participao no Programa
Performance.
142

social a ideias, utopias e tabus. Em caminho semelhante ao trilhado

-

projeto como categoria para a arte, que, a partir dessa prtica, podia
exercer sua funo tanto crtica quanto prospectiva. Lado a lado com

chegavam a causar um efeito desnorteador dos parmetros sobre o real,

o verdadeiro e o possvel.
-
perceptvel para as direes dos principais jornais da cidade e vrios

-
samente. dessa fase um trabalho como Eu como poesia nhoc nhoc nhoc

sentido de ser poesia, eu ser [algo como] poesia. A ambiguidade era a

113, relembra,

pontuando o enfrentamento com uma cena de poesia acadmica (par-

nasiana) da cidade.
Outros experimentos aconteceram em Poesia paga, Poesia de repe-
tio e AAAA! BABA! CACA! TATA, todos publicados por Paulo Bruscky
no mesmo ano, testando os limites da objetividade comunicacional do
meio. O estopim para que a dupla fosse vetada do jornal, no dia 18 de
A gente vive sorrindo, mas paga caro, que
chegou a ser depositado e logo em seguida censurado. Isso porque o di-
-

terem sido presos devido Exposio de Arte Correio

na sede dos correios do Recife.
O veto foi noticiado em veculos nacionais, como na revista Veja de
-

113 Em entrevista concedida a

Ana Maria Maia no Sesc Soro-
caba, em 22 de abril de 2015, du-
rante os programas pblicos
promovidos pelo arquivo Arte-
veculo dentro daTrienal de So-
rocaba, com curadoria de Josu
Mattos.
 143

desembolsados em trs domingos, o texto mencionava algumas das

Mquina de
, Uma vtima do bombardeio de informao e Ex-intelectual,
especialista em brincadeiras de salo e terrao, dentre outras. Aps dar

que o movimento existia para furar a panelinha das pginas literrias e

oferecer um novo tipo de opo para o leitor de classe mdia114.
O episdio no parou a atividade da Equipe, dos seus integrantes

at hoje115 116. Cerceados no

dirio, Bruscky e Santiago migraram para o Jornal do Commercio, onde

tinham amigos jornalistas, como Alberto Cunha Melo, Marco Polo e Cel-

atravs da rede de arte correio uma convocatria para que artistas bra-
sileiros e estrangeiros enviassem propostas para uma -
cada, que foi editada de forma independente naquele mesmo ano, com
apenas um exemplar em offset, distribudo entre os participantes e em

local com interlocutores de outros lugares, mas a inscrevia em um cir-

cuito restrito a especialistas e interessados no assunto.
Quando questionado sobre as possibilidades de comunicao social

Interessa a algum, que numa madruga-

e que na janela havia uma tbua de carne, uma pedra de amolar e um

frasco de planta e que eu estava com frio de cueca e p no cho. A ima-

para falar da intimidade ou de um ponto de vista individual. No sei se

chega a ser exibicionismo, mas sinto que o tempo todo estou tentando
me comunicar117.
Situada num grid

114 Cf. Desclassificados, 115 Durante a pesquisa para Arte-veculo, 116 A maior parte deles cata-
Veja, 27 de julho de 1977, p. 122. Bruscky seguia publicando. Em resposta no- logados por Paulo Bruscky
Matria no assinada. tcia de que o deputado Eduardo Cunha havia em seu arquivo pessoal, no
proposto a construo de um shopping center Recife.
anexado ao Congresso Nacional, em Braslia, 117 Em entrevista a Ana Maria
o artista fez o seguinte anncio: Motel pro- Maia.
curo scios empresrios para colocar um mo-
tel dentro do shopping center da cmara. No
mesmo dia, publicou tambm: Livro de artista
classificado pegue essa pgina, utilize esse
anncio como capa, recorte 20 pedaos do ta-
manho dela e monte seu livro.
144

mensagem lanada ao desconhecido, indicativo de conversa, muito em-

-
didos, a
manuscrita de Armando de Castro Carvalho, de Joo Pessoa. Arteaero-
nimbo, nas verses do jornal O Povo de 1982 e do Village Voice de 1986,
cativou o interesse da crtica de arte Dodora Guimares e do jornalista

opinio de Cildo Meireles, devido ao estranhamento esttico dos textos,

antes mesmo de um estranhamento poltico ou tico118. Para os padres
-
de para experimentar gneros, apoiando-se principalmente na incom-
-

e no entendiam. Se entendessem, no aceitariam e nem publicariam. A

gente usou essa brecha119.

quando promoveu, dentro do Festival de Arte da Universidade Catlica

de Pernambuco (Unicap), o R(U)dio Arte Show. O projeto consistia na
vivncia de um processo de criao em arte sonora, que era transmiti-
do pelos alto-falantes do ptio da Unicap durante o perodo do festival.

colaboradores da rede internacional de arte correio era editado em um

-
pal apresentador da Rdio Clube, emissora dos Dirios Associados que
tinha grande popularidade. Segundo Paulo, o programa era cafona, fa-

estamos aqui com Paulo Bruscky, com as coisas que ningum entende.
E ria. Mas todo motorista de txi escutava aquele programa, era muito
120.

Alm de trabalhos de Paulo Bruscky, foram exibidos121 no R(U)dio Arte

Show propostas de artistas como Daniel Santiago, Leonardo Duch, Roberto

Recife, e era muito frequentada pela cena cultural da cidade.

118 Idem. 121 Cf. Artistas postais vo

119 Idem. ao ar hoje pela Rdio Clube.
120 Idem. Matria publicada no Dirio
de Pernambuco de 2 de junho
de 1978. Autoria no
identificada.
 145

Qual o lugar da arte?

What is the place for art?. A pergunta grafada por Cildo Meireles nas
Inseres em circuitos ideolgicos Projeto Coca-Cola tinha conotaes
geopolticas e uma crtica s estruturas de exibio de arte. Naquele
mesmo ano, o artista participara da mostra Information, no MoMA, em
com um texto122 em que refutava uma identidade nacional
para o seu trabalho. Quando, nas garrafas, perguntava-se anonima-
mente sobre um lugar para arte, sem oferecer respostas, tambm que-
ria motivar novas buscas ou, no mnimo, a suspeita sobre espaos de

-
priao de novos circuitos (urbanos, industriais, monetrios, midi-
ticos etc.) por artistas dessa gerao. Entre eles, os de Antonio Manuel
destacaram-se pelo modo como extrapolaram o desejo de apenas ocupar
esses espaos e passaram a ser criados dentro deles. O processo de
trabalho do artista tornou-se uma negociao com os funcionrios do

trabalhos que tiveram seu sentido marcado pelo grande perigo de se

sistema empresarial, poltico. Chegou um momento em que eu s podia

sair do expediente mostrando tudo o que eu tinha feito naquele dia123,
explica Antonio, referindo-se aos Flans Clandestina
e Exposio de 0 s 24h
Em busca de material para os primeiros Flans

O Dia, um dos mais lidos no Rio de Ja-

-
tas, e, informalmente, conseguiu o passe para frequentar a redao, mas

Superior de Desenho Industrial (ESDI) e tinha curiosidade pelos processos

de diagramao e impresso em grande escala. Como artista em incio de
carreira, interessava-se tambm pelo modo como o veculo tinha um poder
124, naturalmente maior

e mais diverso do que o das mostras de arte.

122 No texto Cruzeiro do Sul,
Cildo Meireles fala que no es-
tava na mostra Information
para defender uma carreira
nem uma nacionalidade. Esta-
va para falar sobre uma regio
que no consta nos mapas ofi-
ciais, e que se chama, por exem-
plo, CRUZEIRO DO SUL. (Cf.
MEIRELES, Cildo. Cruzeiro do
Sul. In BRITTO, Ronaldo;
VENNCIO FILHO, Paulo. O
moderno e o contemporneo
[o novo e o outro novo]. Rio de
Janeiro: Funarte, 1980, p. 28).
Alm de Cildo, integraram a
exposio cerca de 100 artis-
tas de vrias partes do mun-
do. Nascidos ou radicados no
Brasil, participaram, alm de
Cildo, Artur Barrio, Guilher-
me Vaz e Hlio Oiticica.
123 Em entrevista a Ana Maria
Maia, dada em seu ateli, em
Laranjeiras, no Rio de Janei-
ro, nos dias 27 e 31 de maro
de 2015.
124 Idem.
 146

Clandestina, que ambi-

cionava a criao e a distribuio de uma verso alternativa das capas

ao total, os exemplares da srie

Antonio tambm inseria dados dos seus prprios trabalhos e costu-

mava criar analogias entre suas inseres e os textos e imagens origi-
nais, de modo a confundir o leitor sobre o que de fato era notcia e o que

de Lygia Pape usando dentadura de vampiro. A narrativa de horror, em

tom novelesco, foi propositalmente redigida para confundir-se com as
chamadas do jornal, como Noivos assassinados e Pistoleira morena,
sensacionalistas e de forte apelo popular125 como costumava ser a pauta
do peridico.
Antonio alega que, com a manipulao dos jornais, queria criar uma
duplicidade, uma falcia que era difcil de distinguir da realidade126.
A falcia ganhava veracidade quando o artista, conforme experincias
127, imprimia uma pequena tiragem

das capas alteradas, as reintegrava ao corpo do jornal e levava para as

-

Com essa distribuio paralela128, completou-se o ciclo da obra, que

ao sistema esttico, botando os trabalhos das ruas, fora das instituies

129. A estratgia, que

Antonio vinculou a cartilhas de guerrilha cotidiana que acessou vindas

Motta130, permitiu que ele concebesse um trabalho limtrofe com o real,

125 A historiadora Marialva
Barbosa definiu a linha editorial
dO Dia como um jornalismo
de sensaes. Com essa lin-
guagem, o fundador do jornal,
Chagas Freitas, garantia a po-
pularidade do veculo e sua efi-
ccia na manuteno de uma
plataforma poltica para suas
campanhas como deputado e
depois governador do Rio de
Janeiro. (Cf. BARBOSA, op.
cit., 2007, p. 213.)
126 Em entrevista a Ana Maria
Maia.
127 Em 27 de novembro de
1960, Yves Klein publicou no
suplemento do France Soir, o
Dimanche, uma foto do seu
mergulho no vazio e a man-
chete Theatre du Vide em
lugar dos contedos origi-
nais. Ele e alguns amigos dis-
triburam o jornal manipulado
em quiosques e bancas de
Paris. (Cf. FLRIDO, Marisa.
Ns, o outro, o distante. Rio de
Janeiro: Editora Circuito,
2015, p. 198.)
128 O artista reencenou essa distribuio
para o filme Annimo e incomum (1990), de
Rogrio Sganzerla. Verso on-line disponvel
em: <https://goo.gl/x3P6SD>. Acessado em:
25/5/2015.
129 Em entrevista a Ana Maria Maia.
130 Eu me lembro, pelos anos 1960, Hlio Oi-
ticica, Nelson Motta e eu recebemos um livri-
nho vindo de Londres com maneiras de sub-
verter os sistemas. Era uma coisa marginal,
contra o sistema poltico l na Inglaterra. Eles
ensinavam como fazer uma ficha para usar o
telefone pblico ou burlar o bilhete de nibus.
Essa cartilha reunia tudo o que era contra o
sistema e o status quo, tticas para uma guer-
rilha cotidiana, relembrou em depoimento
para Ana Maria Maia.
 147

sobre o qual interferia concretamente, embora em escala prototpica em

relao ao alcance da mdia de massa. Clandestina assim como In-
seres em jornais e Inseres em circuitos ideolgicos comprovou que
aquele intervalo quixotesco entre a arte e o mundo poderia ser um lugar
-

pudesse ser uma estratgia para o seu trabalho.

Moderna, que acontecia no MAM-RJ, para a performance O corpo a

obra, inspirou a mxima de Mrio Pedrosa sobre arte como exerccio
experimental de liberdade, experimentou tambm certa clandestini-
dade para investigar brechas nos discursos hegemnicos. Foi s quan-
do as capas manipuladas voltaram ao circuito da arte, onde tornam-se
testemunho de sua trajetria mundana e annima, que elas ganharam
uma assinatura manuscrita do artista, lado a lado com o crdito do fun-
dador do jornal, que desconhecia toda a iniciativa. Dessa maneira, pela
perspectiva de Antonio, tornam-se os dois coautores de uma narrativa

Os regimes de visibilidade e as condies de apario na esfera so-

cial pautam outros trabalhos do artista, desde as Urnas quentes (1968),
-
ramente mostradas no evento Apocalipopotase, no Aterro do Flamengo,
Rio de Janeiro. Na instalao Fantasma
Jornal do Brasil, logo aps a chacina

rosto coberto por um lenol, enquanto d entrevista para a imprensa.

involuntria daquele fantasma, encurralado em uma cosmogonia em

que h poesia, mas tambm choque, energia produtiva, mas tambm
risco de ser manchado por uma matria porosa e preta131.
Em texto sobre a Clandestina, Dcio Pignatari descreveu a oscilao

si mesmo e, nesse gesto, projetar-se signo. Para ele, Antonio Manuel

teria virado linguagem e, dessa maneira, adquirido a capacidade de
manipular simulacros, modelos de integrao social. Estaria dentro e
-

comum em atos alternados de participao e crtica.

131 Entrevista a Ana Maria Maia.

148

Logo depois que a proposta de O corpo a obra 132 foi recusada pelo

corpo nu, o prprio artista, um homem vivo) no constar no edital do

concurso, Antonio encontrou-se com outros artistas e foram juntos
casa de Mrio Pedrosa. L, gravaram um depoimento em que o crtico
deu apoio iniciativa e ao modo como, nela, a vida transcendeu a con-
cepo tradicional de obra de arte. Segundo Pedrosa, tratava-se de um
exemplo de atividade-criatividade, que arranca o homem da sua rotina
do cotidiano e pe sempre uma nova dimenso para o homem. O crtico
prosseguiu dando recomendaes ao grupo:

a atividade-criatividade um capitulo fundamen-

tal do mundo de hoje de recusa sociedade de

rompe tudo, no plano tico, no plano sexual, moral

no plano criativo133.

-
O corpo a obra voltasse
a acontecer e vetaram os projetos apresentados pelo artista, a comear
pela mostra, um happening com um bode vivo no foyer do museu. Era
mesmo uma aluso a body (corpo) e memria recente de Antonio
naquele espao. Ainda orientado pelas ideias do crtico, que estipula-

O Jornal, e
contou-lhe sobre a ideia de Exposio de Antonio Manuel: das 0:00 s 24
horas, um encarte de oito pginas nas quais mostraria todas as propos-
tas vetadas pelo MAM, alm da conversa transcrita com Mrio Pedrosa
e do texto de Dcio Pignatari.
Em retaliao demisso recente de Reynaldo Jardim, o editor acei-

cpias, a mostra quebrou as convenes sobre espaos de exposio de

132 O cartunista Jaguar publi-

cou duas caricaturas de Anto-
nio Manuel em O corpo a obra:
uma no jornal ltima Hora, de
27 de maio, e outra nO Pas-
quim, de 28 de maio de 1970.
133 Cf. PEDROSA in O Jornal,
1973, p. 2.
 149

arte, por ter circulado como uma pea editorial esgotada em apenas um

do artista: o espao do MAM, das Galerias/ tornou-se pequeno em/

relao aos/ veculos de massa.
As atividades nO Dia continuaram em paralelo a essa experincia
nO Jornal. Depois das Clandestinas e da Exposio de Antonio Manuel:
das 0:00 s 24 horas, a produo de -

vrios funcionrios do jornal o ajudando a imprimir

O dono do jornal o desconhecia e, quando soube da sua rotina ali nos
-
pender tudo.
Encerrou-se assim o histrico de intervenes miditicas de Antonio
-
o social voltaram condio metafrica e, em alguns casos, ganharam
a paisagem urbana. Em Frutos do espao
Catacumba da Lagoa, no Rio de Janeiro, esculturas ortogonais feitas
em ferro atriburam um grid
da cidade. As estruturas narrativas e de visibilidade foram dadas pelo
trabalho, mas a histria permaneceu em aberto.
 150

a d i s pu t a
do l ug a r

197185
P e l a
redemocratizao ,
um outro lugar :

desaparecer da
cobertura de
cultura e reaparecer
como fato social
O
Dia para experimentar o poder de desvio de suas propostas artsticas
sobre as notcias cotidianas. O percurso de Eduardo Coutinho foi o con-

Jornal do Brasil e algumas ex-

emissora134 para desenvolver sua linguagem em documentrio.

no vdeo. Isso acabava dando autonomia equipe porque a morosidade

134 Em O olhar no documentrio: Carta-depoi- que caracterizava o padro globo de qualida-

mento para Paulo Paranagu, depoimento re-
alizado em 1992 para o catlogo do Festival du
Rel, Eduardo Coutinho conta que no fim dos
anos 1970 toda a produo da Globo, inclusive a
jornalstica, era feita em tape; o Globo Reprter
era a nica exceo. Trabalhvamos com filme
reversvel, isto , sem copio, sujeito a sujar-se
e ficar riscado na moviola. Isso aumentava a
distncia entre o produto tecnicamente limpo
de e o Globo Reprter. Resumindo, nessa
poca, apesar da ditadura, nosso ncleo
constitua-se num nicho dentro da emissora,
onde se permitia um trabalho mais autnomo,
mais lento, mais aberto controvrsia e a
uma relativa experimentao (Cf. BRAGAN-
A, Felipe. Srie Encontros: Eduardo Coutinho.
Rio de Janeiro: Beco do Azougue, 2008, p. 15).
 151

dessa autonomia e de equipamentos de captao do som direto inova-

dores eram pequenos e davam mais mobilidade , ele investigou o
gnero da reportagem a ponto de detonar uma coisa simples. A possi-
bilidade, segundo conta, em um relato feito em 1992, de olhar e escutar
pessoas, em geral, pobres, do campo e da cidade o Outro social e
-
135. A rotina como

jornalista, que se prolongou por nove anos, foi um importante laborat-

rio para o desenvolvimento do cinema de conversao de Coutinho,
revelia, naturalmente, de um padro Globo de qualidade.
-
mentarista foi pautado para viajar para Ouricuri (PE) e Irec (BA), dois
dos lugares mais afetados pelo fenmeno climtico. Chegando em Ou-
ricuri, quis prolongar-se na pesquisa e descartou a ida outra cidade.

programa, assim como o plano, foram para o ar inte-

grais, devidamente aprovados, depois de passar pela

dos planos de trs a quatro segundos; quando h

movimento de cmara, pode-se chegar aos sete, oito

jornais dirios, e um minuto, nas reportagens mais

extensas. Isso so regras no escritas, claro. Isso se
136.

se a abertura poltica do pas. Jornalistas, artistas e intelectuais ar-

135 Cf. COUTINHO, Eduardo in

BRAGANCA, Felipe. op. cit., p.
15.
136 Cf. Idem, p. 18.
 152

de represso. Estar na televiso e nos jornais mais populares era uma

oportunidade de efetivar uma comunicao de massa, apresentar de
maneira direta e franca a realidade e os problemas do pas. O objetivo
no era mais o estranhamento e a suspenso diminuta e momentnea
de uma ordem, como o fora para a gerao anterior. Era agora o dever
de construir coletivamente uma nova ordem, enfrentando, para isso,
as diferenas sociais e o recalque que levou muitos dos veculos e in-

consentimento da proibio.

-
-
o de lugares e agentes para a arte e a prtica de interveno urbana,

visibilidade e tentativas de deslocamento do que se entende como pauta

e apurao de notcias de cultura. Os enunciados dos artistas passaram
a ser somados s mais variadas retricas e, em alguns casos, estrate-
gicamente colocados em searas a serem cobertas por diferentes reas
de especialidade, como, por exemplo, as editorias de cidades ou vida
urbana. De uma maneira ou de outra, o que importava era interpelar

defender e exercer a proatividade da arte no processo democrtico.

No jornalismo
nem cinema, a vida
-
-
di da democracia.137 O depoimento de Fernando Barbosa Lima, di-

Programa Abertura -
laboradores no que os historiadores da imprensa chamam de metalin-
guagem televisual da abertura democrtica138. O intervalo entre a con-

AI-5 em 1968.

137 Cf. LIMA, Fernando Barbo-

sa in RIBEIRO, Ana Paula Gou-
lart; SACRAMENTO, Igor;
ROXO, Marco. Histria da tele-
viso no Brasil: do incio aos
dias de hoje. So Paulo: Editora
Contexto, 2010, p. 141.
138 Cf. Idem, p. 143.
 153

Barbosa Lima foi um dos autores responsveis pela superao de

uma linguagem radiofnica que persistia nos primeiros programas de
televiso. Desse modo, contribuiu para o desenvolvimento de um gne-

Preto no Branco clo-

se-up de cmera para capturar a expressividade do entrevistado. J na
Jornal de Vanguarda, que,
pela originalidade da sua abordagem, ganhou prmio internacional, foi
usado em aulas do terico Marshall McLuhan, e terminou sua histria

O mesmo currculo que havia levado Barbosa Lima lista dos sub-
versivos aos olhos da linha dura do regime, o tornaram o nome mais in-
dicado para assumir uma empreitada em tempos de abertura. O Presi-
dente Joo Figueiredo e o Ministro da Justia Petrnio Portela formaram
comisses e mecanismos para fomentar o processo democrtico e, entre

Barbosa Lima foi convidado a desenhar o piloto do Abertura junto com

Caderneta de Poupana.
O programa teve cerca de sessenta edies, sempre aos domingos,

baixo, inversamente proporcional ao seu alto capital humano. Em uma

-

-
ber Rocha. Dentre os convidados, alguns malditos pelo regime, como
-

que Roberto DAvila encontrou em Paris139.

A vinheta que iniciava o Abertura atribua trilha dramtica e som de

ordenados pelos anos dos seus mandatos, at chegar naquele que ocu-

-
cos, artistas, intelectuais considerados de esquerda. O vdeo passava a

139 Cf. Idem, p. 144.

 154

espelho falso (1928). No s o ttulo, como tambm a composio da

obra, forneciam metforas para um gesto duplo de engajamento e des-

um cu representava uma poro de liberdade que o observador podia,

simultaneamente, viver, de maneira ativa, ou apenas receber, como uma
representao parcial e encerrada do mundo.

ncora do Reprter Esso -

mais um sentido de retomada. Os chamadas que entoava iam de Aber-

tura
parecer chapa-branca. Um Brasil livre para brasileiros livres. Na edio
off o seguinte editorial de opinio:

No existe desenvolvimento econmico sem de-

-
tria como o grande veculo para elevar o mais rpido

consciente sobre seu papel de dar ao povo um pouco

aberta com a participao de todos []. Presidente,

to importante quando a abertura poltica a aber-

de libertao econmica e cultural. Abertura cultural:

140.

Com essa defesa, o programa debruava-se sobre assuntos que su-

postamente estavam fora de questo, como a desigualdade educacional

estigma a partir de uma herana do rdio, que, diferente do teatro, vis-

lumbrava uma cordialidade passiva de sua audincia popular. Confor-
me descrevem Roxo, Ribeiro e Sacramento,

qualidades morais, portanto no intelectuais ou

culturais, ora descrito como ingnuo. Isso pode ser
-
novela e, tambm, sobre o da televiso, como, respec-
tivamente, nas descries que seguem.

140 Cf. ABERTURA. Direo: Fernando Barbosa

Lima. Rio de Janeiro: TV Tpi, 1 de abril de 1979,
Programa N 11, 60 minutos, pal-m, U-MATIC.
(Coleo Cinemateca Brasileira CB-0093).
 155

povo muito bom, sabe? um... no sei, eles so

-
mento em que voc entra em contato com ele assim...

A segunda descrio de Lima Duarte: Porque

voc chega pro espectador: Estou aqui na Suia e
ele acredita. No teatro, n?! Ento na televiso ns fa-

chove na Noruega! e ele acreditava.141

O editorial do Abertura
alcanava. Se mdia de massa, devia ser ocupada com propostas ende-

eram evocados a empreender o projeto de abertura cultural. Projeto

-
o unilateral de um saber erudito, mas sobretudo articulao desse
-
lidade das ruas do pas.
Dentre os colaboradores do Abertura, o cineasta Glauber Rocha,

Novo, alm de haver sido crtico do Jornal da Bahia

show pico.
Para Glauber, quem precisava de roteiro eram os mestres de cerim-
-
quer um podia virar personagem. Ser isso jornalismo?, pergunta o re-
prter. E Glauber responde: No jornalismo nem cinema. a vida142.
Glauber ultrapassava o limite do senso comum sobre o que e quem
seriam notcia (e, portanto, o que e quem no seriam). Gerava polmicas
e as respondia no ar, nominalmente. Essa era a sua marca registrada,
mas tambm uma atitude que permeava o ambiente do programa, que
requeria dos reprteres uma dose de coragem e disponibilidade para
sarem do seu lugar de conforto, provocarem a audincia e serem reci-

141 Cf. RIBEIRO, Ana Paula

Goulart; SACRAMENTO, Igor;
ROXO, Marco, 2010, p. 70.
142 Cf. RIBEIRO, Ana Paula
Goulart; SACRAMENTO, Igor;
ROXO, Marco, op. cit., p. 122.
 156

participava do programa143, prestou a seguinte declarao na edio do

algum o artista144. A frase curta foi inserida como um fragmento no

espelho do Abertura
fato, funcionou como um compromisso seu, endossado pelo programa,
com a esfera do comum.
-
-
paganda eleitoral!) ou reclamava do cinema brasileiro (o cinema a
vergonha nacional) e das polticas de agncias como Ancine, Embra-

no programa, no entanto, ele convidou diferentes entrevistados, como o

o psicanalista Eduardo Mascarenhas, o motorista Severino, que traba-

Com cada um dos entrevistados, se estabelecia uma dinmica descons-

trutiva do mtodo padro de entrevistas televisivas, em que o reprter se

quebrava o protocolo e revelava-se dirigindo a cena. Dava comandos como

Encare a cmera, fale alto, se assuma ou colocava-se como uma espcie
de rbitro do encontro entre outras duas pessoas, como aconteceu no qua-

queria fundar e Severino, a pedido de Glauber, segurou o microfone para

ele durante toda a sua fala. A cena causou constrangimento ao mencionar
-

muito interessante entre o intelectual e o povo.

-

sobreviver. Quando entrevistou o segundo, o diretor perguntou com insis-

tncia: mas voc representa o povo?. Sem uma resposta segura, o diretor
arcou com mais um constrangimento e com matrias de alguns jornais

Roxo entendem que esse episdio foi arquitetado por Glauber para romper
com a face cordial da falsa democracia racial e social145 no Brasil.

143 Em um dos seus quadros, Norma Bengell aparece com o

ator Antnio Pitanga no meio de uma rua no Rio de Janeiro. Ele
permanece calado e ela diz: Pitanga fala que a censura caiu.
Pitanga segue perguntando: onde est o negro brasileiro? (Cf.
ABERTURA. Direo: Fernando Barbosa Lima. Rio de Janeiro:
TV Tpi, 1 de abril de 1979, Programa N 11, 60 minutos, pal-m,
U-MATIC. (Coleo Cinemateca Brasileira CB-0094).
144 Idem.
145 Cf. RIBEIRO, Ana Paula Goulart; SACRAMENTO, Igor;
ROXO, Marco, op. cit., p. 150.
 157

o microfone na direo do entrevistado, disse: nesse momento estou

passando o poder ao povo.
O microfone era o principal instrumento de direo de Glauber. Ele
literalmente o manipulava em cena, deixando evidentes as projees e

-
-
ler aquela interlocuo. J diante de Eduardo Mascarenhas, convidado
a falar sobre o assunto no qual era especialista, o microfone de Glauber

As perguntas foram O que a psicanlise? Quem foi Sigmund

Freud?. Enquanto Mascarenhas tentava respond-las, com muita se-
-

sua fala ser interrompida por comentrios em off

-
crinha, Snia Braga, Silvio Santos e Nelson Rodrigues.
O rol de nomes todos, se no oriundos da chamada baixa cultu-
ra, simpticos mesma demarcava a discordncia de Glauber em
relao a um modelo cultural calcado apenas no saber erudito. Assim

Geleia geral146, no jornal ltima Hora 147

sobre Chacrinha em textos como Brasil Diarreia 148
-
des de render homenagens aos grandes cones do imaginrio popular

uma realidade brasileira autnoma e livre de ranos coloniais devem-se

146 Gelia Geral originalmente uma expres- 148 Esse texto de fevereiro de 1970 foi feito em
so do poeta Dcio Pignatari, que foi usada parceria com Torquato Neto, que empregou o
como ttulo e citada na letra de uma msica de termo na coluna Geleia Geral, publicada no
autoria deTorquato Neto e Gilberto Gil. O termo jornal ltima Hora, do Rio de Janeiro, entre
se refere situao do Brasil naquele momen- 1971 e 1972. (Cf. OITICICA, Hlio. Brasil diar-
to, que por um lado vivia atado a projetos de reia. In GULLAR, Ferreira (coord.).Arte bra-
modernizao e por outro s tradies popula- sileira hoje. Rio de Janeiro: Paz e terra, 1973,
res. (Cf. OLIVEIRA, Ana. Tropiclia: Rudos p.147-152.
Pulsativos, Gelia Geral. <http://goo.gl/zXcvjh>
Acessado em 01/08/2015)
147 A coluna de Torquato Neto no jornal ltima
Hora existiu entre 1971 e 1972.
 158

a polis grega a partir da sociedade tupi. Nessa nova sociedade, todas

as coisas, incluindo o poder e o conhecimento, pertenciam a todos os
membros da tribo, sem qualquer escala hierrquica, de mando, assujei-
tamento do outro ou de propriedade149.
-
se, no quadro do programa Abertura, sempre deixado as estruturas de

sequncia, sem cortes; o improviso do entrevistador-diretor; a surpresa

do entrevistado; as interferncias de eventos que aconteciam no local
set
transformou o resultado em uma obra metalingustica e permitiu que

perceber como se dava a construo da mensagem, que elas poderiam

aceitar ou recusar inteira ou parcialmente150.
O depoimento de Eduardo Coutinho sobre a experincia no Globo
Reprter ecoa algumas dessas questes sobre a revelao do dispositivo
documental. Segundo Coutinho, o desconforto gerado por esse tipo de
narrativa de metalinguagem deve-se a um naturalismo virulento nos
canais comerciais de televiso no Brasil, que entendem a reportagem
como em testemunho absoluto e inquestionvel do real, e no como um
relato parcial, impregnado de pontos de vista e dilemas. O documenta-
rista explicou que nossa televiso abomina mais que tudo mostrar as

entre as duas instncias instaladas nos lados opostos da cmera151.

O carter dialgico do Abertura cativou a audincia, mas desagradou

espectadores152 e bateu o Fantstico, que passava no mesmo horrio,

-
cote das agncias de publicidade, que simplesmente no se arriscavam

-
dores153, o Abertura
enfrentando uma crise interna e perdeu a concesso do seu sinal em

ter plantado o embrio das Diretas154.

149 Cf. RIBEIRO, Ana Paula 153 Na matria da Folha, Glau-

Goulart; SACRAMENTO, Igor;
ROXO, Marco, op. cit., p. 151.
150 Idem., pp. 152-153.
151 Cf. COUTINHO, Eduardo,
op. cit., p. 19.
152 O ndice foi retirado da mat-
ria Glauber Rocha agora es-
trela deTV, que saiu na Folha de
S.Paulo em 13 de maio de 1979.
ber diz que se pagava na TV
Tupi 90% a menos do que na
TV Globo.
154 Cf. RIBEIRO, Ana Paula
Goulart; SACRAMENTO,
Igor; ROXO, Marco, op. cit., p.
147.
 159

-
o e nas ruas, gerando represlias dos rgos de represso do regime.
No ano em que o Abertura saiu do ar, os casos de atentados bomba155
em bancas de jornal, editoras e rgos de imprensa haviam se tornado
corriqueiros. Martins e De Luca contam que, amedrontados, alguns jor-

Hora do Povo, Movimento, Pasquim etc.156. Referiam-se a jornais e revis-

O Pasquim e Movimento, junto com

outros veculos alternativos (Jornal da ABI, Reprter, De Fato, Coojornal,
Em Tempo e Bagao

premiados e levantar fundos para manter os veculos e o trabalho na-

cional que vm desenvolvendo em prol da anistia157.
-
da pelos jornais de esquerda. Uma campanha apartidria, mas que de-
marcava uma oposio clara ao regime. O programa Abertura certamen-
te impulsionou essa prtica entre os veculos de comunicao, usando
da ampla visibilidade do meio televisivo, de uma experimentao radical
de linguagem e da credibilidade do seu time de colaboradores. A presso
miditica e popular aumentaria aps o deputado Dante de Oliveira (Mo-

uma emenda constitucional que visava estabelecer eleies diretas para

com 22 votos a menos do que o necessrio, no foi aprovado.

-
-
tando com a participao de lderes sindicais e polticos, intelectuais e
artistas. Aps publicar um editorial favorvel abertura democrtica,
Folha de S.Paulo assumiu um

os textos e as capas dedicados a dar legitimidade e galgar adeses para

o movimento. Para rebater o boicote que vinha acontecendo em outros
158, a Folha recorreu a toda

155 Em abril de 1981, enquanto acontecia no
Riocentro um show de comemorao do Dia do
Trabalho, com pblico de 20 mil pessoas, explo-
diu uma bomba no carro em que estavam dois
oficiais do exrcito. A exploso havia sido pro-
gramada como um atentado para dispersar a
multido, mas, havendo acontecido antes do
esperado, acabou com a morte de um dos
oficiais.
156 Cf. MARTINS, Ana Luiza; DE LUCA, Tania
Regina. Histria da imprensa no Brasil. So Pau-
lo: Editora Contexto, 2012, p. 256.
157 Cf. Concurso um cartaz para a anistia
em O Pasquim de 18 a 24 de maio de 1978.
158 Na edio de 10 de dezembro de 1983, a re-
portagem da Folha de S.Paulo diz ter procura-
do Roberto Marinho e Jos Antnio do Nasci-
mento Brito, presidente das Organizaes
Globo e vice-presidente executivo do Jornal
do Brasil, respectivamente, para saber o posi-
cionamento de cada um acerca das eleies
diretas. Ambos os entrevistados alegaram
que preferiam no responder. Cf. FOLHA DE
S.PAULO, 1983.
 160

comcio da Praa da S, em So Paulo, anunciando que A multido vir

transbordar a praa de alegria e esperana, de convico e patriotismo.
No editorial de 12 de fevereiro daquele mesmo ano, interpelou o leitor
com a campanha use amarelo pelas Diretas. Em 9 de abril, deu como

Na Ilustrada, caderno de cultura do jornal, poca editado por

cujo original seria exposto no saguo da sede do jornal e a reproduo

-
blicados diariamente desenhos de Rubens Gerchman, Ivald Granato,

Ianelli e Marcello Nitsche. A iniciativa teve sucesso, e a Folha decidiu

prolong-la. Abriu uma chamada para envio livre de propostas, dentre

O formato das publicaes era simples. Reunia uma foto, uma pe-

preto e branco. Colocada em perspectiva com um histrico de aes

miditicas mais radicais que, em diferentes escalas, franqueiam aos
autores rearranjos das estruturas e dos sistemas de circulao dos ve-
culos que ocupam , essa iniciativa pode ter seu carter interventivo
questionado. Isso porque restringia o campo de trabalho dos convidados
produo de uma imagem a ser inserida no grid -

-
ta159
Em um desenho de traos geis, semelhantes ao de um cartunista,
Rubens Gerchman veiculou no dia 19 de fevereiro a marcha coletiva de
vrias cabeas alinhadas esquerda, orientadas por uma seta direcional
Vamos colorir o Bra-
sil

159 A iniciativa assemelha-se ao que o caderno Ilustrssima

passou a praticar na Folha de S.Paulo j nos anos 2000. O suple-
mento dominical convida artistas, no geral brasileiros, a realiza-
rem obras grficas que ilustrem os textos. A presena das ima-
gens ressaltada, principalmente na capa, onde se tenta
reproduzi-las em grande escala. No entanto, o que define sua pre-
sena o contedo dos ensaios, ou seja, a pauta prvia do jornal.
 161

em pea interativa, o artista traou um labirinto de linhas e campos,

-
reciam em uma legenda logo abaixo da imagem: em X (como no X do
seu voto), voc livre para pintar com a cor que quiser; em O, pinte com

da linha indicada (linha de corte) e cole em local visvel.

-
nho para uma colaborao mais duradoura do artista com a Folha. A

e compatvel com o tamanho da cdula que um eleitor ali depositava.

Com espao ao redor, sem ttulo ou lema, apenas marcada pelo gesto de
pintura e pela assinatura do artista, a cena estipulava o que havia de
to importante na luta pelas Diretas: a defesa da expresso e do poder
de deciso de cada indivduo.
Pouco mais de um ano depois, quando o pas j tinha um presidente
civil160, Baravelli passou a publicar no jornal, tambm na Ilustrada,
uma srie de crnicas semanais, cuja marca registrada eram a primeira

raciocnio e o compromisso de continuidade da conversa com o leitor.

Dentro de um programa editorial que a cada dia da semana cedia um
quarto de pgina do caderno para um autor de uma rea diferente da
cultura161, a sexta-feira era de Baravelli. Em 26 de abril de 1985162, ele
inaugurou seu espao manifestando o sentimento de estar em um ve-
culo de comunicao de massa:

Acho que estou um pouco nervoso. At agora s

tenho escrito coisas para as pequenas revistas de
-
soas do mundo real nem sabem que essas revistas

leitores, que so tambm colaboradores em potencial

-
boudoir, topei

um milho de leitores todos os dias, uns trs leitores

160 Em janeiro de 1985, aps dois anos de campanhas das Dire- 161 Alm de Baravelli, partici-
tas J! e uma derrota da Emenda Dante de Oliveira no Con- param J Soares, Angeli,
gresso Federal, Tancredo Neves foi apontado pelo colgio elei- Paulo Leminski e Patrcio
toral como primeiro presidente civil do pas. Com o seu Bisso.
falecimento repentino antes da posse, assumiu o vice Jos Sar- 162 Cf. 18 (120?) x 1000 000,
ney, em cujo mandato foi realizada a constituinte de 1988. Em crnica publicada na Folha de
1992, j no mandato de Fernando Collor de Melo, marcado por S.Paulo de 26 de abril de 1985.
denncias de corrupo, a Folha de S.Paulo voltou a convocar os
artistas para uma nova campanha, intitulada Arte entra em
cena pelo impeachment.
 162

pulo e por isso que estou um pouco nervoso. [] O

que fao agora? Convido todos pra prxima exposi-

galeria s tem um lavabo! Onde iro estacionar um

vernissage). Um milho!
No, leitor, no d! Neste outono das nossas impos-
sibilidades, percebo que jamais nos encontraremos.

Baravelli teve sua carreira marcada por projetos educacionais e edi-

toriais, que mediavam e atribuam um carter discursivo experincia
artstica. Integrante da Escola Brasil163 164

da Revista Malasartes Arte em

So Paulo em 1981165, o artista nunca abriu mo de uma interlocuo
166. Embora

como a pintura, no se furtou em relatar as diversas agncias que cons-

tituem o circuito da arte mercado, instituies, escolas etc.167 para,

audincias.
Dessa maneira, as crnicas que publicou na Folha, em pouco mais

163 A Escola Brasil foi criada por quatro artis-
tas paulistas: Luiz Paulo Baravelli, Frederico
Nasser, Carlos Fajardo e Jos Resende, antes
alunos de Wesley Duke Lee. Os quatro funda-
dores eram nos anos 1960 estudantes de arqui-
tetura; trs deles participaram da Rex Gallery &
Sons, criada por Geraldo de Barros, Nelson Lei-
ner e Duke Lee. A galeria os colocou em conta-
to com o meio artstico brasileiro, especialmen-
te o paulista, e os debates que vinha travando
sobre prticas experimentais de criao e ensi-
no. (Cf. SANTOS, Thas Assuno. Escola de
arte Brasil, depois de dois pontos uma experin-
cia artstica (e social) depois de 1968. Disserta-
o de mestrado pelo programa de Histria So-
cial da Faculdade de Filosofia, Letras e Cincias
Humanas da Universidade de So Paulo, 2012).
164 Em trs nmeros editados entre 1975 e 1976,
a revista Malazartes se dedicava a questionar o
funcionamento do circuito de arte no Brasil e o
mercado de arte. A pauta respondia ao boom
econmico que permite o fortalecimento de um
mercado de arte local, e tambm relacionava-se
com o debate conceitual que se disseminava
dos Estados Unidos e da Europa para a Amri-
ca Latina e outras partes do mundo nos anos
1960 e 1970. A revista era editada por um grupo
de artistas formado por Carlos Vergara, Bernar-
do de Vilhena, Carlos Zilio, Cildo Meirelles,
Jos Resende, Luiz Paulo Baravelli, Ronaldo
Brito, Rubens Gerchman e Waltrcio Caldas.
165 Entre 1982 e 1983, Baravelli continuou cola-
borando com a revista, cuja edio nesse pe-
rodo passou a ser feita por Marion Strecker e
Lisette Lagnado.
166 Baravelli resiste em assumir sua carreira
educacional e editorial como parte de sua pro-
duo artstica. Em entrevista a Ana Maria
Maia, em seu ateli na Granja Viana, no dia 11
de junho de 2015, o artista traa uma linha de
separao: Para mim, muito dividido o meu
trabalho de pintura e essas formas como eu
me relaciono com o mundo de fora. De certa
forma, eu sou um artista tradicional. Apesar
de todo o meu esprito de experimentao,
que me levaram ao Rex, Escola Brasil e
Arte em So Paulo, eu escolhi ser pintor. A
Arte em So Paulo, por exemplo, no arte,
sobre arte.
167 Esses assuntos foram tratados em especial
na coluna dos dias 3 e 10 de janeiro de 1986, em
um nico texto, dividido em duas partes, cujo t-
tulo Fazer, mostrar, ver, comprar.
 163

de um ano, colocavam o ponto de vista, os dilemas e a autocrtica dos ar-

tistas no centro de uma narrativa envolvente e familiar, sempre implica-
da em questes polticas e econmicas da ordem do dia. Baravelli falava
de si, mas permitia tambm algumas leituras mais abrangentes. Como
na primeira coluna, seguia perguntando-se em outros textos168 sobre o
lugar social do artista, sobre sua solido e autonomia e sobre seus vn-
culos ora com especialistas ora com uma grande audincia, como vinha
experimentando naquele jornal.
A posio de Baravelli sobre o artista como personagem central de

o ideal do self-made man. Esse protagonismo e todos os avais a ele

correspondentes por exemplo, a carta branca da Folha para Baravelli
publicar qualquer assunto, sem censura nem reviso surgiram como
decorrncia do ar de glamour que os artistas ganharam nesse momen-

169 aos fatos relem-

brando como se especulava a partir da compra e venda de obras de arte,

principalmente pinturas.
Devido a essa movimentao comercial, que se apresentava como
uma das poucas alternativas de investimento gil e rentvel, a cobertura
das artes visuais cresceu tanto nos cadernos de cultura quanto nos de
economia, nos quais se publicava cotaes peridicas de obras, por ini-
ciativa dos prprios editores, com informaes fornecidas pelas galerias.
-
dor dos seus trabalhos, vivenciaram um momento de hipervisibilidade
miditica, um processo de media exposure, como descrito na coluna
170.

168 Alguns exemplos so De clandestinos e
extremistas, publicado em 24 de maio, e En-
fim SOS, de 26 de julho de 1985.
169 Em entrevista realizada no ateli do artista,
em 11 de junho de 2015, Baravelli conta que
Eram anos de hiperinflao e as artes plsti-
cas forneciam um pretexto econmico para es-
peculao (que, alis, acontece at hoje). A in-
flao era to grande que de um dia para o
outro os preos mudavam. O sujeito tinha um
dinheiro guardado. Se deixasse de hoje para
amanh no banco, perdia 2%. As pessoas preci-
savam comprar uma coisa que elas vendessem
mais caro mais tarde. Para fazer isso com im-
vel demora, tem escritura, burocracia, demora.
Com carro, mesma coisa. Com arte no. Na
poca tinha a Galeria So Paulo, da Regina
Boni, que era muito famosa. Eu presenciei
coisas do tipo, uma pessoa chegar l e dizer
assim: Olha eu tenho 50 mil, o que voc tem
por 50 mil? Tem um Baravelli. T bom, t
comprado. O cara nem via o trabalho e fazia o
depsito. Duas semanas depois, o cara volta-
va l e dizia: Tem comprador praquele meu
trabalho do Baravelli? Tem. Por quanto t
agora? 62. Ento vende. Tinha cotao no
jornal de quanto tava valendo o quadro. Com
dados fornecidos pela galeria, mas era uma
iniciativa do jornal, como uma espcie de dica
de investimento pblica, no caderno de
economia.
170 Cf. BARAVELLI, Luiz Paulo. O mdium
das medias. Publicada na Folha de S.Paulo de
13/09/85.
164

arte, como ele prprio gosta de ressaltar, ganhassem pertinncia con-

modo revelar seus cdigos e dispositivos implcitos. Envolveram a arte

sintoma, embora tambm agente. Parafraseando o ator hollywoodiano

Gene Kelly171, Baravelli entende que sua coluna na Folha foi como um

de representao, na tela de pintura) cenrios, processos e personagens

antes desconhecidos por grande parte da audincia.

Daqui pra fora

tudo se expande
O trabalho tem vida prpria porque ele todos ns. Porque a nos-
sa realidade do dia a dia, e nesse ponto que abro mo do meu enqua-
dramento como artista, porque no sou mais172
Artur Barrio no manifesto LAMA / CARNE / ESGOTO
-

Barrio a fundamentar uma outra ordem de apario para suas propos-

tas. Junto ao crtico Frederico Morais e aos demais participantes da
manifestao Do corpo terra, que aconteceu naquela mesma semana
-
tetou uma presena desavisada das suas trouxas ensanguentadas (Situ-
ao T/T, 1) nas ruas e, consequentemente, na imprensa. Sem qualquer

ambos escaparam, em um primeiro momento, aos interessados por arte

na cidade e cobertura dos cadernos de cultura dos jornais. Repercu-
tidos pelos editoriais de cidades e de vida urbana, passaram a existir
como fato social.

-
-
tura democrtica do Brasil. Foi s nesse momento que se consolidaram
-
tamente ao abrandamento gradual da censura. Antes disso, no entanto,

171 Segundo Baravelli, a frase que Gene Kelly teria dito fazer
filme fcil. s recuar a cmera.
172 O artista reproduziu o texto do manifesto em seu blog.
<http://goo.gl/1VIWil> Acesso: 15/08/2015.
 165

os artistas de vanguarda j experimentavam o jogo tenso com o mundo,

-
de173.
No trabalho de Barrio, por exemplo, se estabeleceu um processo que
compreende da instalao De dentro pra fora s Situaes T/T, 1, ambos
do mesmo ano. Se no primeiro o autor trouxe para o espao expositivo
-
da que a cobria com um lenol, no segundo foi para as ruas e assumiu
a sujeio de sua obra a dinmicas que ali no mais controlava. Em
tempos de grande especulao sobre desaparecidos polticos e mtodos

sangue e restos animais despertaram a curiosidade dos transeuntes e

atraram a imprensa e a polcia, uma para repercutir e a outra para
tentar interromper o rumor, retirando os dejetos o mais rpido possvel
do local.

dos censores e tambm dos interlocutores no circuito da arte, muito

-
-
bouas, nesse caso, nomear como arte seria a mesma coisa que nomear
como no arte. Ou simplesmente no nomear174.
As chancelas destacariam os artistas do seu entorno, dando-lhes
um tipo de visibilidade e poder de ao que essa gerao julgava estril

de colocar-se de forma problemtica, mesmo que cientes de uma ine-

vitvel assimilao pelo circuito ao qual, bem ou mal, j pertenciam.

Departamento de Cursos do Museu de Arte Moderna do Rio de Janeiro

(MAM), articulou uma srie de eventos intitulados Domingos de criao.
Mensais e abertas a qualquer pessoa que quisesse participar de ativi-
dades livres na esplanada do museu, no Aterro do Flamengo, as edies
-

Segundo Frederico, a ideia que todas as pessoas so criativas e s

no exercem essa criao se so retradas/proibidas, pela poltica, pela
famlia. Eu tambm ponderava que nem toda pessoa criativa artista,
nem todo artista criativo175.
Apesar de o propositor dos eventos no os ter planejado como uma

173 Cf. A gerao tranca-ru- Artes/Universidade Federal

as, reportagem de Francisco
Bittencourt no Jornal do Brasil
de 9 de maio de 1970.
174 Cf. REBOUAS, Jlia Maia.
Artista corpo cidade polti-
ca arte: Relatos sobre Artur
Barrio e sua obra. Dissertao
de mestrado em Artes. Belo
Horizonte, Escola de Belas
de Minas Gerais, 2011, p. 100.
175 Cf. Depoimento de Frede-
rico Morais no documentrio
Um domingo com Frederico,
dirigido por Guilherme Coe-
lho, 2011 (Durao: 60 minu-
tos. Minutagem do depoimen-
to: 5 a 648).
 166

ao miditica, ele alega que assimilou a reao negativa da crtica de

-
gido. Diante de um processo de criao irrestrito e espontneo, que na
maioria dos casos no resultou em obras nem muito menos catapultou
autorias individuais, os jornalistas da rea de cultura acabaram escre-
vendo poucas linhas ou mesmo boicotando o evento. J os especialistas
-
ticipantes, que se espalhavam pelo Aterro como em um dia de carnaval.
Os Domingos saram das pginas de cultura e foram para as de vida
urbana. Esse feito, conforme Frederico, deu uma dimenso para as
questes da arte, do museu, dos materiais... Se tornou um fato jorna-
lstico da cidade176.
Cientes do tipo de assunto que atrairia os jornalistas de vida urba-
na como aglomeraes populares, polmicas, crimes ou atentados

outros artistas e grupos passaram a propositalmente cavar a cobertura

dali para frente. Na corrida por visibilidade em uma esfera do comum

expresses e dos adjetivos empregados, penetrar a pauta dos grandes

veculos de comunicao com temas, abordagens ou personagens ou-

atrativo quanto ocupar as ruas.

-

-
riu a esse movimento em So Paulo, Mrio Ramiro observou que nesse
contexto em que a Rota, ou a polcia poltica do governo estadual de

de arte marginal ou arte alternativa177. Pseudnimos como Co Fila,

Juneca e Di, grafados nos muros da cidade como se para demarcar
territrio, impulsionaram os primrdios da pixao como expresso da

sentidos culturais e polticos paisagem do dia a dia.

Surgiu, com esses grupos, um marco fundamental para a interven-
o urbana no Brasil, que, apesar de ter ocorrncias anteriores, passou
nesse momento a ser designada como um campo. Com referncias tanto
das vanguardas dad e surrealista quanto de tticas situacionistas de

176 Idem.
177 Em depoimento de Mrio Ramiro e Hudinilson Jnior para o
site do Centro Cultural So Paulo, durante a montagem da ex-
posio Obra e documento: Arte/ao e 3ns3, entre agosto e
outubro de 2012. <http://goo.gl/wl49zD> Acesso: 01/08/15.
 167

deriva e contestao da mercadoria na sociedade do consumo, essa ge-

rao de artistas experimentou vrias nomenclaturas para o que vinha
-
jou
radical para suspeitas e mudanas ou para o que Ramiro entende como
alteraes da ordem natural das coisas178.

Rafael Frana ao amanhecer, quando havia menos gente nas ruas. Em

poucas horas, podia j no haver mais nada no local. Era preciso, portanto,
registrar os atos em fotos e vdeos, mas o grupo no tinha recursos para
-
tados no prdio em que morava o tornava uma espcie de media tracker,
atentou para a possibilidade de cobertura miditica das intervenes. Uma

com que Ramiro articulasse as noes de interveno urbana e media art:

Eu vejo as intervenes urbanas como uma forma

precoce de media art, resultando em uma existncia

Muito mais do que uma instalao ou um produto de

uma performance, a interveno urbana existia como
histria narrada pela televiso ou pela mdia impres-
sa179.

Ensacamentos aes
em que cobriram a cabea de monumentos da cidade com sacos plsticos,

para os principais veculos de imprensa de So Paulo relatando o ocorrido,

sem entregar sua identidade. Passando por cidados perplexos com tais
atos de vandalismo, cavaram vrias matrias180 que denunciavam o ocorri-
do. A Folha da Tarde noticiou que a maioria das esttuas que contribuem

plsticos de lixo181. O ltima Hora, em tom de desdm, relatou que

o Duque de Caxias escapou. Desculpenos [sic]: trata-se ainda de um

178 Em conversa com Ana Ma-
ria Maia no Centro de Artes
Plsticas da Escola de Artes e
Comunicaes, em 21 de maio
de 2015, durante a realizao de
Arte-veculo.
179 Cf. RAMIRO, Mrio. Betwe-
en form and force: connecting ar-
chitectonic, telematic and ther-
mal spaces in KAC, Eduardo
(org.). A radical intervention: the
Brazilian contribution to the In-
ternational Electronic Art Move-
ment. Leonardo On-line, vol. 31,
n. 4, 1998. Disponvel e m :
< ht t p : / / goo. g l / 8 ny j 7 8 > .
Acesso em: 26/6/2015.
180 No dia seguinte aos Ensa-
camentos, 28 de abril de 1979,
saram matrias na Folha da
Tarde, no ltima Hora, no Di-
rio da Noite, entre outros.
181 Cf. No centro da cidade,
esttuas encapuzadas, ma-
tria publicada na Folha da Tar-
de de 28 de abril de 1979.
182 Cf. KLINTOWITZ, Jacob.
Escndalo, violncia. Que
 168

principiante, referindo-se ao autor dos Ensacamentos, ali no revelado.

com as trouxas ensanguentadas de Artur Barrio e com os Domingos

de Criao
foram distribudas entre interlocutores pessoais do grupo. Para as edi-
-
nuavam sem existir.
-
jou outra ttica, tambm voltada para a incorporao dos processos da
-
press-release do projeto X-Galeria, no qual queriam lacrar
os espaos das galerias de arte da cidade e marcar nas suas fachadas
um x de interdio e a frase O que est dentro permanece, o que
est fora se expande. Em uma festa, ao encontrar Paulo Klein, editor
do recm-inaugurado Jornal da Tarde, propuseram que uma reprter

no fosse revelada.
Quebrando o acordo, a jornalista publicou os nomes completos dos
trs artistas, que, dali por diante, entraram para a lista negra dos mar-
chands Jornal da
Tarde, que no dia seguinte publicou o texto Escndalo, violncia. Que
-

chances. Raros so os pases do mundo em que o jovem artista tenha

tamanha possibilidade de expor, ser notcia em jornais e revistas impor-
tantes, ser premiado182.
O episdio desdobrou-se ainda em um espao cedido pelo jornal para

irredutvel. Muito comentada no meio da arte da cidade, a troca de tex-

tos criou um circuito miditico para o projeto. Em entrevista a Araclli
Ceclia Nichelle, Ramiro alega que, com o X-Galeria, puderam perceber
que o jornal era o canal, j que nem os amigos prximos tinham conta-
to com a coisa em si. Eles sabiam por intermdio da mdia183.
Esse canal foi usado em novembro do mesmo ano para disseminar
a obra As categorias bsicas da comunicao 184, uma colagem aleatria
e no creditada de textos tericos, costurada por alguns comentrios
laririri.

artistas so esses?, matria na dissertao O que est 184 Cf. As categorias bsi-
publicada no Jornal da Tarde de dentro fica/ o que est fora se cas da comunicao, publi-
10/07/1979. expande: 3ns3 coletivo de cado no caderno Ilustrada
183 Entrevista dada a Araclli arte no Brasil, apresentada do jornal Folha de S.Paulo em
Ceclia Nichelle em 11 de no- em 2010 no programa de Ar- 18 de novembro de 1979.
vembro de 2009, durante a pes- tes Visuais da Universidade
quisa de mestrado que resultou de Santa Catarina.
 169

Para fechar, a frase E sobre nossos planos de anlise aqui expostos,

a linguagem e a assinatura do grupo, que seguiu usando a cobertura

185

desmembrado.

-
veno o pixo de escalada no Conjunto Nacional em So Paulo e a

ser testemunhas, no os autores das aes.

As matrias que saram com base nos seus depoimentos demons-
tram a falha no mecanismo de apurao dos jornais (Segundo o mora-
186) ao entrarem no jogo

dos artistas para incitar justamente uma retrica que aborde seus feitos
a partir dos clichs do ilcito e do marginal. Retrica esta que serviu tan-
to poltica do desacordo praticada pelo movimento da pixao desde
os tempos de Di quanto para uma espcie de crtica institucional que
artistas da gerao de Ducha exerceram na sua cidade.
Para alm das motivaes de um perodo histrico marcado pela
abertura democrtica no Brasil, prolongou-se pelas dcadas seguintes
uma linhagem de interlocues entre oponentes: a comunicao do in-

com as narrativas da vida e das ruas. Para que se alcance o terreno do

Mrio Ramiro buscou compreender essa traduo entre mdias, ou in-

termedia, atentando para questes tecnolgicas. Os valores que passa-
ram a nortear as pesquisas do artista eram simultaneidade, supresso
espacial, interatividade e imaterialidade crescente187.
A primeira das tentativas foi Clones uma rede simultnea de rdio,

185 O grupo seguiu praticando suas Interver-
ses em diverentes contextos de So Paulo e
eventualmente de outras cidade. Em 7 de de-
zembro de 1981, realizou Arco 10 no viaduto da
Avenida Doutor Arnaldo, zona oeste de So
Paulo. No dia seguinte, o projeto foi veiculado
na Folha de S.Paulo e naTV Globo. O ltimo tra-
balho do 3ns3 foi Interverso/despedida, que
durou de 12 a 26 de julho de 1982 no SESC
Pompia.
186 A matria, que consta no lbum S Pixo,
sem data confirmada, segue descritiva: Se-
gundo um morador, que pediu para ser identifi-
cado apenas como Di, os pixadores podem ter
entrado no prdio pulando de cima de um
orelho para o beiral da fachada. Dali, teriam
quebrado uma janela, no 1 andar. Ele contou
que, alm de quebrar o vidro e amassar essa
janela, os invasores arrombaram portas. A ad-
ministrao do prdio, que no registrou a
ocorrncia na Polcia, negou as informaes,
confirmando apenas que houve pixao. Di
afirmou que ficou apavorado com a situao.
Segundo ele, o esquema de segurana do pr-
dio no poderia permitir esse tipo de ao, vis-
to que h homens fazendo ronda por dentro e
por fora. noite essa segurana reforada,
destacou (S PIXO, s/d).
187 Cf. RAMIRO, Mrio, op. cit., 1998.
 170

televiso e videotexto, apresentada no Museu da Imagem do Som (MIS),

-
jeto (uma barra de metal) atravs de mdias distintas, a premissa do
trabalho foi criar duplos virtuais (clones) da obra em outros lugares,
na casa das pessoas que dispusessem dos aparelhos necessrios para
receb-la em sua totalidade. A instalao do MIS reuniu no dia 26 de

Cultura FM, como imagem no programa Fbrica do Som

Art as idea, as idea

(1965) e antecipava em escala prototpica a convergncia miditica da

da Folha de S.Paulo daquele dia, o texto O labirinto da reproduo188

Em 8 de outubro de 1988189 -

fsico de um museu como local de apresentao do resultado. A simulta-

neidade em Retrato suposto rosto roto se daria entre So Paulo e Rio de

privado. Ao vivo, como convidado do Eureka, um programa voltado para

depois, a resposta voltava na forma de uma montagem das partes. Para

cada suposio, um novo retrato e assim se repetia a dinmica de cria-
o interativa entre os dois.
Kac concebeu essa experincia como uma investigao esttica que

tona o fator subjetivo e humano190. O intercmbio, mais do que o re-

sultado, foi demonstrado como uma comprovao do que os dois artis-
tas chamaram de sistema de resposta, uma estrutura para se pensar
tanto autoria quanto a presena do indivduo nos canais coletivos de
grande alcance dali por diante. Revertendo o discurso unilateral em um
Retrato suposto rosto roto
um esprito de tempo em que os dispositivos de agendamento miditico
do cotidiano foram revelados e disputados por representantes de vrias
reas de saber, entre elas, expandida e implicada, a arte.

188 Publicado em 18 de dezem- 189 A iniciativa foi noticiada 190 Cf. KAC in RAMIRO, op.
bro de 1983, pp. 6-7. por Alexandre Martins em cit., 1998.
Telearte em rede, publicada
no Segundo Caderno do
jornalO Globo de 9 de abril de
1988.
 171

vo z e s e
t t icas

198396
Estticas de
inverso :

ou est com
todos ou est
por fora

ruas e da mdia de massa fossem gradualmente repovoadas na primeira

ou no mnimo perigosa, os artistas e comunicadores de vanguarda dedi-

caram-se a testar os canais da imprensa e tentar deixar explcitos para

Como a notcia era construda, quem estava e quem no estava na pau-

dispositivos dos meios, nomes como Glauber Rocha e Chacrinha torna-

ram-se precursores191
principalmente em torno da investigao de uma linguagem televisual,
mas tambm em outras mdias, como o jornal e o rdio.
191Cf. MELLO, Christine. Ex-
tremidades do vdeo. So Paulo:
Editora Senac, 2008, p. 95.
 172

A predominncia das intervenes nas emissoras de televiso ocor-

reu no s devido abertura poltica, mas tambm ao acesso a tecno-

portteis e passveis de serem experimentadas fora de grandes corpora-

como linguagem ainda no suporte flmico do Super-8 e principalmente

quando chegaram ao pas as primeiras cmeras Portapack Sony de

-
perimental do MAM do Rio de Janeiro, entre eles Anna Bella Geiger, So-
nia Andrade, Fernando Cocchiarale, Leticia Parente, Miriam Danowski

fomentar as prticas em vdeo, com a exibio de Registro do Passeio

Sociolgico pelo Brooklin -
rnea. O artista, que estava em So Paulo para participar do Setor de
-
-
cional. Seu trabalho relacionava-se vertente de produo inaugurada

espaos de museus e galerias quanto os canais de televiso, como o

ofereciam laboratrios de criao192.

de produo em vdeo. Por consequncia, queria fomentar uma gerao

de videoartistas brasileiros. Aps algumas iniciativas, como o envio de
trabalhos locais para a mostra Videoart 193, no Institute of Contemporary
Art da University of Pennsylvania, ele conseguiu comprar uma cmera
-

-
ram em trabalhos inditos de artistas como Gabriel Borba, Jos Roberto

192 No contexto das redes pblicas de televi-
so, foram realizados inmeros workshops e la-
boratrios de investigao de equipamentos e
linguagens com os artistas. Usando o Public
Broadcasting Service, Fred Barzyk dirigiu The
Medium is the Medium em 1969, e Nam June
Paik fez Global Groove em 1973. (Cf. ZANINI,
Walter. Videoarte: uma potica aberta. In:
MACHADO, Arlindo. Videobrasil: Trs dcadas
de vdeo brasileiro. So Paulo: Instituto Ita
Cultural, 2003, p. 51).
193 A convite da organizadora Suzanne Delehanty, Walter Za-
nini reuniu uma lista de artistas brasileiros interessados em
produzir em vdeo. Regina Silveira, Julio Plaza, Donato Ferra-
ri e Gabriel Borba, todos baseados em So Paulo, terminaram
no realizando seus projetos por falta de equipamento. Os re-
presentantes, ao fim, foram Antonio Dias, que havia feito tra-
balhos na Itlia e nos Estados Unidos, e integrantes do grupo
do Rio de Janeiro, Anna Bella Geiger, Sonia Andrade, Fernan-
do Cocchiarale e Ivens Machado, que usavam o equipamento
do diplomata John Azulay.
 173

produo em vdeo continuaram a acontecer em novos espaos e com

uma produtora na Aster, um misto de escola, escritrio e ateli194 na rua

Museu da Imagem e do Som de So Paulo (MIS-SP) a primeira edio

cinema ou monitor, com instalaes e performances. Segundo a organi-

estava buscando um lugar de exibio para sua linguagem195.

-
dores e programadores de vdeo no Brasil, bem como as possibilidades
tcnicas de captura, edio e mostra. Nessa poca, chegaram ao merca-
do nacional equipamentos como o videocassete de uso domstico e o sis-
tema U-Matic de gravao, mais moderno e leve do que o Portapack196.
Um ambiente estava formado para o surgimento das produtoras inde-
pendentes, cujos integrantes saram das universidades de artes e comu-
nicao j interessados em experimentar os limites do broadcasting, ou

as concesses de transmisso dadas pelo governo federal197 a poucos

meio com intervenes qualitativas. Como outsiders, tinham para isso

formas menos hegemnicas de produo198 e muita disponibilidade
para persuadir e negociar.

era a esttica da inverso199 -

da em nome da legitimao de outros interlocutores e focos de interesse
ou mesmo da desconstruo do meio como agendador de interesses.
-
culos de massa, os casos a serem analisados parecem administrar uma
-

194 Regina Silveira, Mary Dritschel, Julio Plaza
e Sonia Fontanezi foram alguns dos que usa-
ram a infraestrutura da produtora para fazer
seus trabalhos em vdeo. Regina e Julio, e tam-
bm Donato Ferrari, dividiam na mesma casa
um ateli de gravura. Em outro espao, funcio-
nava o escritrio onde Walter Zanini, Cacilda
Teixeira da Costa e Marlia Saboya realizaram a
pesquisa do livro Histria geral da arte no Brasil,
lanado em 1983 pelo Instituto Moreira Salles.
Cf.TEIXEIRA DA COSTA, Cacilda. Videoarte
no MAC. In: MACHADO, Arlindo, op. cit., p. 73.
195 Cf. FARKAS, Solange. O Videobrasil e o
vdeo no Brasil: Uma trajetria paralela. In:
MACHADO, Arlindo, op. cit., p. 228.
196 Cf. MELLO, Christine, op. privadas, o sinal deTV e rdio
cit., p. 97. considerado um servio p-
197 A concesso de direitos blico, assim como a energia
para transmisses televisi- eltrica e o transporte coleti-
vas e radiofnicas no Brasil vo. (Cf. INTERVOZES. Con-
dada pelo governo federal. cesses de rdio e TV. Nov.
Segundo o artigo 21 da Cons- 2007, p. 3).
tituio, compete Unio 198 Cf. MELLO, Christine, op.
[] explorar, diretamente ou cit., p. 83.
mediante autorizao, con- 199 Cf. FECHINE,Yvana. O v-
cesso ou permisso [] os deo como um projeto utpico de
servios de radiodifuso so- televiso. In: MACHADO, Ar-
nora e de sons e imagens. lindo, op. cit., p. 104.
Isso significa dizer que, ape-
sar de utilizado por empresas
 174

narrativas que ocultam agentes e alienam destinatrios. Experimentam,

pois em muitos casos esto usando os equipamentos e seus recursos

-
quam demandas explcitas e implcitas, constroem respeito e audincia

se para disseminar o desvio da norma. Correm assim o risco de, com o

corporaes da grande imprensa de forma mais duradoura.

I n d e p e n d e n t e s
m e s m o d e n t r o
As produtoras independentes de vdeo que surgiram na dcada de
200, emplacar propostas para os

canais que iam ao ar na rede aberta. Ou seja, queriam disputar um

-
tado na dcada seguinte. Corriqueiramente chamado de antiteleviso
ou contrateleviso201, seu vasto repertrio no deixava de ter em vista
a insero nas grades de programao.

Olhar Eletrnico se mantiveram intempestivas e iconoclastas, assinala

sua contradio existencial. S podiam sustentar a independncia de seus
meios de produo e de sua ideologia de trabalho estando em grandes cor-

que se apresentava como paradigma para desenvolver uma linguagem de

-
mou de dialtica impecvel202 entre a arte e a comunicao, a exceo e
a busca de entendimento.
A lgica independente cultivava a utopia de transformar as bases ti-
co-estticas da televiso, cujo modelo de funcionamento se orientava por
uma hierarquia da produo sobre a recepo (unidirecionalidade), pelos
-
trica dos intervalos comerciais (interrupes que ditam a sua sintaxe)203.

200 No texto Vdeo e TVDO: Anos 80, Tadeu
Jungle diz: Pretendamos fazer programas
para TV. A meta primeira no era a videoarte.
Cf. JUNGLE,Tadeu, Vdeo eTVDO: Anos 80.
In: MACHADO, Arlindo, op. cit., p. 213.
201 Tadeu Jungle descreveu no texto que ainda
hoje, o vdeo tratado por muitos crticos como
uma espcie de contrateleviso ou, quando
muito, associado reinveno da sua lingua-
gem, ideia de qualquer experimentalismo en-
volvendo seu aparato (Cf. Idem, p. 88). No
entanto, durante a pesquisa de Arte-veculo
ele expressou sua discordncia em relao a
essa posio. Ele defendeu que, independen-
temente do modo, o que interessava sua ge-
rao era estar na TV, engajar-se na sua pro-
gramao, muito mais do que critic-la ou
opor-se a ela.
202 Cf. ZANINI,Walter. In: MACHADO, Arlin-
do, op. cit., p. 53.
203 Cf. FECHINE,Yvana, op. cit., p. 88.
 175

Para duelar com tais premissas, mesmo que apenas em experincias

um jogo de tenso e reciprocidade. Esse jogo era semelhante, segundo

O silncio dos inocentes
serial killer
de investigao e impe ao investigador os seus mtodos, estimulando
o policial a raciocinar como o psicopata que persegue. A caada, con-
tinua a autora, s acaba quando se estabelece uma tal cumplicidade
entre os dois, o policial e o psicopata, que o primeiro comea a pensar

pela contnua contraposio ao outro204.

-
-
cido. J na poca muito se discutia sobre os efeitos em curto e longo

a mostra Vdeo de Artista & Televiso, em 1986, escreveu sobre a situa-

o delicada de se adentrar o mundo do entretenimento, decidir pelo
acesso televiso e s multides de espectadores ou pela pesquisa, que
205

-
soras era um mote de trabalho. Para cada programa emplacado, havia
sempre vrios outros mantidos no piloto.
sobre essa atitude, concentrada nos primrdios da histria das
produtoras independentes, que se deter esse ensaio. O momento pos-

ao foco de anlise nas intervenes miditicas como causadoras de es-

tranhamento e experimentao de discursos nos meios de comunicao
de massa.
Fechine aponta que essa experimentao se apoiou em recursos
como montagem expressiva, que quebra a linearidade da tela natura-
-
torreferencialidade e apresentao do processo como produto, que
colaboram para o desvelamento do dispositivo narrativo; alm da est-
tica da inverso206, j mencionada. No contexto brasileiro, dentre tantas

204 Cf. Idem, p. 87.

205 Cf. TEIXEIRA DA COSTA, Cacilda. Vdeo
de artista & televiso. Museu de Arte Contempo-
rnea da Universidade de So Paulo (MAC-
SUP), 1986, p. 9. Catlogo.
206 Cf. FECHINE,Yvana, op. cit., p. 104.
 176

Ambos surgiram na Universidade de So Paulo no incio dos anos

rotativa e a buscar maneiras de mostrar seus trabalhos em vdeo. No

-

pareciam contemplar a todos: um tanto de irreverncia e frescor em

troca da chancela de algum disposto a defender as propostas dentro
da emissora.
Atuante desde a Bossa Nova, o jornalista e produtor musical Nelson

da ECA-USP e os chamou para codirigir um programa que passaria nos

Escalado para concorrer com a
novela Baila Comigo Mocidade In-
dependente 207
recm-contratado208
e colaborao no programa Abertura
Como o nome anunciava, o Mocidade era um programa para jovens,
voltado, segundo Motta, para as tendncias emergentes em todos os
campos artsticos209. Nada mais adequado do que ele ser tambm rea-

A revista Veja noticiou no dia 1 de julho de 1981 o programa de

incluiu uma entrevista exclusiva com os membros da produtora que

Mocidade uma quebra de padro. Nela, Jun-

-
mos uma opo ao esquema, que pode ser usada eventualmente pelas
estaes210.

207 A concepo do programa era de Nelson Motta, que dividia 209 Cf. A fonte da juventude:
a direo com aTVDO. A produo era de May Pinheiro e Leo- Nelsinho Motta volta TV tra-
nardo Neto. A edio ficava a cargo dos diretores e de Paulo B. zendo os artistas de vanguar-
Garcia. da e disposto a conquistar um
208 ATV Bandeirantes contratou Walter Clark em janeiro de 1981 espao para as loucuras de
para que ele reformulasse a programao. Em seis meses, o dire- sbado noite, publicado na
tor fez vrias mudanas e implementou programas novos, como revista Veja em 1 de julho de
Mocidade Independente e o infantil Turma do Lambe-lambe, em que 1981.
Daniel Azulay usava a tela como brinquedo, as crianas, segun- 210 Cf. Idem, p. 181.
do relata o apresentador, eram estimuladas a botar a mo e colar
coisas no aparelho, para que pudessem sair do transe hipntico
da televiso. Chacrinha tinha um programa de cinco horas nas
tardes de domingo e assumiu uma briga pblica com Clark, que
queria reduzi-lo. (Cf. Revista Veja, 1982, p. 182)
 177

Ao longo dos oito programas, entre junho e agosto, essas alternativas

foram gradualmente testadas em todas as etapas de produo, da cria-
o gravao de situaes, pois no havia roteiro prvio. No entanto,

uso de fuses de imagens, cortes curtos e repetitivos, locues, efeitos

-

assim uma queda de brao amigvel com o prprio Motta, que, apesar
de ter desistido da funo de apresentador, teve uma imagem sua, em
-
gramas.

vinheta de abertura dos blocos, eram inseridos em off alertas irnicos

sexo explcito nem nu frontal211 ou ateno, senhores pais, este pro-

grama no provoca nenhum tipo de dependncia fsica ou psicolgica.
independente. Em videotexto recurso de edio que vinha sendo

Tesouros
da juventude 212, piscava na tela a frase o som aumenta o som.
A diagramao e sua interao com as imagens de fundo vinculavam
os textos herana da poesia visual e da poesia concreta brasileira213.
-
o bidimensional, chamavam a ateno para a sua existncia, revelia
da iluso de profundidade que as imagens provocavam, com seu poder

procedimento foram bastante explorados pelos videoartistas atuantes

na televiso.
A narrativa de Mocidade Independente era fragmentada e cheia de
camadas, assim como a do programa Abertura, que Motta apontou
como sua maior inspirao214

211 Arquivos de programas do acervo pessoal

deTadeu Jungle.
212 De autoria de Lulu Santos e Nelson Motta.
213 O trabalho de Tadeu Jungle como artista
plstico fortemente ligado poesia concreta.
Em obras como o videopoema Tatu bola no
bebe Coca-cola (2013-2014), por exemplo, ele
presta homenagem poesia Beba Coca-cola
(1957) de Dcio Pignatari e a imbui de um pro-
testo contra a Copa do Mundo no Brasil. (Cf.
SARAIVA, Alberto. Tadeu Jungle: Videfotopoe-
sia. Rio de Janeiro: F10 Editora e Oi Futuro, 2014.
Coleo arte & tecnologia)
214 Cf. Veja, 1982, p. 118.
 178

e curiosos passavam a tarde juntos. Esse lugar era a Pauliceia Desvaira-

da, boate da qual Motta era dono junto com Ricardo Amaral.
215, grupo de teatro de comdia do

Rio de Janeiro, foi uma das presenas constantes em Mocidade. No epi-

sdio de sua primeira apario, foi encenado um esquete em que Motta

a chamada e foi de nibus at So Paulo para se candidatar. Da por

216 e os

convidados do programa. A chegada do grupo foi narrada como uma

sendo um deles). Sua presena fortaleceu o tom humorstico e a inter-

disciplinaridade a partir dos quais Mocidade procurava anunciar uma
nova gerao criativa.
Conscientes de uma cena e da sua relao com o passado das cul-
-
tistas de diferentes origens como tambm recorriam a um vasto arquivo
de imagens do cinema hollywoodiano aos primeiros clipes musicais
editado como um grande remix
antecipava os crditos:

os nomes que aparecerem na tela devem apare-

cer no viaduto do ch no domingo para ganhar um
beijo do tvdo: norma bengell, oswald de andrade, ale-
mo videoteca, os concertistas, boca, casco, torqua-
to neto, caetano veloso & gretchen, amado audio, ser-
ginho camisa 9 do SPFC, nelson motta e lulu santos,
pinto cabo man.

Mocidade

forma independente217. Em 1982, os integrantes juntaram-se com o s-

215 O grupo de teatro Asdrbal Trouxe o Trom-
bone foi formado em 1974 no Rio de Janeiro,
com uma linguagem de desconstruo da dra-
maturgia, interpretao despojada e a criao nheiro?. Enquanto entrevis-
coletiva. Seus integrantes iniciais eram Regi-
na Cas, Luiz Fernando Guimares, Patrcia
Travassos, Evandro Mesquita, Perfeito Fortuna,
Nina de Pdua e Gilda Guilhon. Cf. Enciclopdia
Ita. Disponvel em: <http://goo.gl/zilFqB>.
Acesso em: 13/7/2015.
216 Em um dos episdios, o
Asdrbal vai rua para realizar
a enquete Voc est com o di-
tam os transeuntes, Patrcia
Travassos avista Tadeu Jungle
e fala olha o TVDO, gente!.
Na edio, inserida em video-
texto a frase Recado para os
Asdrbal / Tempo / Regula-
mentar esgotado / t v d o.
217 Tentamos isso.Tentamos
fazer vdeos institucionais
para empresas. Tentamos fa-
zer documentrios sobre ar-
tes plsticas. Tentamos nos
institucionalizar. No conse-
guimos. Cf. JUNGLE, Tadeu,
op. cit., p. 213.
 179

-
Teve Show de Bola, uma cobertura de um jogo de futebol em
-
trevistas que geram uma espcie de escuta das ruas), s que volta-
da para assuntos perifricos ao mote inicial. Ao narrar o prprio jogo,
abordavam temas como o cachorro-quente da entrada, o corte de cabelo
dos jogadores ou mesmo o trabalho da imprensa, na qual se incluam.
O mote era sempre o avesso dos assuntos e, por isso, o projeto foi
continuado como a srie Avesso -
-baile, Futebol (antigo Teve Show de Bola Punk. A
-

218

Avesso

de sucesso na emissora. Fbrica do Som foi um programa de audit-

rio, prioritariamente musical, que aconteceu no teatro do Sesc Pompeia
rock nacional,
apresentou shows
Sucesso e Isca de Polcia. Sua pauta, no entanto, envolvia tambm con-
cursos, recitais de poesia e entrevistas, situando-se, conforme Fechine,
nas fronteiras entre a cultura popular e a erudita, incorporando certos
procedimentos da montagem e do discurso mais delirante da videoarte
219.

Jungle, que apresentava o programa, era admirador declarado da

poesia concreta de Dcio Pignatari e dos irmos Campos. Chegou a fa-

literatura e visualidade220

quis provocar uma discusso sobre o que seria semitica. Segundo

Aurlio, semitica
seria a arte de dirigir manobras militares por meio de sinais sem uso

plateia, se ele queria discutir o verbete. O poeta e titular da disciplina de

semitica na Pontifcia Universidade Catlica de So Paulo (PUC-SP) se
eximiu da resposta que poderia dar enquanto especialista no assunto.
Rindo, desconversou e descontraiu: deixa o Aurlio

218 Cf. Idem, p. 214.

219 Cf. FECHINE,Yvana, op. cit.,
p. 88.
220 O programa de 17 de setem-
bro de 1983 fez uma homena-
gem poesia concreta de Au-
gusto de Campos.
180

-
-

ideias. Esse um programa de jovens trogloditas paulistanos, urrava

Jungle, circundado de pessoas, que o pegavam pelo ombro e puxavam
sua camisa. O apresentador incendiava essa interao, como se seu
maior objetivo fosse retirar o espectador da sua passividade diante dos
veculos de massa.

broadcasting no
televiso de autor, um trabalho de equipe, que exige muito jogo de
cintura. Ou voc est com todos ou voc est por fora e no tem produ-
to 221.

se um enfant terrible
identidade como apresentador passava por uma referncia em comum
sua gerao, Glauber Rocha no programa Abertura. Segundo Regina
-
222.

antes de mais nada) como libis que lhe permitiam furar esquemas e aproxi-

criar suspeitas sobre a credibilidade que almeja deter na sociedade.

A pardia foi uma das principais estratgias da Olhar Eletrnico desde os
primrdios. Como pontuou Fechine, os mesmos ingredientes que a televiso
pop, descontrao,

223. Inicial-

mente, a produtora era composta por Fernando Meirelles, Paulo Morelli,

221 Em programa do acervo pessoal de Tadeu

Jungle, no minuto 14 de gravao.
222 Cf. MOTA, Regina. A pica eletrnica de
Glauber: Um estudo sobre cinema eTV. Belo Ho-
rizonte: UFMG, 2001, p. 16.
223 Cf. FECHINE,Yvana, op. cit., p. 92.
 181

Marcelo Machado e Jos Roberto Salatini, todos ex-alunos da FAU-USP.

Afora experimentos em videoarte e uma rotina de discusses no Cul-

tural, um grupo de estudos semanal que ocorria em uma sala da praa
Benedito Calixto, em So Paulo, a trajetria televisiva da Olhar comeou
em 1982 com um convite de Goulart de Andrade, um jornalista investiga-
tivo que havia se tornado clebre pelo bordo vem comigo, no Comando
da Madrugada

renovao224
emissora da seguinte maneira:

vocs a performance -
o brasileira, os jovens. [] Uma televiso feita por

nesse horrio que meu e que eu cedi aos jovens do

Olhar Eletrnico225.

-
sentador ainda tinha trs horas aos sbados. Desta maneira, pde cicero-
near os video makers e acelerar sua formao com o acesso a equipamen-

quatro meses, a Olhar exibiu um programa sem nome, que revelava seu

um nome para o programa. Antenas, o nome sugerido pelo poeta Paulo

Leminsky, terminou sendo o mais votado pela audincia.
-
rou com o 23 Hora, um jornalstico de variedades baseado na narrativa

Christine Mello:

224 Jungle relata que aTVDO foi 225 Trecho do depoimento de

convidada antes, mas no acei- Goulart de Andrade para o
tou porque no tinha cach. Cf. programa Videobrasil 30 anos,
JUNGLE,Tadeu, op. cit., p. 207. realizado pela Associao
Cultural Videobrasil em 2013.
Disponvel em: <http://goo.gl/
ZB5GGv>. Acesso em:
25/6/2015.
182

planto na produtora. As pessoas ligavam tentando en-

tender o que estava acontecendo. Ns perguntvamos
-
mos para aguardar. Quando a prxima pessoa ligava,

da pessoa anterior, colocando os telespectadores em

entre eles era o fato de estarem assistindo ao Aqurio.

O que eles conversaram nunca soubemos. Alguns dias
depois ainda recebamos os telefonemas mais inusita-
dos: desde agradecimentos at xingamentos, passando

Aqurio 226.

A interatividade, o acaso e a quebra de qualquer expectativa narrativa fo-

Goulart gostava de se colocar como um mediador e o grupo estipulava um

-

reprter com a sagacidade do cmera para dirigi-lo em cena, o personagem

Estvamos na cidade de Santos, sem saber o que

com duas misses: gravar noite um show de Itamar

-
te o dia. [] Diante de um relgio digital quebrado na
praia, gravei um boletim daquele reprter ainda sem
nome. Surpreendente variao climtica em Santos,

aquela brincadeira ingnua virou um quadro de humor

do programa. Foi colada uma vinheta Santos Urgente,
com as letras aparecendo nervosas sobre um papel em
-
brante de Breaking News la CNN. O que dava uma
credibilidade telejornalstica e deixava aquele absurdo
bastante divertido227.

226 Depoimento de MarceloTas 227 Cf. TAS, Marcelo. In: MA-

para Christine Mello em 25 de CHADO, Arlindo, op. cit., p.
novembro de 2003. Cf. MELLO, 222.
Christine, op. cit., p. 102.
 183

Crig-R Olho Mgico

chamou a Olhar para colaborar com a srie Aventura

Nela, desenvolveram um quadro de telejornalismo pardico, O Mundo
no Ar.
-
na inventada para os cmeras (primeiro Fernando Meirelles e depois ou-

na reportagem. O primeiro episdio foi gravado na conveno do Partido

do Movimento Democrtico Brasileiro (PMDB), no Clube Pinheiros, em

a festa de estreia do programa. Nomes como Ulisses Guimares e Joo

Sayad apareceram dando depoimentos sobre como estavam honrados
em participar da conveno, e no da festa, mas isso o espectador
no percebia.
Apesar da curta durao, o programa consolidou na cobertura de
uma agenda poltica e social brasileira a interveno desse alter ego de-

o Congresso Nacional. Nos bastidores da poltica, cunhou frases que

-

PDS) ou verdade, senhor Maluf, que o senhor um ladro?, para

Paulo Maluf (PDS), naquela altura candidato presidncia apoiado pela
ditadura.
Depois de quatro edies, O Mundo no Ar foi cancelado por Adol-

uma piada feita em uma chamada de intervalo como um insulto aos

judeus228

grupo gradualmente se desarticulasse e seus integrantes se engajassem

em projetos pessoais.

Netos do Amaral

228 Marcelo Tas contou que a sada do programa da TV Man-

chete foi causada por um mal-entendido surrealista. O dono da
emissora, o senhor Adolpho Bloch, no gostou de uma pardia
que fizemos de um famoso comercial dos computadores Apple.
As imagens mostravam um mundo dominado pelo Big Brother,
de George Orwell. O senhor Adolpho achou que era uma fila de
judeus indo em direo ao forno crematrio. (Cf. Idem, p. 216).
 184

do programa Amaral Neto, o Reprter . Outros projetos

voltaram a reunir partes da equipe inicial da Olhar Eletrnico, com pro-

Uma experincia vivenciada por Marcelo Machado e Fernando Mei-

video makers com a
inveno de linguagem e o questionamento dos meios de produo tele-
visuais. Essa experincia ocorreu no TV Mix -
ma dirio de entretenimento, informao e servios em So Paulo (j que
o sinal da emissora s cobria o estado). Foi nesse contexto que nasceu
o reprter abelha, um videorreprter que se deslocava com agilidade
pela cidade para cobrir as notcias enquanto elas aconteciam. Como
uma equipe de um homem s, ele gravava e entrevistava, depois voltava
para a emissora, que levava o material ao ar sem edio.

Camcorder, a cmera tornou-se um instrumento para uma pessoa s.

como uma caneta229. A tecnologia corroborou com a necessidade de

conseguiu contratar nove estudantes, que eram nove equipes230, con-

clui Meirelles.

produo a princpio comprometeriam a qualidade das imagens a serem

Meirelles e Machado apostaram na lgica abelha. Relembrando Max

231 -

Olhar Eletrnico, os diretores do TV Mix tentaram atribuir alguns traos

de identidade aos videorreprteres, como um colete com o qual seriam
reconhecidos nas ruas. As demais caractersticas foram sendo encon-
tradas na prtica. Os abelhas testaram meios de transporte como ni-
bus e bicicleta para fugir do trnsito; treinaram diferentes mtodos de
abordagem dos transeuntes e precisaram recorrer sempre ao improviso,
j que seu material no era editado.

229 Em entrevista de Marcelo
Machado para o blog Dirio de
um Videorreprter, de Paulo
Castilho. Disponvel em:
<http://goo.gl/6UAl7m>. Aces-
so em: 16/5/2015.
230 Em entrevista de Fernan-
do Meirelles para o mesmo
blog. Disponvel em: <http://
goo.gl/c81iZ7>. Acesso em:
16/6/2015.
231 Max Headroom foi o pri-
meiro apresentador deTV ge-
rado por computador. Foi
criado em 1985 para o filme
Max Headroom: 20 minutes
into the future, exibido pelaTV
britnica e posteriormente
transformado em srie.
 185

-
lismo, no vdeo, no cinema e nas artes em geral. Entre eles, esto Caio
-
lo Guedes, Renata Netto, Serginho Groisman, Astrid Fontenelle, Anna
Muylaert e Ale Primo.

-
gistrar com a cmera Portapack a performance A situao -

telejornal, se embriagando de cachaa enquanto repetia uma notcia

(A situao social, poltico, econmico, cultural brasileira). Apesar de
menos conhecida, ela pde ser vista como um prottipo daquilo que

cultural atravs da informao.

No TV Mix -

conseguiu entrar no seu prdio pela garagem e entrevist-la no elevador

antes de toda a imprensa232. Alm de ser gil na abordagem, Anhaia ti-
nha no microfone um canal constante de posicionamento e provocao
do senso comum.
Levava em paralelo suas atividades como artista e jornalista, soman-

constantes em estaes de rdio e nos jornais, inclusive na forma de

cartas do leitor233 -

meio a notcias reais, experimentar falcias, imprecises e polmicas.

No programa Verdades e Mentiras, da rdio Universitria de So Paulo,
anunciou em 1985 que a Serra do Mar tinha desabado234. Ao publicar
Lavagem s ostras, uma compilao de 55 artigos de
assuntos gerais que havia escrito para sua coluna no Jornal da Tarde,

so as prolas preciosas que consomem meu lixo235.

-
pendente de Anhaia, mesmo tendo construdo uma trajetria institucio-
nal na imprensa e na cultura, foi a exibio de Muito alm do cidado
Kane

232 Segundo contou o ex-re- 233 O artista colecionou suas publicaes na imprensa brasi-
prter abelha Marcelo Guedes leira e, antes de falecer, em junho de 2010, publicou grande
a Paulo Castilho. Disponvel parte delas no blog Fatos e Fotos. Disponvel em: <http://goo.
em: <http://goo.gl/yQvf0j>. gl/FlZvig>. Acesso em: 24/6/15.
Acesso em: 12/6/2015. 234 Cf. Artista protesta contra radiao, matria publicada
no caderno Cidades do jornal Folha de S.Paulo de 15/11/1986.
235 Cf. MELLO, Geraldo Anhaia. Lavagem s ostras. So Pau-
lo: Sniper, 1994, p. 54.
 186

suas alianas com a ditadura militar brasileira. O fundador do grupo,

Roberto Marinho, comparado a Charles Foster Kane, o magnata da
Cidado Kane
-
blica ligada ao governo do estado de So Paulo. Por ordem do ento Go-

no Brasil.
J fora do MIS-SP, mas ainda aproveitando a visibilidade que o caso
tinha gerado, Anhaia reagendou uma sesso para o ms de julho na
sede do Sindicato dos Bancrios, no Edifcio Martinelli. Providenciou
-
versidades e publicou um livro a respeito236. Em nota Veja So Paulo

assessor de imprensa da Secretaria de Cultura do Estado, de que seria

-
so, censor e alm de tudo ainda usar uma peruca ridcula237.

A mosca na sopa da
sociedade de consumo

ideolgica com a qual se exerce poder poltico em uma sociedade, antes

disso, ela acarreta um modelo industrial de produo, dependente de gran-
des aportes econmicos e tcnicos e, por conseguinte, de expectativas altas
de audincia e lucro. A escala industrial das operaes da imprensa um

editoriais. As referncias de gosto, por exemplo, nascem no apenas como

um a priori do veculo, no exerccio de uma funo educativa, mas tambm

o popular238 e suas derivaes, como o pop e o popularesco.

As facetas das mdias impressa e televisiva como estrutura inerente
sociedade de consumo cativaram intervenes de alguns artistas na virada

236 MELLO, Geraldo Anhaia. 238 Em Culturas hbridas, Nstor Garca Can-
Muito alm do cidado Kane. clini define que no consumo, os setores po-
So Paulo: Scritta Editorial, pulares estariam sempre no final do proces-
1994. so, como destinatrios, espectadores
237 Nota de Geraldo Anhaia de obrigados a reproduzir o ciclo do capital e a
Mello publicada na Veja So ideologia dos dominadores. Cf. CANCLINI,
Paulo de 23/6/1993. A nota Nstor Garca. Culturas hbridas: estratgias
uma resposta matria O v- para entrar e sair da modernidade. So Paulo:
deo sensao, de 16/6/1993. Edusp, 2008, p. 205.
 187

arte com a mercadoria, o fetiche e a posse estampou no Jornal da Tarde,

em 15 de julho de 1989, uma malha de insetos pretos sobre um fundo
239, orbitava em torno

240.

do Jornal da Tarde, a imagem tomava toda a pgina, sem ttulo ou legenda, e

parte e, mais do que isso, havendo sido gerados pela sociedade de consumo,
pelo excedente ou pelo lixo que descarta, esses personagens concatenariam

existirem quando vinculou a fruio de trabalhos participativos como No-ex-

posio FAU USP 241 sua desintegrao.

O experimento de Leirner no peridico encerrou o projeto Arte em jor-

nal 242, franqueou pginas duplas
243.

A iniciativa partiu daquele jornal cuja marca-registrada era o arrojamen-

to editorial, que envolvia a identidade visual de Murilo Felisberto, o estilo
de redao ensasta e literria do New Journalism 244 norte-americano e

239 Cf. Um artista se esconde
nas ideias, Jornal da Tarde,
15/8/1989.
240 Idem.
241 A No-exposio foi realiza-
da no final de 1967, como happe-
ning de encerramento na Rex
Gallery & Sons, espao do Grupo
Rex, formado cerca de um ano
antes por Geraldo de Barros,
Nelson Leirner,Wesley Duke Lee
e pelos alunos Carlos Fajardo,
Frederico Nasser e Jos Resen-
de. A mostra foi aberta com
obras de Leirner e o aviso de que
poderiam ser levadas pelo pbli-
co. Em apenas oito minutos, a
galeria foi toda saqueada e o
evento acabou, encerrando a his-
tria do coletivo com esse co-
mentrio sarcstico sobre o mer-
cado de arte que ento se
formava. Em 1970, Leirner
realizou outro happening, desta vez no vo livre
do edifcio modernista da Faculdade de Arquite-
tura e Urbanismo da Universidade de So Paulo
(FAU USP). O artista instalou uma espcie de
tnel feito de sacos pretos e, na manh seguin-
te, foi surpreendido ao perceber que a obra ha-
via sido desmontada e levada aos pedaos pe-
los alunos e professores da instituio. Ao
invs de deflagrarem a experincia coletiva,
ambos os trabalhos confirmaram a fruio
que, como consumo, se d em mbito indivi-
dual e individualista.
242 O jornalista e crtico de arte j foi mencio-
nado anteriormente neste livro, quando do
seu desentendimento com o coletivo 3ns3,
em 1979.
243 Participaram do projeto Arte em jornal:Yu-
taka Toyota, Renina Katz, Tomie Ohtake, Ivald
Granato, Maria Bonomi, Marcelo Cipis, Clau-
dio Tozzi, Jac Leirner, Wesley Duke Lee, Wal-
tercio Caldas Jr., Lygia Pape, Hrcules Bar-
sotti, Dudi Maia Rosa, Nelson Leirner e Luiz
Paulo Baravelli.
244 O gnero de reportagem
jornalstica surgiu nos Estados
Unidos no incio da dcada de
1960, a partir da atuao de no-
mes comoTomWolfe, GayTale-
se, Norman Mailer e Truman
Capote. Em 1956, Capote publi-
cou na revista The NewYorker o
texto que foi considerado pre-
cursor desse estilo, um perfil
do ator Marlo Brando intitulado
O duque em seus domnios.
Talese definiu o New Journa-
lism como algo que pode ser
lido como fico, mas no fic-
o. [...] que exige uma aborda-
gem mais imaginativa da re-
portagem e consente que o
escritor se intrometa na narra-
tiva se o desejar (Cf. Cold
Blood Analysis. Disponvel em:
<http://goo.gl/iR73F9>. Aces-
so em: 01/07/2015).
 188

28 de janeiro de 1991, por exemplo, abaixo de quatro chamadas apre-

sentadas com semelhante destaque, lia-se um convite: Escolha aqui a
sua grande manchete.
A srie Arte em jornal foi iniciada em 8 de abril de 1989, como uma
indita experincia de arte-comunicao na estrutura do Jornal da
Tarde -
-
vidados245
de arte em um suporte reprodutvel como o jornal. Ela seria, segundo o
texto introdutrio primeira edio,

na produo e nos efeitos. [O projeto] uma respos-

ta questo permanente que a nossa poca coloca a
partir da produo e do consumo em massa. pos-
svel a criao individual? Ainda tem sentido a obra

tcnica?246

Em um circuito paralelo ao do mercado de arte, no jornal mais vendi-

do na grande So Paulo247
-

Os experimentos no plano bidimensional da pgina predominaram,

assim como ocorreu na edio de Nelson Leirner. Grande parte dos artis-
tas transitou pelo terreno das imagens estranhas ao senso comum, dos

propostas discursivas que resultavam em inscries conceituais ou mesmo

poesia visual. Na interveno Furos
Leirner fugiu das possibilidades que saam do seu ateli j para o fotolito de
fechamento. Interessada em provocar uma experincia ttil, no apenas
-
mente o processo de impresso dos cadernos. Se ps ao lado da Goss
uma mquina de alta performance248
exemplares por hora e, com um alicate, torceu os percevejos presos

245 Cf. Arte em jornal, Jornal 247 O Jornal da Tarde distribua
da Tarde, Caderno de Sbado, cerca de 120 mil cpias nas edi-
9/4/1989. es das teras, quintas, sex-
246 Idem. tas e sbados. s segundas e
quartas, chegava a 190 mil. Os
nmeros deram-lhe em 1990 o
ttulo de jornal mais vendido na
grande So Paulo. Cf.Ruyzi-
to, satisfeito com o apoio s
novas propostas. Jornal da
Tarde, 5/5/1990, p. 9B.
248 Os dados da Associao Brasileira da Inds-
tria Grfica (Abigraf) apontam que na virada para
os anos 1990, impulsionados pela abertura do mer-
cado interno brasileiro para importaes, diversos
veculos de imprensa modernizaram sua maquin-
ria de impresso. (Cf. Mercado retrado: grficas
e fornecedores apontam solues para melhorar,
Negcios da Comunicao, disponvel em: <http://
goo.gl/IoQDW5>.Acesso em: 10/9/2015).
 189

aos rolos por onde o papel passava rapidamente.

estavam praticamente em branco, apenas grafadas com o ttulo do trabalho

-

Jornal da Tarde. Aps testar algumas

ideias, concluiu que

Com os furos cheguei a uma sntese. A informa-

sobre nada. O trabalho se impe. Queria que este jor-

nal virasse um ralador, fosse extremamente spero249.

O ttulo Furos
referncia operao da artista, cujos efeitos a pgina-obra testemunha, o
termo tambm contemplava o jargo furo jornalstico, que designa no vo-

antes da concorrncia. Grafados no espao em branco, onde havia ausn-

cia total de notcias, os furos literais de Jac promoveram uma suspenso
-
mente o real. Em lugar disso, despertaram para o real em si mesmo, para
o escape da pgina, medida que a tornaram spera, dotada de falhas e
relevos.
Outra experincia interessante, que tambm atrelava a interveno mi-

outdoor luminoso na avenida So

Joo, no centro de So Paulo, o artista transmitiu duas frases madrugada
adentro: Isto como sombra e Aquilo como aqui. Por meio de jogos de

ideia de escultura.

-
cados250. O ato que aconteceu nas ruas virou relato no jornal. Sangrado

249 Cf. Furos. Essa artista pro-

voca voc, Jornal daTarde, Ca-
derno de Sbado, 27/05/1098.
250 Cf. Fbrica de ar Jornal da
Tarde, Caderno de Sbado,
29/04/1989.
 190

-
blica, escultura de notcia e notcia em si, tudo ao mesmo tempo.
Nos anos seguintes, o Jornal da Tarde continuou prximo aos ar-
tistas. Alm de querer fornecer ao leitor um repertrio cultural, seguia
interessado em empreender experimentos de linguagem na sua grade de
251, havia

Folha de S.Pau-
lo 252
uma coluna aos sbados253. No espao de uma tira vertical que tomava
a pgina de cima a baixo, nasceu a ...umas, voltada para uma pauta da
arte contempornea brasileira e internacional entremeada pelos comen-

com assuntos gerais.

Era um exerccio o tempo todo de memria. Na

poca no tinha o Google e eu trabalhava com o ban-
co de dados do jornal, que era maravilhoso. O direito
autoral no era regulamentado como hoje. O depar-

as imagens porque meu trabalho era considerado cr-

tica de arte254.

do mundo, de Marcel Duchamp quando raspou uma estrela na cabea,

e das Xipfagas capilares
Formas capilares255, toda construda com referncias a cabelos. Atra-
vs das imagens seguidas de pequenos textos, como em uma espcie de
pr-blog256, Lenora articulava em primeira pessoa eventos da arte e da

do seu prprio trabalho. Na poca desse exemplar da coluna, a artista

Hair Styles, uma sequncia de retratos seus

251 Lenora havia colaborado 252 Em entrevista pblica concedida a Ana
com as revistas Poesia em Maria Maia, na Trienal de Sorocaba, em
Greve e Corpo Estranho, ambas 22/4/2015, Lenora contou que entrou na Folha
editadas por Julio Plaza. de S.Paulo em 1986. Comecei como editora
de arte. Eles iam fazer uma reforma grfica.
Como eu vinha da poesia concreta, eu acho
que eu j tinha uma paixo pelas artes grfi-
cas. Me convidaram para realizar a primeira
fase de cadernizao. O primeiro caderno era
Esportes e depois Ilustrada. Depois que-
riam repensar o projeto grfico em cima da
experincia do Jornal do Brasil. Pensar a foto-
grafia, o fotojornalismo. Conclui essa etapa e
fui pra Itlia, porque o meu marido [Marcos
Augusto Gonalves, reprter especial do jor-
nal] foi ser correspondente l. Na Folha, a ar-
tista publicou alguns poemas visuais como
X, dor! e Retroviso.
253 O Jornal da Tarde estava
renovando seu time de colu-
nistas. Convidou, alm de Le-
nora de Barros, nomes de di-
versas reas de atuao,
como a cantor Rita Lee, a jor-
nalista Marlia Gabriela, o an-
troplogo Roberto da Matta e
o cineasta Cac Rosset. Cada
um publicava em um dia fixo
da semana.
254 Em entrevista a Ana Maria
Maia.
255 A edio Formas capila-
res foi publicada no dia 28 de
maio de 1993.
256 Segundo afirmou Lenora
na entrevista.
 191

experimentando vrios penteados digitalmente257.

A analogia foi um recurso bastante usado nos trs anos de ...umas.
Mesmo em edies em que predominavam trabalhos de poesia visual
ou registros de performance diagramados de forma a tomar todo o seu
espao, a coluna acabava tangenciando aspectos de uma interlocuo
real ou virtual. Como nos esportes para duplas, ou especialmente no
pingue-pongue, que j havia sido usado como metfora para trabalhos
anteriores258 -
tre um e outro ponto.
O exemplar Jogo de damas 259 foi construdo a partir da semelhana
entre as performances Ensaio para joo-bobo Mes
Poupes
gesto de abrigar-se em uma roupa casulo branca. Diagramadas uma
em oposio outra, de modo que, se a pgina fosse dobrada, as duas

singulares destinos des-espelhados260.

Muito menos para cobrar originalidade do que para propagar sinto-
nias compartilhadas entre estranhos261
des-espelhamento permitia que os sentidos se bifurcassem e o enten-

jornalsticos ditos objetivos. Em outra coluna, a artista perguntava-se

sem oferecer respostas: Duplicar imagens [seria] multiplicar ou dividir
ideias?262.
...umas criou dilemas e,
ao mesmo tempo, empatia para temas complexos, como a representao

desconstrua os mecanismos do discurso, quanto pop, nas bordas que

-
mente, personagem.

pela expressividade da dcada anterior, os artistas plsticos detinham

257 A mesma imagem foi em-
pregada no trabalho Procuro-
me, publicado no Folhetim da
Folha de S.Paulo em 2001, logo
aps o ataque terrorista de 11
de setembro em Nova York.
Nesse contexto, a artista usava
a careta assustada do seu re-
trato para fazer uma aluso s
fotografias de busca policial,
como as que comeavam a cir-
cular de Osama Bin Laden, res-
ponsabilizado pelo atentado.
258 As bolinhas de ping-pong
so elementos recorrentes em
trabalhos como Olhos de Lil
(2000); Dividir ideias, multiplicar
imagens (2001); Deve haver
nada a ver (2002), e a srie Ping-
poemas (2000-).
259 A edio Jogo de Da-
mas foi publicada em 31 de ju-
lho de 1994.
260 Idem.
261 Em entrevista a Ana Maria
Maia, Lenora relatou como
chegou imagem do trabalho
de Marie Ange Guilleminot,
sem, na poca (nem ainda no
momento do depoimento), t-
-la conhecido pessoalmente:
Eu tinha essa roupa que eu ti-
nha feito para fazer um bone-
co do joo-bobo. Quando eu
fui a Genebra em uma exposi-
o dessa artista, vi uma roupa
que parecia com a minha. Eu
botei ela na coluna e nunca co-
nheci. Comecei a ter a impres-
so de que estava lanando ao
ar uma possibilidade de dilo-
go. L no Piv [em So Paulo,
onde a artista fez uma exposi-
o individual em 2013], um
curador francs tirou uma foto
da coluna e disse que ia man-
dar para Marie Ange.
262 Aps haver sido publicada
no Jornal da Tarde, essa edio
foi transformada no trabalho
Duas operaes (1994/2004).
 192

-
grantes de grupos de rock
por haverem sido abordados pelos veculos, viviam um momento es-

desejo de colaborao recproco. A imprensa abria-se para experimentos

artsticos e vice-versa.
Em uma proposta pontual de maio de 1991, que durou apenas um
dia no ltima Hora 263, do Rio de Janeiro, Ricardo Basbaum publicou
instrues para se construir novas bases perceptivas em meio profu-
so de imagens e apelos de consumo simblico e material. Conteno,
impulso e contaminao, recomendava o artista, antes para si do que

se pensar caminhos para intervenes miditicas adequadas s especi-

-
des de percepo crtica e resistncia, contaminao, em contraparte,
exigia envolvimento e troca. Seria preciso, portanto, que os artistas se
encontrassem em paradigmas que no fossem seus, que se deleitassem
com a sopa alheia e a tornassem sua.
Entre adorar e parodiar toda sorte de lixo cultural, do kitsch ao po-
pularesco, que aferia nas ruas e no Saara, o principal mercado de pro-

exemplo de artista que se deixou contaminar pelas lgicas da mdia

de massa. Munida dos materiais, dos heris, dos gestos e do gosto atre-

contas, diferiam daqueles oriundos da alta cultura que persistia em ser

ali praticada, a despeito do debate terico sobre a ps-modernidade e a
superao do grande divisor264.
A programao de televiso comercial era uma dessas estruturas
mundanas que chamavam sua ateno. Pelo modo como abordava o
banal, o grotesco, o clich, o cotidiano e o pastiche 265, a televiso era
considerada pela artista objeto sntese do sculo XX266, cujo repertrio
esttico ainda deveria ser investigado a contento no terreno das artes
plsticas, para alm dos seus atributos tcnicos.
Em um projeto como TV Studio a glria por um minuto -
-
tos, inserido por ela na sua coleo de cones do gnero humano267.

artista pretendia intervir em um programa de auditrio como o Show de

263 Cf. BASBAUM, Ricardo. 265 Trecho de manuscrito ori- cones do gnero humano
Imagem, ltima Hora, Re- ginal pertencente ao setor de foi inicialmente formulada pela
vista UH, 10/5/1991. documentao do Museu de artista na mostra homnima,
264 Cf. HUYSSEN, Andreas. Arte Moderna do Rio de Janei- de 1988.
After the great divide: moder- ro (MAM-RJ), sem pgina.
nism, mass culture, postmoder- 266 Trecho de datiloscrito ori-
nism. Bloomington e Indiana- ginal pertencente ao MAM-
polis: Indiana University Press, -RJ, sem pgina.
1986. 267 A lgica da coleo de
 193

Calouros

conquistavam as classes C e D e geravam recordes de audincia para a

emissora.
-

a cabo naquele momento. No entanto, evidncias fundamentais para a

sua conceituao encontram-se entre as notas268 deixadas pela artista

Apresentado por Mrcia X. e Silvio Santos em dupla, TV Studio de-

veria seguir a rotina de atraes que era comum aos programas de ca-

especialistas in loco -
tas e crticos, receberia um formulrio a ser preenchido com as notas

os juris representaria uma interseco entre a arte contempornea e a

fundamentos onde estas manifestaes artsticas estruturam sua lin-

guagem269.
A Coroao da Miss Mundo de Plstico seria a pauta do primeiro
programa. Diante das candidatas e entre si, os dois juris deveriam eleger
uma vencedora e convencionar critrios comuns para as seguintes cate-
gorias: luminescncia, meio ambiente, joint venture, fanfarronice,
clivagem, ferramentas, adeso e exist270.

O povo fala na
parablica e na
c o m u n i d a d e
medida que essa gerao de artistas e produtores independentes

hegemnicos, que consolidavam o poderio poltico-econmico dos seus

patronos e alienavam a populao, tambm atuou no sentido de mul-
tiplicar os lugares de enunciao e fundamentar gestos de autorrepre-
sentao. Ao longo de trs trabalhos, que transitaram das mostras de

268 O arquivo pessoal de obras e projetos de

autoria de Mrcia X foi doado ao MAM-RJ em
2013. A iniciativa foi um desdobramento da ex-
posio Mrcia X Arquivo X, que aconteceu no
museu entre fevereiro e abril deste ano, com
curadoria de Beatriz Lemos.
269 Trecho de datiloscrito da artista, acervo
MAM-RJ, sem pgina.
270 Idem.
 194

videoarte s emissoras de televiso, Sandra Kogut perguntava-se como

as pessoas querem se mostrar? Quem elas acham que so publicamente
e como elas vo desempenhar essa persona?271
Primeiro vieram Videocabines so caixas pretas e What do you think
people think Brazil is? -

permitir que os transeuntes entrassem e se expressassem livremente e com

Parabolic People. Usando

-
ais, sotaques, mensagens espontneas e tambm respostas a perguntas
que ela deixava sobre a cmera. A autora relata que:

-
tavam em um espao que era uma espcie de lugar

cara da pessoa e em nenhum outro lugar. [] [Seria]

um vdeo para ser entendido por qualquer pessoa in-
dependente de que lngua ela fale272.

na metfora de uma caixa-preta e supostamente universal. Sobretu-

do, apostava na captura da diversidade atravs dos personagens retra-
tados. Estrangeiros entre si, tiveram suas etnias, costumes e idiomas
confrontados na montagem posterior de Kogut. A sequncia resultou

que dito em diferentes lnguas. O que se poderia entender, conforme

apontou Kogut, era a complexidade e a irredutibilidade da diferena. O
vdeo, dessa maneira, tornou-se uma metfora possvel para a aldeia
global273
distantes a partir das mdias eletrnicas. Os encontros que proporciona,
no entanto, no acarretaram conquistas ou tradues, permaneceram
sem legendas ou prembulos explicativos.
No Brasil, os segmentos foram exibidos nos intervalos de programa-

baseado na pergunta qual a diferena entre a janela e a televiso?. Por

271 Depoimento dado ao Videobrasil 30 anos. 273 O termo aldeia global foi originalmente
Disponvel em: <http://goo.gl/zcT1Ej>. Acesso descrito no livro A galxia de Gutenberg, de
em: 29/6/2015. 1962 e voltou a ser tratado em Os meios de co-
272 Idem. municao como expresso do homem, de
1964.
 195

Fechine chamou de montagem polifnica do vdeo274.

-
pria realidade, dada como o oposto da representao. Em seguida, ela

seja atravs de fuso ou justaposio em campos pontuais da imagem,

Parabolic descortinou o enquadramento como estrutura narrativa. Ao
-

-
es e letterings animados.
A narrativa vertical, que frustrava a progresso de uma histria li-
near, tambm podia ser conferida naquele momento na linguagem dos
videoclipes e art breaks275 veiculados pela emissora. Depois do Parabo-
lic

Brasil Legal 276

Em um contexto ainda mais popular e comercial, a polifonia que ha-
via motivado o incio das investigaes da autora sobre vdeo e autorre-
presentao tornou-se tambm adequada a um porpsito antagnico ao

uma questo crucial das intervenes miditicas. At que ponto sua

muni-la de atributos positivos, como o novo, o risco e a experimentao?

Consentida tal pergunta, um dos poucos caminhos restantes seria o

a comunicao social. Esse caminho que naturalmente acarreta ou-

tros regimes de visibilidade, bem como outros agenciamentos, mecanis-

274 FECHINE,Yvana, op. cit., p. 95.
275 Formato criado pela emissora para conte-
dos experimentais de curta durao nos inter-
valos de programao. (Cf. LOVELL, Sophie
(Org). MTV on Air: The Visual Message and the
Global Language. Berlim: Die Gestalten Verlag,
2005)
276 O Brasil Legal foi um programa do Ncleo Guel Arraes na
TV Globo. Iniciado em dezembro de 1994, como um especial
de fim de ano, prolongou-se at abril de 1998, sendo exibido s
teras, quartas e domingos noite. Misturava reportagens e
esquetes de fico realizadas em viagens pelo Brasil. Contou
com redatores como Hermano Vianna, Pedro Cardoso, Jorge
Furtado e Cludio Paiva. Quando Sandra Kogut entrou na di-
reo de Brasil Legal, dividiu-a com Joo Alegria e Luiz Felipe
de S. Cf. Memria Globo, Brasil Legal. Disponvel em:
<http://goo.gl/wxeQ04>. Acesso: 29/6/2015.
 196

a primeira televiso de rua do pas direcionada aos movimentos so-

ciais277.
Divergindo da lgica do broadcasting, que emite uma programao
de largo alcance a partir de um ponto central (modelo one-to-many), a

O circuito era divulgado boca a boca e todo o equipamento de projeo

televiso, mas que tambm servisse como um espao de articulao e

visibilidade para as lutas da comunidade278. Ao trmino da exibio,
havia microfone aberto para que a audincia se manifestasse, sugerisse
pautas para novos programas e participasse de uma arena de debate e
engajamento social.
-
-
ca Maluca (infantil), Quatro Cantos (documentrio), Circo Eletrnico

-
-

O apresentador de ambos os quadros era Brivaldo, uma pardia de

-
mulava caractersticas de um brincante279. Era extrovertido, galantea-
dor e debochado. Envolvia a audincia do centro da cidade com peque-
nos esquetes dramticos280 e abordagens que tanto quebravam o gelo
quanto provocavam.

-
-

Aids281, quebrou o silncio em relao doena e aos modos de evitar o

contgio. O povo fala, recurso do jornalismo para se demarcar em uma
matria as opinies imediatas que uma parcela da populao tem sobre

277 BEZERRA, Cludio. O riso
como alternativa esttica para
o jornalismo eletrnico: o caso
do Bom dia Do, da TV Viva.
Artigo apresentado no INTER-
COM / XXVI Congresso Brasi-
leiro de Cincias da Comunica-
o. Belo Horizonte, 2 a 6 de
setembro de 2003, p. 5.
278 Idem.
279 Brivaldo era um misto de reprter e brincante 281 Quadro de entrevistas
popular.Tanto o programa quanto o seu condutor com durao de 14 minutos
dialogavam com a tradio popular da commedia veiculado no programa de 1
dellarte italiana e dos autos folclricos do serto de maio de 1988. (Cf. Arquivo
pernambucano. (BEZERRA, Cludio,op.cit., p. 11). TV Viva, DVD-B003).
280 As esquetes eram pensadas junto com os
dois cinegrafistas que acompanhavam Brivaldo,
Adalberto Porpta ou Nilton Pereira.Assim como
Varela, o reprter-brincante tambm se referia ao
cmera como um personagem sem rosto, cujo
nome era Dagogerto. (Cf.ArquivoTVViva).
 197

um determinado assunto, foi usado por Brivaldo no s como fonte de

informao, mas principalmente de subjetivao e empoderamento.
O slogan
cultural e poltica da populao pobre por meio, antes de mais nada,
da sua autorrepresentao. Como os principais objetivos da produtora
estavam depositados justamente nas comunidades e no seu fortaleci-

-
tentou-se, em grande parte, com verbas de cooperaes internacionais
destinadas a pases de terceiro mundo e ainda contou com dinheiro que
sua equipe reinvestia de outras fontes, entre elas emissoras comerciais

documentrios e participaes.
Dessa forma, tendo em vista a volta s arenas da periferia recifense,
-
Casseta e
Planeta Urgente! e pelo Programa do Fausto Planto
da Madrugada Documento Especial -
tre outros.
 198

v o z e s e
t t i c a s

200210

T t i c a s
para ser a
m d i a

inesperadas so forjadas, mantendo-se sempre o direito de desconec-

tar-se quando oportuno282. A terminologia usada por David Garcia e

gerao de artistas e ativistas brasileiros, que inauguraram o sculo XXI

aguando proposies crticas s linguagens, instituies e pautas da
-
seiras possibilitou a entrada dos produtores independentes nos grandes
283 permitiu o ques-

tionamento da hegemonia desses meios, franqueando, para isso, outros

lugares e estratgias. Nessa nova dinmica de comunicao social, os
autores no apenas detinham as ferramentas, mas tambm os canais
de enunciao. A escala de produo deixou de ser um empecilho para
a abrangncia da recepo.
282 O termo usado por David Garcia e Geert Lo- 283 A internet j vinha sendo desenvolvida desde 1971, quando
vik em 1997, em um dos textos inaugurais da m- Vinton Cerf e sua equipe conectaram trs redes diferentes
dia ttica (Cf. GARCIA, David; LOVINK, Geert. (interneting). Em 1989, Tim Berners-Lee inventou o World
The ABC of Tactical Media, 1997) derivou do que Wide Web (www), um projeto de hipertextos para dinamizar a
o pseudnimo Hakim Bay denominou como passagem de dados de um ponto ao outro. Essa plataforma
zona autnoma temporria para motivar, j demorou cerca de uma dcada para se popularizar no mundo.
em 1985, o ativismo nas redes de informao. No Brasil a internet surgiu a partir da dcada de 1990 e inicial-
(Cf. BEY, Hakim. T.A.Z: Zona Autnoma Tempo- mente foi disponibilizada apenas para pesquisas em algumas
rria: anarquismo ontolgico e terrorismo poti- universidades. A rede s comeou a ser comercializada pela
co. So Paulo: Conrad/Rizoma Editorial, 2001.) Embratel por volta de 1994 e no ano seguinte virou um servio
que poderia ser adquirido pela populao brasileira. (Cf. His-
tria da internet no Brasil. Disponvel em: <http://goo.gl/
mbwyT>. Acesso em: 01/08/2015).
 199

Essa virada tecnolgica e inevitavelmente semntica, epistemol-

gica e jurdica segue sendo construda ainda hoje, com desdobramen-
284 das corporaes

da grande imprensa e as obrigam a repensarem suas atividades, seus

discusso e o cultivo do dissenso e do rudo no espao miditico tradi-

cional, como as emissoras de televiso e os jornais, mas tambm nas
ruas, em listas de e-mails e em eventos culturais.

de consenso, mas de um modo controlado e passageiro. Por meio da es-

tratgia de bater e correr (hit and run)285 se evitaria a dissoluo da cr-

reverso, portanto, da pardia e da subverso em vocabulrio padro ,

-

os indivduos ou pequenos grupos representativos e as corporaes.

Diante de escalas de visibilidade e poder radicalmente diferentes,
-
pre interessada em assumir outras abordagens, era preciso elaborar
respostas tticas, que desviassem do confronto direto com o rival e
combinassem aes e recursos de modo a minar a [sua] fora e [seus]
efeitos286 -

do mundo as primeiras iniciativas do que Garcia e Lovink logo depois

denominaram mdias tticas.

Mdias tticas so o que acontece quando mdias

baratas tipo faa voc mesmo, tornadas possveis
pela revoluo na eletrnica de consumo e formas ex-

284 Desde o incio dos anos 2000, os principais 285 Cf. GARCIA, David; LOVINK, Geert in
grupos de imprensa brasileiros tm diminudo CLINIO, Anne. A ao poltica no cotidiano:
suas operaes e quadros profissionais. Em a mdia ttica como conceito operacional
2010, o Jornal do Brasil fechou definitivamente. para pesquisas em mdia, cotidiano e polti-
Entre 2011 e 2014, a Editora Abril demitiu mais ca. Revista Mdia e Cotidiano, artigos, seo
de 400 jornalistas e tirou de circulao cerca de Dossi, anais do IV Seminrio Mdia e Cotidia-
dez revistas. Ela liderou os cortes, seguida dos no, n. 1, p. 174, jan.-abr. 2013. Disponvel em:
grupos Estado e Folha de S.Paulo, que empata- <http://goo.gl/Z1eLte>. Acesso em: 18/9/2015.
ram em 65 demisses. Na sequncia vieram o 286 Idem, p. 180.
Grupo RBS(54), o portalTerra(50) e o jornalVa-
lor Econmico(50). Os dados foram levantados
em uma pesquisa feita por trs sites especiali-
zados: Comunique-se, Portal da Imprensa e
Portal dos Jornalistas. (Cf. A conta dos passara-
lhos. Disponvel em: <https://goo.gl/tkaYHw>.
Acesso em: 01/08/2015).
 200

sentem oprimidos ou excludos da cultura dominan-

te. A mdia ttica no apenas noticia eventos, porque
elas nunca so imparciais, elas sempre participam e
isto que, mais do que qualquer outra coisa, as separa
da mdia mainstream 287.

-
cusso Net.time Festival Next
Five Minutes
quatro edies em diferentes cidades do mundo288. Por instigar um con-
junto de aes narrativas e de programao de sistemas computacionais
que no se separam dos fatos, mas participam da sua construo289,
os grupos de mdia ttica foram naturalmente tecendo seus vnculos

Apropriar-se dos discursos miditicos, nesse contexto poltico e tec-

A tica do faa voc mesmo (do it yourself) pressupunha gestos de

autorrepresentao e autogesto referenciados, naquele momento, em
prticas anarquistas e na cultura punk norte-americana. Jello Biafra,

dont hate the media, be the media290 [no odeie a mdia, seja a mdia],
que marcou a histria do grupo da divulgao de shows
distribuio de discos por correio para driblar o esquema das grandes
gravadoras291.
Ser a mdia para efetivar outros agendamentos, mas, antes disso,
-
ne. Apostando no acesso a ferramentas caseiras, na experimentao e

ativistas de mdia ttica apostavam em um gnero discursivo calcado

no cotidiano e no coletivo, sem incorrer em novas representaes ou

dos hackers.

287 Cf. Idem, p. 170.
288 As edies seguintes do
Next Five Minutes Festival of
Tactical Media aconteceram
em 1996, 1999 e 2002-2003. A
descontinuidade e a falta de
periodicidade do evento con-
firmam seu carter transitrio
e anti-institucional.
289 Cf. GARCIA, David; LOVINK, Geert in 291 Anne Clinio (2013, p. 175)
CLINIO, Anne, Op. Cit., p. 171. cita o popular slogan DIY
290 A banda The Dead Kennedys foi formada not EMI, criado para expres-
em 1978 na California. Em 2001, durante um in- sar, a partir do trocadilho com
tervalo de suas atividades, o vocalista Jello o verbo morrer (em ingls,
Biafra gravou o disco Become the media, em die), a oposio dos msi-
que ele discursa sobre temas como as elei- cos s grandes gravadoras,
es presidenciais, o Partido Verde, o FMI, o como a multinacional EMI.
massacre de Columbine e a luta internacional
pela democratizao da imprensa. Na faixa
sobre este ltimo tpico, ele lanou o slogan
dont hate the media, be the media.
 201

O gesto teve grande pertinncia no campo da arte, onde o regime

de carreiras e individualidades costuma alicercear o funcionamento de
-

da comunidade), diversos artistas aderiram ao mdia-ativismo. Adeptos

de redes e fundadores de alguns coletivos292 surgidos nesse momento,
eles passam a exercer, segundo Ricardo Rosas, a funo de criadores
de estratgias que vo reverberar293. Ou, em outros casos, reverberam a
ao anterior de terceiros, tornando-se uma espcie de gatekeeper (ou
pauteiro) de tticas a abordagens desviantes, algum que atua entre a
agenda miditica e a agncia artstica e social.
-

por Andr Montenegro, Daniel Lima, Daniela Labra e Fernando Coster.

episdios semanais na grade da madrugada294

pequena e dotada de audincia baixa, a emissora ocupava o canal 15,
um dial
populares do pas e o canal educativo com maior legitimidade entre inte-

295.

292 Em palestra dada em 2005, Ricardo Rosas
elencou agentes e fatores para a formao dos
coletivos artsticos no Brasil entre o fim dos anos
1990 e o comeo dos 2000. Segundo ele, vrios
coletivos brasileiros contemporneos surgem da
ativa cena de interveno urbana espalhada por
todo o pas. Herdeira em parte da arte da perfor-
mance, do happening e da body art, e comparti-
lhando um certo culto por cones da arte brasilei-
ra dos anos 1960-70, como Hlio Oiticica, Lygia
Clark, Artur Barrio ou Cildo Meirelles, esta cena
se contactava, trocava informaes e se organiza-
va via Internet, por contato de e-mail, e em espa-
os e festivais como o Prmio Interferncias Ur- vel em: <http://goo.gl/A4TeZa>. Acessado em:
banas, no Rio de Janeiro, e os encontros
Perdidos no Espao, em Porto Alegre.[] no 293 Cf. ROSAS, Ricardo in CLINIO, Anne,
meio desse interesse crescente em questionar os
parmetros que regem a vida urbana, bem como
em introduzir novos atos estticos nesse espao,
que comeam a surgir diversas formaes coleti-
vas. Entre outros exemplos, formaes como o
Formigueiro, Los Valderramas, o misto de artis-
tas, arquitetos eVjs do Bijari, ou A Revoluo No
SerTelevisionada, de So Paulo, MovimentoTer-
rorista Andy Warhol, Cramen y Carmen, ou Atro-
cidades Maravilhosas, do Rio de Janeiro, Grupo
Empreza, de Goinia, GIA, de Salvador,Transi-
o Listrada, de Fortaleza, ou ainda o grupo
Urucum, do Amap, ou mesmo espaos de reu-
nio coletiva, mostras e debates, como o Rs-
do-Cho, no Rio de Janeiro ou o Centro de
Contracultura, em So Paulo. Esta, em parte le-
vada a cabo pela artista Graziela Kunsch, en-
globava diversos subncleos como o Urbnia
ou o After-ratos. A lista seria talvez intermin-
vel, mas aqui estamos [falando de] um recorte.
(Cf. ROSAS, Ricardo. Hibridismo coletivo no
Brasil: transversalidade ou cooptao?. Rio de
Janeiro: Canal Contemporneo, 2005. Dispon-
01/08/2015).
Op. cit., p. 176.
294 Entre 31 de agosto e 3 de dezembro de
2002, a programao semanal foi mantida,
com uma interrupo apenas no ms de outu-
bro. Os episdios foram exibidos s teras-
feiras s 1h30 e reprisados no dia seguinte, no
mesmo horrio.
295 Segundo relato de Daniel Lima a Ana Ma-
ria Maia no seu ateli, em Perdizes, So Pau-
lo, em maro de 2015.
 202

,
296

entretenimento a uma levada de funk

marcados por similar vigor rtmico e discursivo. Depois de uma vinheta

ao teclar frentico de um cdigo de programao de sistemas, entrava

garantir o anonimato das testemunhas. O apresentador do programa

-

Bem-vindos! Inauguramos agora uma nova rea

temporria, ataque e fuga. Continue se movendo. As

cmeras esto apontadas para ns e, entre os frames

que a revoluo no ser televisionada297.

Segundo a convocao, as mesmas cmeras que servem para vigiar,

em uma sociedade de controle, devem ser apropriadas em processos de
autorrepresentao de minorias invisveis. As possibilidades de quebra
da hegemonia dos discursos miditicos, portanto, estariam no apenas
fora dos grandes veculos, mas na militncia das ruas, da internet e dos
movimentos alternativos. Estaria tambm na disputa para entrar no
espao da mdia mainstream e tensionar sua pauta usando, para isso,

Ou seja, a proposta que chegava grade da emissora atendendo aos

seus padres (vinheta, bloco, intervalo, bloco etc.) e agregando frescor e
298 o papel da televi-

so na consolidao de uma dinmica de comunicao social excluden-

, se apresentava como uma chance para se agregar uma

299

296 A msica TheTelevisionWill Not BeTelevi-
sed foi lanada em 1971 no lbum Pieces of
Man (Flying Dutchman/RCA). Sua letra foi ba-
seada em um poema do msico contra os pa-
dres de comportamento impostos pelas sries
de televiso, pela propaganda, pelo noticirio,
pelo cinema e pela indstria do entretenimento.
A faixa se tornou um cone do movimento Black
Power nos anos 1970.
297 Transcrio do texto da locuo de A Revo-
luo No SerTelevisionada.
298 No boletim eletrnico de divulgao do s-
timo episdio, a ARNST mencionou como refe-
rncia a prtica do coletivo italiano CandidaTV,
cujo objetivo era se infiltrar na cultura como
um tecido necrosante que surge das entra-
nhas (Cf. Boletim 7. Acervo ARNST).
299 Hakim Bey o pseudnimo de Peter Lam-
born, historiador, escritor e poeta norte-ame-
ricano cuja obra contribuiu para o pensamen-
to anarquista dos sculos XX e XXI. Seu
principal livro T.A.Z: Zona Autnoma Tempo-
rria: anarquismo ontolgico e terrorismo po-
tico (1985). Nele, o autor conceituou as uto-
pias piratas, atravs das quais se pode
vislumbrar tticas de resistncia e esvazia-
mento do poder. A obra tem licena copy left e
foi lanada em portugus pela Conrad e pela
Rizoma Editorial em 2001. (Cf. BEY, Hakim.
T.A.Z: Zona Autnoma Temporria: anarquis-
mo ontolgico e terrorismo potico. So Pau-
lo: Conrad/Rizoma Editorial, 2001.)
 203

-
off

Os programas resultavam de ensaios audiovisuais feitos de vrias

camadas e roteiro sincopado, como o dos videoclipes. A autoria do con-

300. A tarefa era justamen-

te entrelaar frames de diferentes origens e perspectivas, com base em

um repertrio de imagens que inclua videoarte de artistas brasileiros
-

No quarto episdio, um quadro assinado por Daniel Lima criou uma

301, de outros veculos

queimados no Brasil por milcias urbanas como o Primeiro Comando

da Capital (PCC)302
programa infantil Xuxa Park 303, da Rede Globo, enquanto estava no ar.

do criminoso marginal, tornando-o de alguma forma responsabilidade

de toda a sociedade, por outro transformavam em smbolo304 a destrui-
o do cenrio do sonho televisivo que, calcado em parmetros identi-
trios e de consumo da elite, terminava por reforar as convenes de

300 Havia, no entanto, quadros
ou intervenes realizados
pelo grupo do programa. Daniel
Lima assinava o lettering Da-
niel na cova dos lees, com co-
mentrios e citaes sobrepon-
do as imagens que estivessem
passando. O artista Ricardo
Ramalho, a convite do ARNST,
dava corpo ao Artista fede-
ral, um personagem cmico
que vendia suas obras e se ven-
dia nos intervalos do programa.
O quadro fazia as vezes de pro-
paganda, mas, na verdade, era
parte do contedo editorial.
301 O episdio do assalto ao
nibus 174 ocorreu em junho de
2000, na zona sul do Rio de Ja-
neiro. Por quase cinco horas, o
veculo permaneceu detido no
bairro do Jardim Botnico, com
todos os passageiros dentro,
sob a mira do revlver de San-
dro Barbosa do Nascimento,
jovem pobre que sobreviveu a
outro caso emblemtico da
histria de violncia no Rio de
Janeiro, a chacina da Cande-
lria, de 1993.
302 O Primeiro Comando da
Capital (PCC) a maior mil-
cia urbana do Brasil. Atua
desde 1993, principalmente
em So Paulo, mas tambm
est presente em 22 dos 27
estados do pas, como tam-
bm na Bolvia e no Paraguai.
303 O incndio ocorreu em ja-
neiro de 2001, no estdio F do
Projac da Central Globo de
Produes, no Rio de Janeiro.
O fogo alastrou-se em menos
de dois minutos e deixou 26
feridos. Entre os anos 1980 e
comeo dos 2000, Xuxa Mene-
ghel foi a principal e mais
bem paga apresentadora de
programas infantis da televi-
so brasileira. Batia recordes
de audincia, tinha um catlo-
go de produtos licenciados
em seu nome e era chamada
de a rainha dos baixinhos.
304 Em letras verdes, que ro-
lam na base da imagem, o
programa agradecia Xuxa,
que gentilmente cedeu sua
imagem para ser smbolo m-
ximo do programa Xuxa em
chamas. (Cf. A Revoluo
No Ser Televisionada, epi-
sdio 4.)
 204

Como um moto contnuo de antagonismos temporrios, de ataques

desconstruo. Da perda de sinal representada na vinheta de abertura

s chamas que predominaram no palco e afugentaram paquitas e crian-

305 como lgica opera-

cional, no por isso deixou de agir fora da grande imprensa, fomentando

os espaos alternativos e as redes de midiativistas306.

criando outras formas de interveno artstica nas ruas e nas institui-

Festival Mdia Ttica Brasil, que, alm

de promover workshops e palestras na Fundao Japo e nas unidades

coletivos em uma exposio na Casa das Rosas307.

308, com instalaes, vdeos e perfor-

mances. O Bijari apresentaria uma sala interativa, onde as pessoas pode-

riam deixar suas mensagens de compra e venda de produtos e servios. O
Formigueiro faria uma instalao sobre os sistemas tecnolgicos de ponta
a partir de um paralelo com o universo das formigas. O grupo Rejeitados
mostraria a documentao da sua proposta de entrada coletiva no Salo
da Bahia daquele ano.
No entanto, antes mesmo da abertura para visitao da mostra, um epi-
sdio durante a montagem tornou-se um emblema da atitude no resiliente

Globo de So Paulo, para a cobertura jornalstica do evento, os artistas

305 No boletim do stimo epi-
sdio, o grupo defendia que a
televiso a arma. A realidade
da tela deve ser invadida. Ne-
nhum nome ser trocado para
proteger os inocentes. Todos
somos fudidos culpados. (Cf.
Boletim 7. Acervo ARNST.)
306 A principal ferramenta para
tanto era uma lista de e-mails
pela qual ARNST divulgava se-
manalmente seus programas
naTV USP e outras atividades,
como apresentaes musicais
e debates. Ao fim dos boletins,
que circulavam para um mailing
alimentado pelos integrantes
do grupo, uma mensagem infor-
malmente estimulava o feedba-
ck do pblico: para mais infor-
maes ou sugestes, entre em
contato. Ser um prazer.
307 A programao do Festival Mdia Ttica 308 A mostra tinha curta du-
Brasil contou com os workshops Seja um rao, de 13 a 16 de maro de
vietcongue miditico, ministrado por Carlos 2003.
Latuff; N5M desvendando a mdia ttica,
por Derez Holzer; DJs e produo de msica
eletrnica, por Interfusion; Teatro situacio-
nista: dramatizao geogrfica, por Manu-
fastura Suspeita; e Rdio, comunidade e
rede, por Rdio Muda. Ainda teve palestras e
conferncias de nomes como Andr Lemos,
Rizoma, Artur Matuck, Jos Chrispiniano, Pe-
ter Pl Pelbart, Giuseppe Cocco, Gilson
Schwartz, Hermano Viana, Hemerson Gaspe-
rin, Fbio Duarte Nomads e Suely Rolnik. Na
exposio, participaram A Revoluo No
Ser Televisionada, Bijari, Anomia, Nomads,
CMI, OCAS, Latuff, Museu da Pessoa, Formi-
gueiro, Rejeitados, Projeto Metfora, Eca
TV USP, Telecentros, A Cria, Bicicletadas,
Batukao, Interfusion DJ Canyba, Entorno,
Carro Verde, Contrafil, Nova Pasta, Brcolis
VH26S, ngela Nagai/Paisagens Rasgadas e
Manufatura Suspeita.
 205

perguntas que julgaram inoportunos, como a mudana da disposio das

-
corrncia da Globo309, ou mesmo a abordagem do trabalho do Formigueiro,
que foi comparado com um Big Brother do microuniverso das formigas310.

para o festival. Sem qualquer concesso dos participantes, que, por con-
-
balhos, comeou um grande desentendimento entre os presentes. De um
lado, Britto e seu cmera; do outro, um interlocutor dos midiativistas (ora

de representao que, embora ideolgica e economicamente distintos, na-

quela situao interagiam cara a cara, em semelhante escala.
Na Globo, a matria no chegou a sair na ntegra. Outros eventos do

patrocinadores e suas assessorias de imprensa fosse honrado. Entre a co-

311,

uma edio de seis minutos que misturou cenas da briga com entrevistas
dadas por ambas as partes. Disponvel para download na internet, o vdeo
documentou o confronto entre a mdia corporativa e a mdia ttica, subli-

informao pelas grandes redes, e, em paralelo a isso, do vnculo entre a

representao e a atuao social.
O caso criou uma alegoria de viglia, presso e proatividade populares

O Festival Mdia Ttica Brasil -

dependente (CMI), como desdobramento do holands Next Five Minutes.

como um brao brasileiro da Indymedia312, para disseminar informao

alternativa e crtica e, ao lado dos movimentos sociais, idealmente dar
313. A principal base de trabalho do CMI tem

309 A instalao Famosos em
passeio consistia na apropria-
o de displays de publicidade
cartonados com garotos-pro-
paganda em tamanho real. En-
tre celebridades como o ator
Reynaldo Gianecchini e o apre-
sentador Gugu Liberato, o p-
blico poderia circular confron-
tando suas ofertas e seus
sorrisos de venda. O trabalho,
no entanto, no era interativo.
310 Britto Jnior gravou a cena
na instalao do Formigueiro eTati Wells, que utiliza softwares livres e pu-
o observa, chamou a analogia de ridcula.
Em entrevista posterior, ela afirmou que reco-
mendou que ele lesse o texto que os artistas
haviam colocado na parede, mas o reprter se
recusou, alegando que nunca ningum en-
tende nada nesse tipo de texto (de artista).
(Cf. Centro de Mdia Independente +Videoha-
ckers, Mdia corporativa arma barraco no M-
dia Ttica, disponvel em: <http://goo.gl/
K1Qkk9>. Acesso em: 18/9/2015.
311 Idem.
312 A Indymedia uma rede internacional que
blica notcias de colaborado-
res de cerca de 200 centros in-
terligados em 30 pases. A
organizao se articula atra-
vs de listas de discusso e
chats na internet, mas tam-
bm outros meios de comuni-
cao, como boletins e rdios
livres e/ou comunitrias.
313 Centro de Mdia Indepen-
dente Poltica Editorial do
CMI Brasil. Disponvel em:
<ht tp://goo.gl/QmDxim>
Acesso em: 18/9/2015.
 206

sido um portal colaborativo na internet, que permite que qualquer pes-

314. Por meio dessa plataforma, contudo,

a rede de indivduos e coletivos j orquestrou, alm do festival, outras

aes presenciais como debates, performances e manifestaes em dife-
rentes cidades brasileiras.

Feita anonimamente, com a colagem de adesivos sobre as placas de

trnsito, a interveno apoiou-se no desejo de rever narrativas e heris
da histria recente do Brasil. Substituir a homenagem a Marinho, o

morto pelo regime militar.

Entre a metfora de uma retratao estatal e a interveno urba-
na concreta, embora que diminuta, o CMI e sua rede de colaboradores
abraam a problemtica das representaes como ponto de partida para
se discutir o real. Lanando mo de ferramentas da teoria crtica, dos
experimentalismos artsticos, da cibercultura, do copyleft e do ativismo,
eles perseguem um ideal de espao miditico que, ao representar e, des-
sa maneira, conceber a realidade corrente, torne-se ele mesmo polifni-
co e dissidente, um prolongamento das ruas e da sociedade.

Arrastes semiticos

usou o vo livre do Museu de Arte de So Paulo (Masp) para promover uma

festa-protesto. Enquanto a emissora transmitia o elenco de convidados e a
programao da sua festa como uma partida da seleo brasileira de fu-

polcia e pela grande imprensa, minorias no representadas nas grades de

status quo, sociedade civil apta a recolocar

Naquela j tradicional arena poltica arquitetada por Lina Bo Bardi, o

evento teve apresentao de DJs, projeo de vdeos315 e intervenes arts-
ticas. Uma delas, proposta pelo coletivo Adbusters, chamava-se Desligue

314 Idem. 315 Foram exibidos vdeos como O que o Centro de Mdia Independente (CMI Global + Vi-
deohackers, 2002), Cid Moreira X Avenida Paulista (Videohackers, 2003), robertomarinho-
estarealmentemorto.mov (CMI So Paulo e Sem Sizo, 2003), Muito alm do cidado Kane
(Simon Hartog, 1993). Destruindo o monlito (Telephone Colorido, 2001), Manifesto (Me-
dia Sana, 2003), Ocupao da Anatel (CMI So Paulo e ARNST, 2003), Famosos em pas-
seio e Xuxa em chamas (ARNST, 2002). Cf. Ativistas protestam contra os 40 anos da rede
Globo, Portal do PSTU, disponvel em: <http://goo.gl/ndlHrJ>. Acesso em: 18/9/2015.
 207

mob -
sim o poder de deciso de uma parcela da populao articulada na crtica.
Atravs de propostas como esta, prolongando-se pelas ruas e reverbe-
rando atos passados que nela ocorreram, de maneira livre e participativa,

mdia corporativa brasileira. Se usado como sinnimo de espectador, imbu-

do de conveniente passividade, ou se empregado para denotar o atributo
das concesses que, a despeito da lei, permitem o uso privado de canais de
-

Diante disso e em parte motivadas pela gesto de Gilberto Gil no Mi-

nistrio da Cultura, que estabeleceu focos como as periferias e o software
livre316 -

instituies culturais, ora deslocando seus recursos e sua visibilidade para

outras partes, muitos deles orientaram seus trabalhos para no s abarcar
-
capar aos agendamentos da mdia e dos equipamentos culturais, em sua

-
nar-se o outro e, dessa forma, exercer sua funo social e poltica como
artista e/ou ativista317.
-
ca e participao popular para junto da comunidade e dos movimentos

urbano quanto a apropriao dos meios e cdigos da imprensa para usos

que esta no previa. Apesar de aparentemente opostas, rua e mdia eram
tomadas para o propsito de tornar visvel318. Assim, assumiam a quali-
dade de espaos de apario319, que, concatenando imagem, fala, escuta e

320.

316 O msico Gilberto Gil foi
Ministro da Cultura entre janei-
ro de 2003 e julho de 2008, du-
rante o primeiro e parte do se-
gundo mandato presidencial de
Lus Incio Lula da Silva (PT).
Sua gesto foi marcada por
programas como o Cultura Li-
vre, pela liberdade digital, e os
Pontos de Cultura, pela des-
centralizao dos recursos e
das aes do setor.
317 Talvez essa leitura culmine na concepo 318 Cf. ARENDT, Hannah in
de artivismo (Cf. GROYS, Boris. On art acti- DEUTSCHE, Rosalyn. A
vism. E-Flux Journal N56. Junho 2014), que en- arte de ser testemunha na es-
trelaa arte e ativismo em uma mesma vocao. fera pblica em tempos de
No entanto, o termo pode incorrer na impreci- guerra. Revista Concinnitas,
so de que a funo social e poltica da arte se ano 10, volume 2, nmero 15,
d apenas por meio do ativismo e do engaja- dezembro 2009, p. 175).
mento com os movimentos sociais, o que no 319 Idem, ibidem.
verdade. Segundo Jacques Rancire, toda arte 320 Idem, ibidem.
poltica porque gera dissenso e, portanto,
contribui para que haja uma partilha do sens-
vel. (Cf. RANCIERE, Jacques. O desentendi-
mento. So Paulo: Editora 34, 1996).
 208

Nesses espaos, a apresentao se aproxima da representao, mui-

pode ser visto (imagem, representao) porque deve existir (a coisa

possam ser assumidos e contornados, a despeito da falsa impresso de

bem-estar social.
Uma semana antes da festa-protesto, seis coletivos se reuniram para
Cubo 321, uma performance audiovisual em praas do centro de

tinham, cada uma, cerca de sete metros de altura. A caixa com pedaos
da cidade322 aludia a uma grande televiso, mas subvertia sua relao

fora, o cotidiano mesmo em busca de meios e narrativas, de fora pra

dentro.
A partir da ideia de mito, em seus mbitos pessoais e histri-
cos323, cada grupo desenvolveu um canal de vdeo, recorrendo a reper-

-
do-lhes temporariamente do anonimato. J o Bijari, na ao Lave suas
mos
Nesses e em outros casos, foram intencionalmente experimentados jo-
gos de desproporo entre o indivduo seus problemas domsticos e

micropoltico, empoderar sujeitos alienados de processos decisrios e

discursivos de seu tempo. Como exerccio franco para a construo de
-
quente, o enfrentamento dos mecanismos de opresso e a concorrncia

321 O trabalho foi realizado dentro do projeto Interaes eletr- 322 Cf. LIMA, Isabelle Morei-
nicas, promovido pelo Centro Cultural Banco do Brasil (CCBB) ra. Coletivos montam caixa
de So Paulo em 2005. Apesar de comissionado por uma insti- urbana no centro, Folha de
tuio, ele aconteceu apenas no espao pblico. Sua agenda de S.Paulo, 20/4/2005. Disponvel
apresentaes, sempre das 18 s 22 horas, percorreu a praa do em: <http://goo.gl/bGSfQl>.
Patriarca (20 e 21 de abril), o Vale do Anhangaba (29 e 30 de Acesso em: 18/9/2015.
abril) e a praa da S (5 e 6 de maio). Em 2010, foi mais uma vez 323 Segundo relatou Daniel
apresentado em So Paulo e em Belo Horizonte. Lima para a reprter Isabelle
Moreira Lima.
 209

Naturalmente, essa no foi nem ser uma tarefa fcil. A grande m-

dia no propagar abordagens que coloquem sua hegemonia em xeque.
-
ternativas como o arrasto miditico. Segundo Ricardo Rosas, esse
movimento

[] se apropria dos cdigos e signos correntes, re-

vertendo sentidos, invertendo ou provocando rudos e
curto-circuitos nas mensagens []. A ideia no esta-
ria tampouco distante do que Umberto Eco chamou
de guerrilha semitica, ao pensar a reintroduo da
dimenso crtica na relao com a mdia ou a ambi-
guidade dos cdigos, por exemplo, na comunicao
esttica ou na de massa324.

-
trados tornavam a grande mdia hospedeira de ideias vrus325, que pe-

agilidade e abrangncia.
A metfora de um arrasto 326, estratgia de saqueamento coletivo
que comea pequeno e depois se alastra, aproveitando-se, para isso,
da fartura de aliados e de possveis alvos , foi concebida por Rosas
327. Nascido de um

Mdia Ttica Brasil para lembrar o

assassinato do jovem negro Flvio SantAna pela polcia militar328

combater o racismo no Brasil.

So muitos Flvios329 -
ma sistmico. Para confront-lo, a Frente recorreu, entre outras es-
tratgias em que predominaram os ritos da cultura afro-brasileira e a

324 ROSAS, Ricardo. #21: entre
o antiespetculo e o arrasto se-
mitico. In ROSAS, Ricardo;
VASCONCELOS, Giseli (Org.).
Net 1.0: digitofagia. So Paulo:
Radical Livros, 2006, p. 211.
325 ROSAS, Ricardo; VAS-
CONCELOS, Giseli (Org.). Net
1.0: digitofagia. So Paulo: Ra-
dical Livros, 2006, p. 10.
326 Arrasto uma ttica de
roubo coletivo que comeou a
ser realizada nos anos 1980
napraia de Copacabana, Rio de
Janeiro.
327 Os integrantes da Frente 3
de Fevereiro so Achiles Lu-
ciano, Andr Montenegro,
Cssio Martins, Cibele Luce-
na, Daniel Lima, Daniel Oliva,
Eugnio Lima, Felipe Texeira,
Felipe Brait, Fernando Alab,
Fernando Coster, Fernando
Sato, Joo Nascimento, Julio
Dojcsar, Maia Gongora, Mari-
na Novaes, Maurinete Lima, tiros, que o atingiram fatalmente.
Pedro Guimares e Roberta
Estrela DAlva.
328 O dentista Flvio SantAna
foi assassinado aos 28 anos
por um oficial do 5 Batalho
da Polcia Militar de So Pau-
lo, em 3 de fevereiro de 2004.
Ele era negro e estava dirigin-
do um carro da marca Gol,
que lhe pertencia. Os poli-
ciais acharam que ele era um
assaltante e dispararam dois
329 Disponvel em: <http://
goo.gl/g6Gd8h>. Acesso em:
18/9/2015.
 210

interdisciplinaridade, a aparies em grandes coberturas televisivas. A

330, no Brasil, alm de outras

emissoras em todas as Amricas.

Diante dessa audincia, integrantes do coletivo posicionaram-se na
torcida do So Paulo e, assim que esse time marcou um gol, abriram
-
dado os planos de corte da transmisso ao vivo da partida, sabiam eles
que, estando naquele ponto da arquibancada, seriam inevitavelmente

ao do grupo, que conseguiu furar os protocolos do evento desde a

vigilncia para entrada no estdio at a apario televisiva.

de So Paulo (Salve!) e tambm um chamado de socorro. Saudemos

e salvemos a negritude no Brasil. A proposta respondia a um episdio
ocorrido durante aquele mesmo campeonato, quando o jogador Lean-

Como pena, ele foi expulso e respondeu na justia por racismo. A ampla

-
tura, alegando que achava tudo uma besteira absoluta331.
A fragilidade das convenes sobre uma democracia racial no pas

-
po participou do ato contra a reintegrao de posse do edifcio Prestes

helicpteros da imprensa, j preparada para cobrir o confronto entre os

Zumbi somos ns virou um vdeo332 que entrelaou

330 Detentoras dos direitos de
exibio dos principais campe-
onatos de futebol ocorridos no
Brasil, ambas as emissoras
pertencem Rede Globo e
sua subsidiria no sistema a
cabo, a Globo Sat.
331 Luiz Felipe Scolari, que j
havia sido tcnico da Seleo somos ns foi premiado no 3
Brasileira e naquela poca di-
rigia a seleo de Portugal,
foi o entrevistado pelo Roda
Viva, da TV Cultura, em 11 de
maio de 2005.
332 O documentrio Zumbi
DocTV. Sua realizao envol-
veu uma coproduo da Fren-
te 3 de Fevereiro com a Gulla-
ne Filmes, a Fundao Padre
Anchieta (TV Cultura) e a
Associao Brasileira das
Emissoras Pblicas, Educati-
vas e Culturais (Abepec).
 211

registros dessas aparies miditicas333 a depoimentos de estudiosos

sobre racismo334 e trechos de um show -
ro. O sincretismo de orix, afox, samba, soul e hip-hop, todos ritmos
afrobrasileiros, entoados com letras e imagens projetadas da luta contra
o o preconceito racial, deram presena ritualstica quela memria. O
formato resultou em um gnero designado pelo coletivo como docu-
mentrio ao vivo335

A lgica parece tambm haver empregnado as prticas do grupo

Frente, com a qual inclusive compartilha integrantes. Aps algumas

intervenes, que tanto foram pautadas como terminam pautando os
discursos da mdia corporativa sobre os movimentos sociais, o coletivo

situao dada e uma situao transformada, o esquema estipula eta-

de uma urgncia, vm a inaugurao de um ato portador de futuro,

Esse Programa para a descatracalizao da prpria vida sistema-

tizao N4 336 foi redigido como parte do Monumento catraca livre 337,

o grupo pretendia defender a igualdade de direito cidade, tendo em

vista os problemas de mobilidade enfrentados diariamente pelos mora-
dores de regies afastadas do centro.

333 Ainda documentada a ao

Know Go Area, realizada em ju-
lho de 2006 em Berlim pela Frente
em colaborao com os coleti-
vos Kanak Attak, La Plataforma,
Sagaz, Respeto e Todo Action
Plus. Como um dos resultados
de um workshop, o grupo confec-
cionou uma bandeira com essa
frase, fazendo aluso aos dife-
rentes processos de excluso
social no Brasil e na Alemanha.
Fingindo serem turistas em via-
gem ao pas para acompanhar a
Copa do Mundo de Futebol, os
integrantes da ao consegui-
ram driblar a revista policial da
Fan-Party e abrir a bandeira no
meio da multido, sendo captu-
rados pelo canal 2DF (Zweites
Deutsches Fernsehen), que
transmitia o evento para todo o
mundo.
334 Os depoimentos que apare-
cem no documentrio Zumbi
somos ns so de Frei David,
Julita Lemgruber, Lilia
Schwarcz, Nicolau Sev-
cenko, Noel Carvalho e Vera
Malagutti.
335 O termo documentrio
ao vivo foi usado no site da
Frente 3 de Fevereiro e no seu
canal noYouTube.
336 O diagrama foi feito em
2014 e mostrado na exposio
Zona de poesia rida, curada
por Tulio Tavares e Daniel
Lima no Museu de Arte do
Rio de Janeiro (MAR), entre
janeiro e maro de 2015. O
evento foi realizado para de-
marcar a doao de cerca de
50 obras de coletivos paulis-
tanos para o museu, com re-
cursos do Prmio Marcant-
nio Vilaa da Funarte.
337 O Monumento catraca li-
vre foi elaborado no contexto
do projeto Zona de ao, que,
com patrocnio do Servio So-
cial do Comrcio (Sesc),
reunia quarto coletivos (alm
do Contrafil, participaram
ARNST, Bijari e C.O.B.A.I.A.)
e trs tericos (Peter Pl Pel-
bart, Suely Rolnik e Brian Hol-
mes) para discutir a vida pbli-
ca atravs de debates e
intervenes. Cada grupo ficou
responsvel por uma regio da
cidade, e o Contrafil deveria
atuar na zona leste. Os traba-
lhos foram iniciados na unida-
de do Sesc em Itaquera, onde
foi realizada a Assembleia p-
blica de pensamento. No en-
tanto, ao abraar a temtica da
rede de transportes da cidade,
o grupo terminou atuando tam-
bm no centro. Cf. GONAL-
VES, FelipeTeixeira. Anlise do
Monumento Catraca Invisvel.
Texto publicado em dezembro
de 2006 no blogue Ch com Bo-
lachas. Disponvel em: <https://
goo.gl/dcS2Q0>. Acesso em:
18/9/2015.
 212

-
tos, contudo, demonstraram que aquele era, como postulara o diagra-
ma, um ato portador de futuro338. Aps ser noticiado no caderno Co-
tidiano da Folha de S.Paulo 339, o Monumento catraca livre continuou
sendo repercutido por outros agentes da mdia e da sociedade. Foi para
a pgina de cultura340 e tornou-se tirinha da cartunista Laerte. Usado
como tema do vestibular da Fuvest daquele ano, voltou aos jornais sus-
citando artigos de opinio e peas publicitrias.

341

para atrair clientes para uma das empresas mais poderosas do pas,
nas ruas, outros grupos de manifestantes se apropriavam do smbolo e
queimavam catracas em protestos.
-
co e o real, a proposio se proliferou de forma espontnea e descontro-
lada, ativando o organismo social em suas ambivalncias. Entre inter-

os artistas tornam-se mediadores, cujos atos no se encerram em si.

concretas, buscam colaborar com a agenda da sociedade em que esto

inseridos deslocando-se e provocando deslocamentos.
-

-
Folha
de S.Paulo de 16 de fevereiro342. Uma semana depois, junto com uma
matria sobre a volta de Marcola343, lder do PCC, para um presdio pau-
listano, o mesmo jornal divulgou que Faco [espalhou] faixas pela ci-
dade344
na estao de metr Sumar, que, sem qualquer autoria explcita, foi
atrelada pela imprensa milcia.
O medo de que se tratasse de um aviso de novos ataques criminosos

seguinte cobertas por panos pretos. As autorias e os termos das colabo-

raes diretas ou indiretas nessa histria permaneceram envoltas por

338 Contrafil, Monumento
catraca livre, 2014.
339 Cf. Catraca invisvel ocu-
pa lugar de esttua no Arou-
che, matria publicada em 4 de
setembro de 2004.
340 Cf. Grupo assume a auto-
ria da catraca invisvel, Folha
de S.Paulo, 3/9/2004.
341 O anncio Vestibulando,
descatracalize sua vida. Abra
uma conta no Ita foi publi- 343 Apelido de Marcos
cado em diferentes datas nos Willians Herbas Camacho, na
cadernos de vida urbana dos poca preso na Penitenciria
principais jornais da cidade, de Iju, Rio Grande do Sul, e
como a Folha de S.Paulo e o prestes a ser transferido para
Estado de S.Paulo. a Penitenciria do Estado de
342 A imagem estampou a So Paulo, considerada pela
capa da Folha de S.Paulo des- matria da Folha de S.Paulo o
se dia, logo abaixo da man- QG da faco.
chete FHC e Jader so 344 Cf. Folha de S.Paulo,
iguais, afirma ACM. 23/2/2001.
 213

interveno345 a ser repercutida no meio cultural.

importante ressaltar, no entanto, que o episdio no criou nenhu-
ma aderncia efetiva entre os discursos do coletivo e do PCC. Apesar de

-
das as origens e tticas dos seus responsveis, no poderiam deixar de

maiores atentados do PCC346 no pas, a milcia sequestrou dois funcio-

pela emissora para todo o Brasil. A Globo acatou o pedido e por volta das

pediam justia com os integrantes do comando que estavam presos.

ameaa, dirigida principalmente imprensa e polcia, mas tambm

-
parao debochada com os artistas da mdia.

laptop, tem rdio

comunitria, tem o caralho a quatro. [] Ns vai mos-
trar quem que t no comando. [] No que nem
artistinha de mdia que passa o dia com o rabo numa
cadeira e a cara num computador. [] Queremos ver
a coisa na real. [] A, galera da mdia, artista, ativis-

fala e no age, vem aprender com a gente, mano. Que,

com atitude, o bagulho pra frente. Aqui ns fala e
347.

345 A documentao No estamos em rebelio 346 Os atentados comearam em 12 de maio

sistematizao realizada pelo grupo Contrafil
sobre ao do grupo Mico (2007) foi exibida na
mostra Zona de Poesia rida no Museu de Arte
do Rio de Janeiro (MAR), entre janeiro e maro
de 2015. Aps o evento, a obra entrou para o
acervo da instituio.
em So Paulo. No dia 14, eles j haviam se
alastrado para Esprito Santo, Paran, Mato
Grosso do Sul, Minas Gerais e Bahia.
347 Trecho transcrito do vdeo PCC na Glo-
bo publicado no YouTube. Disponvel em:
<https://goo.gl/tFp70s> Acesso em: 18/9/2015.
 214

diante das questes que levantam. Quando o bem-estar social no est

herana de uma autonomia poltica e epistemolgica da arte reinseri-

da na discusso para se alegar inoperncia, exigindo, assim, respostas
outras e sempre tentativas.

Nem verdade nem

mentira, a inveno

se e solucionar, h uma margem que cabe aos artistas experimentar para

decifradas. Como alegou Jacques Rancire, a produo de dissenso348

tarefa poltica da arte. A polifonia de verses, o desentendimento ante

ferramentas de ao.
-
nalismo corporativo. Objetividade e imparcialidade, dois dos principais cri-

consigo a promessa de contar a verdade sobre os fatos. Uma verdade

apurao histria contada.

de arte e a imprensa. Examinar facetas de uma gnese social dos campos

[] do jogo de linguagem que nele se joga, segundo prescreveu o socilogo
Pierre Bourdieu349. Partindo do princpio de que verdades no existem350,
o artista cultivou o que muitos chamariam de mentira, mas ele assumiu
como inveno.
Artista
invasor, dedicado a mostras individuais da cena emergente351 no Museu de

artista. O trabalho consistiu em construir todos os instrumentos que ates-

em japons, Artista Inventado e divulgassem sua exposio no MAC,

intitulada Geijitsu Kakuu ou, ainda nesta lngua, Arte e Fico.

348 RANCIERE, Jacques, 1996, 350 Em entrevista pblica de Yuri Firmeza a Ana Maria Maia,
p. 15. feita no auditrio da escola Porto Iracema das Artes, do Cen-
349 Cf. BOURDIEU, Pierre. O tro Cultural Drago do Mar, em 17 de novembro de 2014.
poder simblico. Lisboa: Difel, 351 Participaram do projeto artistas como Walria Amrico,
1989, p. 69. Jred Domcio, Solon Ribeiro (CE) e Marta Neves (MG). Suas
exposies aconteceram no espao do museu sempre em pa-
ralelo a outras mostras maiores, de artistas j experientes.
 215

anonimato. Apenas na abertura da suposta mostra (dele e/ou do seu

-
nistas e editores de cultura dos dois principais jornais locais, Dirio do
Nordeste e O Povo, um press-release

MAC apresenta a exposio Geijitsu Kakuu do artista

-
cipao em eventos no Brasil, o artista japons revela ao

que nasce e a que morre, empregando equipamentos

tecnolgicos para expor suas obras. Na exposio, Sou-
-
dies.

mais importantes no panorama das relaes entre arte,

cincia e tecnologia. Desenvolve pesquisas no campo da

com cientistas e engenheiros. Assim, ele incorpora ao

seu trabalho novos conceitos como os de operao em
tempo real, simultaneidade, supresso do espao e ima-
terialidade. []

Shiitake, uma tcnica japonesa que permite a capta-

o de fenmenos invisveis ocorridos na atmosfera. Re-
centemente, o artista vem desenvolvendo um trabalho
nos domnios da robtica, explorando as possibilidades
-
tura e a instalao ambiental. Seus trabalhos j foram
352.

Um currculo internacional, inovaes tcnicas e alguma funda-

mentao conceitual, posta com retrica pomposa e adjetivada, foram

352 Cf. Geijitsu Kakuu e a ana-

logia da natureza. Press-relea-
se fictcio de exposio. In: FIR-
MEZA, Yuri (Org.).
Souzousareta Geijutsuka. Forta-
leza: Expresso Grfica e Edito-
ra, 2007, p. 31.
 216

-
-
partilhados com os jornalistas, sempre atravs da assessora, j que o

353 tambm um personagem

com o qual o artista se correspondeu354 por e-mail durante o proces-

so e trocou referncias, pensamentos e comentrios francos sobre suas
aes ainda veladas.

lugar como artista:

Fugir, traar linhas de fuga sempre que o ambien-

te tender a endurecer. E isto difcil porque implica
um certo desapego ao que parece ser mais relevante:
poder e dinheiro, fama, acesso etc. [] Os artistas
-
sas boas que realmente inscrevam uma permanente
revoluo de valores em nossa sociedade???? Esta-
mos ns??355

Apesar de deslocar-se para os jornais, que acreditaram na divulga-

o e nas vsperas da abertura noticiaram a mostra com destaque356, o

o Happening da crtica, com o qual Nelson Leirner testou os critrios do

Geijitsu Kakuu

nem muito menos a presena do artista japons, a mostra disps ape-

atribudas por terceiros: o diretor e curador do museu; o presidente do

Drago do Mar, Augusto Csar Costa; a assessora de imprensa; o pro-

artista, embora de diferentes maneiras, alguns voluntria e outros in-

353 Cf. BEY, Hakim, 2001. 355 THEMUDO, Tiago Seixas. 356 Na capa do Dirio do Nor-
354 A troca de e-mails tem de- A gesto da invaso. In deste de 11 de janeiro de 2006,
zessete partes, embora tenha FIRMEZA, Yuri (Org.). Op. dia da abertura da mostra,
sido feita de uma s vez, nos Cit., p. 30. saiu a chamada Souzousa-
moldes da conversa realizada reta expe suas infogravu-
entre o artista Hans Haacke e o ras. No dia anterior
terico Pierre Bourdieu no livro (10/01/2006), o jornal havia pu-
Livre troca: dilogos entre cin- blicado a matria Arte, natu-
cia e arte (So Paulo: Bertrand reza e tecnologia e a entre-
Brasil, 1995), que Yuri apontou vista (ficcional) O pblico e
como uma das referncias fun- o no-convencional.
damentais para o projeto.
 217

eventos, produtos, carreiras e simulacros357 que alimentam o circuito

cultural e encontram consagrao simblica358 no museu.
Entretanto, a ira da imprensa da cidade ao saber da operao que

de um embate um tanto quanto corporativista entre artistas e jornalis-

Mar359 360; ou ainda uma pegadinha contem-

pornea361 O Povo, chamou a interveno de pobre,

recalcada e alienada e saiu em defesa da imprensa quanto a uma apu-

-
-
gogicamente, vai arregimentar a simpatia de uma
classe artstica boal que (feitas as devidas excees)
projeta na imprensa a frustrao de seu prprio fas-
tio criativo. E fato tambm que muitos idiotas vo
entender esse gesto como um alerta oportuno sobre
a cobertura jornalstica da cultura em nosso Estado.
A imprensa tem seus problemas e deve permanente-
mente questionar e ser questionada sobre sua res-
ponsabilidade com as artes e a cultura. Mas o que se
viu nesse episdio foi apenas a face mais evidente da
mediocridade362.

357 Na entrevista que Souzousareta concedeu ao 358 Termo empregado porYuri

jornal Dirio do Nordeste, ele disse que: nessa
exposio, tem vrias facetas, justamente para
poder lidar com diferentes problemas. Tudo est
ligado ao exerccio do simulacro, cujo objetivo
retirar os hbitos de um estado de evidncia, in-
clusive hbitos estticos, do tipo: por que gosta-
mos de arte? preciso ver a exposio. (Cf.
MOURA, Dalwton. Souzousareta: arte, natureza
e tecnologia, matria publicada no Dirio do Nor-
deste em 10 de janeiro de 2006. Palavras como si-
mulacro, que apareceram no discurso do artista
inventado para qualificar o seu trabalho, referam-
se, na verdade, fico construda porYuri, ao si-
mulacro da construo de uma carreira artstica
que ele, ao trmino do projeto, revelou para o p-
blico do MAC.
em entrevista a Ana Maria
Maia, a partir de aluso aos
escritos de Pierre Bourdieu
em Livre troca.
359 Exposio factide com-
promete Instituto Drago do
Mar, Dirio do Nordeste,
11/1/2006.
360 Editorial de O Povo, 12/1/2006.
361 Pegadinha contempor-
nea de artista cearense, O
Povo, 11/1/2006.
362 ARAJO, Felipe. Arte e
molecagem, artigo de opi-
nio publicado no jornal O
Povo em 11 de janeiro de 2006.
 218

medida que saam, esses e outros textos foram sendo levados para
o MAC e adensando a documentao que os visitantes podiam acessar da

mais, e veculos de outras partes de Brasil deram matrias sobre a expo-

sio, j incluindo a queda de brao que instaurou com os jornais locais.
Nomes como o crtico Affonso Romano de SantAna (Estado de S.Paulo), o
Overmundo), os reprteres Mauro Maln (Obser-
vatrio da Imprensa O Globo) e Camila Molina (Estado
de S.Paulo), o crtico Ricardo Rosas (Rizoma
Bernartes (RS), Divino Sobral (GO), Ricardo Basbaum (RJ) e Solon Ribeiro
(CE) foram alguns entre os tantos autores que escreveram seus pontos de
vista sobre o ocorrido.

apoiando, a imprensa pautou temas relacionados arte contempornea como

No artigo Nem artistas x nem jornalistas363

instituio artstica. Por isso, para ele, no era possvel aceitar a crtica
arte vinda das mximas corporativas da imprensa. O professor disse ainda
que essa oposio perigosa impediu a percepo da obra. Pois a obra , so-
bretudo, mistura, mistura de cdigos, mistura de foras. At agora, foras
364.

A pretenso de mistura diria respeito ao desejo de alargar o meio arts-

para a defesa das derivas extradisciplinares e extraterritoriais como es-

tratgias para os artistas pensarem o seu lugar de ao, antes mesmo de

crtica365.

uma negao do campo da arte. Buscou formas de estender sua presena,

comunicao e troca, gerador de curtos-circuitos366.

363 THEMUDO, Tiago. Nem ar-
tistas x Nem jornalistas, O Povo,
12/1/2006. (Cf. THEMUDO, Thia-
go in FIRMEZA,Yuri (Org.), 2007,
p. 108).
364 Idem.
365 Cf. HOLMES, Brian in 366 Yuri Firmeza em entrevis-
ROLNIK, Suely. Memria do ta a Ana Maria Maia, realiza-
corpo contamina museu. Dis- da em Fortaleza, em 17 de no-
ponvel em: <http://goo.gl/ vembro de 2014.
qR4I0Z>. Acesso em:
01/07/2015.
 219

-
pulha para jovens artistas que pressupem sua residncia em Belo

jornal, no caso o Estado de Minas, no qual pleiteou a carta branca de

uma pgina inteira por ms para textos seus e de convidados como os
artistas Amanda Melo, Pablo Lobato367
Patrcia Greber e Uir dos Reis. Usou para dar nome ao projeto o termo
ecdise, referente troca de pele dos rpteis. Queria passar pela cidade
deixando peles na forma impressa. Essa seria a sua presena e a sua
possibilidade de engajamento territorial e humano.

Jornal do Commercio, no Recife, para a mostra O efeito da frase 368. No

intervalo de apenas trs anos que separaram ambas as iniciativas, a
crise da imprensa corporativa encontrou sua contraparte na consolida-

Os vetores da comunicao social rearranjaram-se baixo dinmicas de

Ecdise nos dois extremos dessa curta parbola do

-

-
mentos de mediao: Para o iridologista, um m. Para o astrlogo, a
lua, em determinada casa, aproximando os planetas. Para a me, um
aglutinador. Para os amigos, um cara afetivo. Para as analistas, uma
pessoa porosa. Para Beuys, pensar esculpir369.

Quem so os artistas? O que so os artistas? Onde

-
vem os artistas? Onde so os artistas?

367 Amanda Melo (PE) e Pablo
Lobato (MG) tambm participa-
vam da Bolsa Pampulha. Alm
deles e deYuri, os bolsistas eram
Ariel Ferreira (MG), Bruno Faria
(PE), Daniel Escobar (RS), Da-
niel Herthel (MG), Fabrcio Car-
valho (MG), Mara das Neves
(SP) e Sylvia Amlia (MG).
368 A coletiva foi curada por Ana Maria Maia para o Projeto
Amplificadores do Museu Murillo La Greca, entre 22 de julho
e 2 de setembro de 2012. Participaram da mostra, alm deYuri,
Cristiano Lenhardt, Daniel Barroca, Deyson Gilbert e Roberto
Winter, Fernando Peres, Glauber Rocha, Jimson Vilela, Marie
Carangi e o coletivo Telephone Colorido. Em uma residncia
de um ms na cidade, Yuri escreveu cinco colunas semanais
para o Caderno C do Jornal do Commercio. Sempre que pu-
blicadas, as colunas foram dispostas sobre uma mesa-arqui-
vo na exposio.
369 Pensar esculpir, entrevista publicada em 3 de setem-
bro de 2008 com os artistas Miguel Bezerra, Patrcia Gerber e
Uir dos Reis.
220

Programadores do Google. Especuladores no mer-

Documenta de Kassel. Burocratas empreendedores.

Danarinos de grupos de ax. Pesquisadores em biotec-
nologia. Autores de patentes. Donos do Facebook. Cine-
astas de cmera-de-celular.

Pode no ser bvio, mas o papel que se atribui ao

-
pis sociais e, sobretudo, no desejo de incluso pala-
vra de ordem que pauta parte da sociedade. Ademais,
quem no quer ascender ao status de artista, esta per-
sona

trabalhador ideal seja qual for o seu trabalho. Pois,

ser artista, alm de explorar-se a si prprio, agregar

-
tistas, todos devemos ser artistas.

Os autores tomaram para si e compartilharam com os leitores a face

problemtica do ideal de escultura social. Perguntaram-se no s so-
bre onde esto, mas a que servem os artistas, alm de serem empregados

como um direito [de ser artista] agora se apresenta como uma obrigao.
Nesse meio tempo, ns fomos condenados a ser os designers de ns mes-
mos, ou self-designers370.
Os artistas foram acometidos, de um lado, por suas imagens instru-
-
rar no circuito expandido da arte. A passagem do tempo comprovou que os
suportes, as prticas e as linguagens da mdia permaneceram passveis de
intervenes. Para afet-los de maneira no apenas retrica, no entanto, foi
preciso que os artistas tivessem disponibilidade para adotar como ttica a

da falsidade ideolgica de um invasor.

370 Cf. GROYS, Boris. The

obligation of self-design. In
Going Public. Nova York: Ster-
nberg Press, 2010, p. 36.
 221

cons i d e r a e s
f inais

Anotaes
p a r a
continuar ,
antes de falar
de algoritmos

De meados do sculo XX at a virada do XXI, houve drsticas trans-

formaes do que se entende por mdia de massa, das dinmicas comu-
nicacionais na sociedade e dos agentes que as constroem e tencionam,
como o foram e ainda so, de diferentes maneiras, os artistas ao lon-
go dessa trajetria. Atravs da pesquisa de Arte-veculo, um conjunto
pontual e naturalmente incompleto de intervenes miditicas pode ser
-

guiaram a narrativa histrica que por enquanto se encerra nestes cinco

ensaios de textos e imagens.
-
derno e de vanguarda em cidades ainda provincianas, hora passaram

daqueles que defendiam abordagens contraculturais face ao conserva-

imprensa de grande circulao, principalmente os jornais e, a partir dos

-
gem dos meios massivos disseminada em circuitos alternativos, o lema
222

de vdeo independente foram assimiladas nas emissoras comerciais nos

sociais permitiu que todos houvessem se tornado emissores.

Diante de tantas e to complexas questes, lanadas sobre um re-
corte temporal tambm extenso, Arte-veculo resultou em uma tentativa
de contribuir para a estruturao de um problema de cunho historio-

arte e os circuitos onde emerge e ganha legitimidade, sempre no plural

e em disputa.
No pde, no entanto, esgotar esse tema do ponto de vista terico
-
cunscrevendo no eixo Rio-So Paulo, onde se concentram grande parte
dos recursos e da visibilidade que regem a economia da cultura e tam-
bm da comunicao. Alm de visitas aos dois estados, o projeto s teve
verba para investigar in loco o cenrio do Cear e de Pernambuco, onde
despontaram, respectivamente, casos emblemticos como as aes da

-
te para regies perifricas, e mais tempo de acesso aos arquivos e de
encontros com os artistas para que pudesse colocar em suspeita essa
-
cais criam contornos e motivaes para as intervenes miditicas.
Outro complicador adveio de um processo ainda recente e desorde-
nado de regulamentao jurdica dos direitos de autor relativos a inter-

-
ras, produtores executivos etc.) e dos meios que o veiculam. Passado
o tempo, somaram-se ainda as mediaes dos arquivos e colees de-
tentores das obras originais e, eventualmente, de agncias contratadas
para arrecadar seus royalties. As redes que as intervenes miditicas
levantadas engendraram tornariam, portanto, qualquer pesquisa nesse
campo operacionalmente complexa e onerosa. Essa situao apresen-
tou limites ao desenvolvimento de Arte-veculo, que foi feito com baixo
oramento, mas tambm a levou a estabelecer importantes parcerias,
convencidas do carter educativo e no-comercial do projeto.
Diante do que se conseguiu acessar nessa empreitada, o apanha-
do de Arte-veculo
documentar aes concretas, permitisse prospectar relaes cabveis,
 223

como um fator para atuaes mais endgenas, ou ainda por causa da

-
paos de experimentao, crtica e apresentao de qualquer sorte de
-
prensa.
Alm da retrica dos gneros consolidados e eventualmente reence-
-

perceptivos, cultivarem o estado de alerta, de afrontamento, de enfren-

tamento e de acordamento [...] contra a entropia do campo perceptivo.
371.

-
vocando os sistemas discursivos e de visibilidade social, alm da abun-

apresentou para Guy Dbord como evidncia do espetculo372 e para

-
ria em uma apatia poltica e na vivncia da ps-histria 373?
Enquanto acontece, de modo irreversvel e galopante, a migrao de
dados e atividades tanto de indivduos quanto de grandes empresas de
comunicao374 para redes sociais como o Facebook, surge como modelo

editores tradicionais atribudos da responsabilidade sobre escolhas

ideolgicas, creditados publicamente e cobradas por esse exerccio, os
-
visveis e opacos no que se refere aos seus critrios e possveis instru-

375 apontado pelo advogado Ronaldo Lemos, de

ao que descordamos376.

371 BASBAUM, Sergio. A era
do rudo sem rudo. In RO-
SAS, Ricardo; VASCONCE-
LOS, Giseli (Org.), 2006, P. 158.
372 O livro foi publicado em
1967 e traduzido para o portu-
gus em 1997. (DEBORD, Guy.
A sociedade do espetculo. So
Paulo: Contraponto Editora,
1997).
373 O conceito aparece primeiramente no li-
vro A filosofia da caixa preta, de 1983, mas sua
formulao continua em Ps-Histria Vinte
instantneos e um modo de usar. (FLUSSER,
Vilm. Ps-Histria Vinte instantneos e um
modo de usar. So Paulo: Annablume, 2011).
374 Em maio de 2015, nove das maiores em-
presas de comunicao do mundo, entre elas
jornais como o New York Times e o The Guar-
dian e emissoras deTV como a NBC e a BBC,
aderiram ao programa de publicao direta de
notcias na plataforma tecnolgica do Face-
book. (Cf.The NewYorkTimes. Facebook tes-
ting instant articles from news publishers.
Disponvel em: <http://goo.gl/WwZMuj>.
Acesso em: 23/08/2015).
375 Exposure to ideologically
diverse news and opinion on
Facebook. Revista Science,
07/05/2015. Disponvel em:
<https://goo.gl/M8aFCn>.
Acesso em: 01/09/2015.
376 LEMOS, Ronaldo. Preci-
samos falar de algoritmos.
Artigo publicado no jornal Fo-
lha de S.Paulo em 18/05/2015.
<ht t p://goo.gl/FzYHwl>
Acesso em 01/09/2015.
224

A entropia hoje vigente a de uma comunicao social individuali-

modelos e narrativas do presente. nela e a partir dela, portanto, que

convm cultivar instrumentos novos e pertinentes de desvio.

i n t r oduc t i on
T r y a l s o
at other
t i m e s
In the search for actresses for the
lead role in a movie to be shot in Ama-
zonia, Flvio de Carvalho published an
ad in newspapers in So Paulo and other
cities in Brazil in 1958. All candidates
were to present themselves at 11:00 a.m.
thru 1:30 p.m. and from 6:30 thru 8:00
Hotel. They could also give it a try at
other times, as stated in the ads last
line, alluding to his interests in the outer
limits of the art work and its traditional
exhibition spaces in art galleries and mu-
seums. Like what he did in the streets,
where, as one of the pioneers in studies
revolving around the relations between
art and life in Brazil, he had been pre-
senting his Experincias
since 1931, the mass media was a space
in which the artist could often be found
participating in the public agenda of his
time and sharing propositions and inter-
ferences in language, both critical as well
as utopian.
Flvio de Carvalhos bias towards
discursive and media implications in art,
far beyond the institutional apparatuses
which can limit and protect it, motivated
me to continue observing cases in which
artists intervened in Brazilian communi-
cation channels in Brazil. In an exercise
of curatorial investigation which began
around 2013, though at that point not
225
yet systematic, I found other examples
which allowed me to formulate the basis
of a project. In light of these cases, and in
search of others, I hoped to identify why
and how artists interacted with mass
media vehicles such as newspapers and
magazines, radio and TV broadcasting
companies. By this I wasnt referring,
by this, to the times in which they were
broached by art critics or by the cultural
supplements in newspapers, nor when
they founded alternative venues, such
as independent publications. My target
from the start embraced proactive and
unexpected gestures of artists in hege-
monic information structures.
The research hypotheses became
more clearly delineated with the jux-
taposition of a constellation of events.
From the ads and Flvio de Carvalhos
column in the Dirio de S.Paulo to the
graphic reformulation of the Jornal do
Brasil newspaper, by the team headed
by Reynaldo Jardim and Amilcar de
Bruscky & Santiago to the Inseres em
Jornais [Insertions in Newspapers] by
Cildo Meireles; from Analivia Cordeiros
video-dance to Glauber Rochas inter-
views in the Abertura program which
inspired other production houses such
Viva to be created; from Geraldo Anhaia
de Mellos anarchic performances on
radio and TV to the weekly publications
by Lenora de Barros and Luiz Baravel-
li; from the fakes, by Yuri Firmeza, as
invading artist, to the real invasion
of collectives like 3ns3, A Revoluo
Frente 3 de Fevereiro, who could be seen
sans the art label in TV sports coverage
programs and in urban life.
With the Bolsa de Estmulo s Artes
Visuais [Visual Arts Motivational Grant],
sponsored by Funarte at the end of 2014,
I was able to dedicate my time and ef-
forts to the subject, which although far
 226

from having exhausted itself, this book each other, seemed to answer to similar
social-cultural vectors.
six-month period of intense work, I was
able to take trips, interview artists and editorial newsrooms as constructive lab-
other fundamental characters to this oratories between the years of 1956 and
story as well as consult the presss art ar-
chives where I found original documents, negativity as a measure of artistic dis-
many times dispersed and out of context.
Throughout this process, I had no in controlled press vehicles between the
interest in, nor conditions to draft a com- years of 1968 and 1985. The fourth and
plete map on the subject. Rather I sought
to suggest possible derivations between 1983 and 2008, when, be it as guests or
the two milestones which circumscribe
the paradigm of mass media in the coun- with technological innovations that made
try. Firstly, the founding of TV Tupi in production means more accessible, mo-
1950, which inaugurated the television bilized voices and tactics in which to be
signal aimed at reaching out to an ever the media.
increasing population and modernize Keeping the particularities of the mo-
living habits and consumption of the pop- ments in which they occurred in mind,
ulace, not unlike that which the Bienal media interventions can be likened to
do Museu de Arte Moderna de So Paulo each other through their ambivalent mo-
hoped to do when it was founded that fol- tivation which, in one sole gesture is able
lowing year. Secondly, the popularization to construct or deconstruct an enunci-
of internet in early 2000, which provided ation. They conceive, in this manner, a
access to an international discussion on notion of art which is propositionally
tactical media and, within a few years, problematic, or one that is problemat-
provoked an inevitable technical as well ically propositional. In the context of
as aesthetical rearrangement of the dy- Fluxos, a network of international artists
namics of enunciation, dissemination who dedicated their efforts to tearing
and legitimization. down geographical and institutional bar-
riers, Joseph Beuys thought that artists
major changes in that referring to media should keep their mouths wide open1
circuits, audiences, programming and to amplify their spaces and functions in
social values. If in the past mainstream society.
media concentrated all the resources, Using a metaphor of a biological ges-
personnel and decision-making power in
which to mediate public issues, today it distorted speech, Beuys postulated the
faces an institutional crisis that extrap- binomial Vehicle Art2. Or in other words,
while at the same time pointing to arts
into the symbolic sphere. The desire to communicational vocation (art is a vehi-
articulate media interventions within the cle), he stimulated his fellow artists to put
contexts they occur, re-examining, to this
end, these categories, led me to organize
the chapters in this book based on his- 1 DAVOSSA, Antonio; FARKAS, Solange de Oliveira.
torical excerpts. Not exactly decades, but Joseph Beuys: a revoluo somos ns. Catalogue of
exhibition held at SESC Pompia between September
periods revolving around the creation of and November 2010. So Paulo: Edies SESC SP,
landmark work, which, despite being dif- 2010, p. 13.
ferent and not always directly related to 2 Cf. Ibid., p. 16.
 227

themselves in other vehicles, or circuits, Arte-veculo focused its efforts on an-

such as political forums and mainstream alysing a collection of actions within a
press, tensioning, from inside, the logic Brazilian context mostly to understand
of their operations, agendas and values, -
suming, to this end, an ethical obligation
would never be able to escape. in face of reality. Resisting status quo
The search for a middle term be- discourses without avoiding to relate
tween arts political and epistemological to them, the artists, societys public
autonomy and its social existence, in intellectuals 4, were able to incite, in
unrestrictive and mass vehicles, was the heart of their power structures, so
adopted as the paradigm of this study, called counterpublics5, or in other
which, because of this, borrowed Beuys words, alternative uses, connotations
concept and used it as a title. Vehicle Art, and audiences for the same dominant
or rather the Portuguese form, Arte-ve- mechanisms. Inseres em circuitos
culo. The two radicals coming together, ideolgicos [Insertions in ideological cir-
one to designate a practice and the other cuits], Cildo Meireles called them in 1970.
a place and/or circuit, point to a struc- Or the dissemination of viral ideas6, as
ture necessarily engendered for art, and described by Giseli Vasconcelos already
make it a motive for correspondence and back in 2006. Both concepts reverberate
displacements, both susceptible to the over the decades variant facades of a re-
circumstances of creation and circula- lation between mass media as host and
tion. artists as parasites over the decades.
There is no doubt that the graphic tools This study would not have been
as well as the apparatuses for capturing possible without the inestimable collab-
and transmitting information used in oration of the artists and groups whose
mass communication inspire interest in works are discussed herein. In addition,
artistic experimentation, allowing for an the support of archive and documenta-
tion centres for consultations as well
based on technological apparatuses. It is as the Trienal de Sorocaba and Porto
however worth foregrounding as another Iracema das Artes, in which some of the
analysis criteria for this work the tech- public interviews were carried out for the
nical, political, economic and sociologic project, were also of critical importance.
potential that the press regiments, so as My sincere thanks go out to these artists,
to agree on that which is deemed as pub- groups and institutions, Funarte, Vehicle
lic. To produce the models and include Arts team, collaborators, interlocutors
the disputes inherent in public spheres, and instigators I met and continue to
media interventions or artemdia [me- meet on this journey.

should be broached, with the mission to

deviate from an original technological
project, as well as looking into the possi- 4 SHEIKH, Simon. Representation, Contestation and
bility of arousing the opposite direction3 Power: The Artist as Public Intellectual. Republicanart,
from the models in force in society. October 2004. Available at:
<http://goo.gl/mSCDm7> Accessed: 09/05/2015.
5
WARNER, Michael. Pblicos y contrapblicos.
Barcelona: MACBA and Universidad Autonoma de
Barcelona, 2008.
3
MACHADO, Arlindo. Arte e mdia. Rio de Janeiro: 6 ROSAS, Ricardo; VASCONCELOS, Giseli (Org.).
Jorge Zahar Editor, 2007, p. 17. Net 1.0: digitofagia. So Paulo: Radical Livros, 2006.
 228

a place to
be made -
lectuality.
195576 Communication channels, in these

the newsroom
cases, form and are formed by artists,
who compete with other agents such
as journalists, managers and funders.
as an They become places that are indisso-
ciable from and stimulating for creative

experimental
experiments, which soon surface in the
form of process and language-oriented
outcomes. Due to their discursive nature
laboratory: and to their wide social reach, pages of
newspapers and magazines or time slots

the invention
in radio and television networks foster a
conception of art that is project-based, an
activity which is therefore composed of a
of a place and dialogical and propositional existence,
but which isnt necessarily materialized

three notions of
as a model or an artwork.
Flvio de Carvalho linked the archi-
tects drawing board to his writing for the
project Casa, homem, paisagem [House, man,
landscape] column in the Dirio de So
Paulo newspaper (1955-1956), where
every week for a year he drew plans for
systems for a modern city which ulti-
mately culminated in his Experincia N
3
This essay addresses three singular in Rio de Janeiro and led by Reynaldo
cases, which are not necessarily set in Jardim, and then by Amilcar de Castro,
chronological order. Their isolated man- stretched the grid system of the Jornal
ifestations appear in the cultural scene do Brasil to redesign it according to the
with radically original practices, thwart- precepts of Concrete art, thus employing
ing, in this way, interpretations based a graphic and editorial redesigning that
on the cohesion of a historical context.
What these cases have in common is
their pioneering spirit, the fact they all
rendered the very environment of the authorships and translations involved
Brazilian media into both a shelter and in television coverage and used them to
a work laboratory for artists, even before develop a methodology for videodance,
the advent of mediatic intervention prac- a process of choreography focused on
tices. They are drawn to newsrooms at collaborative dynamics and on an under-
different points of this chronology, eitherstanding of the video screen as a spacein
as a result of the availability of resources
its true form.
The three cases marked the years
to printing presses and recording studios 1956, 1959 and 1973 as paradigmatic
or due to the fact that, at least in the dates for mediatic interventions in Brazil.
20th century, it used to bring together a Issuing from a melange of motivations
 229

and a range of resources, they instituted the patron of this enterprise, Assis
original uses of communication channels Chateaubriand, a tycoon of the mosaic
by the artists, in ways which stand dis- communication media channels called
the Dirios Associados, was also respon-
or illustration, as had been carried out sible for the foundation of the Museu de
before. Aside from contextual and his- Arte de So Paulo (Masp) in 1947.
torical singularities, it may be possible With the Museums of Modern Art of
to evidence that these practices arise as Rio de Janeiro and of So Paulo, inaugu-
indirect responses to initiatives under- rated in 1948, also by private patrons10,
taken from the end of the 1940s onwards and the Art Sector of the So Paulo Public
to render the main Brazilian cities into Library (1945), Masp adhered to the
cosmopolitan urban sprawls, to actualize modern paradigms of art collecting and
the mission of modernizing the urban exhibiting, based on the advisory con-
space and lifestyle, but above all to edu- sultancy by the Italian couple Pietro and
cate the population as to how to keep up Lina Bo Bardi11. In addition, the museum
with the changes. invested in an educational program of
Hence this is a key period for the courses and didactic exhibitions.
construction of the public into a mass These initiatives, including the cre-
audience7 - ation of the Bienal de So Paulo in
erence to the medias turnaround in 1951 by Ciccillo Matarazzo and Yolanda
the presidency of Getlio Vargas. This Penteado12, symbolized the urgency that
turnaround was supported by the North the art circuit shared with the media at
American government, as part of its that point in time: an urgency to reach
Good Neighbour8 policy in Latin America,
and culminated in the inauguration, on
ROSO, Marco. Histria da televiso no Brasil: do
18th September 1950, of the countrys Igor;incio aos dias de hoje. So Paulo: Contexto, 2010, p. 17.
10
Francisco Ciccillo Matarazzo in So Paulo and a
Difusora de So Paulo9. Not by chance, group presided by Raymundo Ottoni de Castro Maia in
Rio de Janeiro.
11
The couple Lina and Pietro Maria Bardi, she, an ar-
7
BARBOSA, Marinalva. Histria cultural da imprensa: chitect and he, an art historian, arrived in Brazil from
Brasil 1900-2000. Rio de Janeiro: Mauad X, 2007, p. 18. Rome in October 1946. They based themselves in So
8
In the conference entitled O inconsciente moderno Paulo, where Assis Chateaubriand wished to set up
do museu contemporneo no Brasil [The modern the museum project for Masp. Pietro was invited to
unconsciousness of the contemporary museum in build and manage its collection. Lina was in charge of
Brazil], Cristina Freire addressed cultural actions refurbishing the three floors of the headquarters at
which correspond to the Good Neighbour policy of the Rua Sete de Abril, and later designed the new main
United States during the Second World War and the building, erected in the belvedere of the Trianon Park,
Cold War. In identifying strategic conditions in Latin at Paulista Avenue.
12
America, the Roosevelt government created a special Created as part of MAMs agenda of activities, initial-
State Department known as the Office of ly the event was called Bienal Internacional do Museu de
InterAmerican Affairs , which was by headed Arte Moderna de So Paulo.The name in 1963, when the
Nelson Rockefeller. The agency was designated as institutions patron and collector Ciccillo Matarazzo,
an important component of the war effort, whereby withdrew from the position of museum keeper and cura-
cultural issues were indivisibly linked to economic and tor and donated his collection to the Universidade de So
political goals. The final objective was to gain support Paulo, giving rise to the Museu de Arte Contempornea
from Latin American nations in favour of the North (MAC). From there onward, the biannual event started to
American cause. (FREIRE, Cristina in FABRIS, Anna- be organized autonomously by the Fundao Bienal de
teresa; CHAIMOVICH, Felipe; LAGNADO, Lisette; So Paulo. (Cf. CHAIMOVICH, Felipe. O museu nmade
OSORIO, Luiz Camillo (orgs.). Histria em movimento: in FABRIS, Annateresa; CHAIMOVICH, Felipe;
minutas do colquio internacional MAM60, 2008, p. 39.) LAGNADO, Lisette; OSORIO, Luiz Camillo (org.), op.
9
Cf. RIBEIRO, Ana Paula Goulart; SACRAMENTO, cit., pp. 55-62)
 230
(and to some extent, to control) the mass-
es. On an institutional scale, the efforts
to expedite the pace of development in
Brazil and to achieve parity to the world
aroused great anxiety. According to the
art critic Mrio Pedroso, this project may
have condemned [the country] to being
modern13, in other words, guaranteeing
the nations modernization process, albe-
it without civic participation.
Among individuals and groups of
artists, symptoms or counterpositions to
the institutional model began to emerge.
Making use of its loopholes, and at the
same time risking incomprehension,
these particular initiatives circumscribed
the modern, where its threshold stands
between the chronological and the
contemporary, not only in matters of
aesthetic but also of ethical and political
order. Not only in museums and galler-
ies, but, as a matter of course, also in the
mass media.
13
At the opening of the International Extraordinary
Congress of Art Critics, which Mrio Pedrosa orga-
nized in 1959 around the construction of the new
Brazilian capital, he stated that Brasilia is not pure
artifice disconnected to the history of the country, it is a
decisive stage of this history , towards the central
postulation, copiously expatiated on by historiogra-
phy: our past is not fatal, as we redo it everyday. And it
presides very little over our destiny.We are condemned
to the modern, by the very fatality of the way we were
constituted. (Cf. PEDROSA, Mrio in CONGRESSO
INTERNACIONAL DE CRTICOS DE ARTE Cidade
Nova: sntese das artes. LOBO, Maria da Silveira;
SEGRE, Roberto (org.). Docomomo Rio de Janeiro,
2009, p. 29)
Fl vio de Ca rva lho
and the
e m o t i o n a l
impact on the
Bra zilia n na t ion
Upon his return from a period of study
Arte Moderna [Modern Art Week] (1922)
in So Paulo, Flvio de Carvalho started to
seek work and to create an interlocution
network. Holding a degree in architec-
ture, and taking advantage of the status
of his aristocratic family, he soon found
such as the Barros Oliva and the Ramos
de Azevedo.14 The single four-year period
of his formal career as an architect was
short and fraught with disagreements
between de Carvalho and his colleagues.
Interested in the relations of social space
to other disciplines, such as ethnology,
crowd psychology, theatre and fashion,
the explorations of this temperamental
researcher were incompatible with the
pillars of a predominantly constructive
albeit academic knowledge but one
which would later, in the 1940s, give
rise to the Brazil Builds15 generation,
14
Flvio de Carvalho worked in Barros de Olivas firm
between 1923 and 1925, and at Ramos de Azevedos
firm, from 1925 to 1927.
15
Brazil Builds: Architecture new and old is a project
from 1942, consisting of an exhibition and a book, cu-
rated by Philip Goodwin, at the Museum of Modern Art
(MoMA) in Nova York. Aimed at promoting Brazilian
architectural production, in particular that which
emerged in the country after the conception and start
of the construction of the building of the Ministry of
Education and of Health (1936-1945) in Rio de Janeiro,
the project brought together works by Lcio Costa,
Oscar Niemeyer, Affonso Eduardo Reidy, Rino Levi,
Vilanova Artigas, among others. After being

becoming a dominant strand of Brazilian
modern architecture.
Stigmatized and still isolated, in a city
that had not absorbed the limited actions
of the Semana de Arte Moderna and
remained conservative and provincial,
de Carvalho drew closer to the news-
rooms of the main newspapers, which
brought a number of avant-garde intel-
lectuals together, such as the art critics
Lus Martins and Geraldo Ferraz, and
a number of writers and artists linked
to the modernist movement, such as
Oswald and Mrio de Andrade and Di
Cavalcanti. In 1928, Cavalcanti invited
de Carvalho to illustrate theatre and
dance performances for the Dirio da
Noite newspaper. The drawings that the
artist-architect16 made of ballet dancers
like Chinita Ullman, Carleto, Loie Fuller
and Josephine Baker contributed to the
presented in NewYork, Brazil Builds was shown in Lon-
don and various cities of North America and Brazil
between 1943 and 1945.
16
The term artist-architect was adopted by Lisette
Lagnado when she curated the exhibition Desvos de la
deriva: experiencias, travesas y morfologas, held
between May and August 2010 at the Museo Nacional
Centro de Arte Reina Sofa, in Madrid. After she re-
ferred to Flvio de Carvalho in this way in the exhibition
catalogue (Cf. LAGNADO. Desvos de la deriva:
experincias, travesias y morfologias. Madrid, Museo
Nacional Centro de Arte Reina Sofia, 2010, p. 52), the
curator used this term once again in an editorial of the
Revista Marcelina magazine: The figure of the
artist-architect emanates the power to project artistic
utopias into common space without, notheless, negat-
ing the tension of reality which pervades it (REVISTA
MARCELINA, n. 6, p. 6, 2011). In delving into the
(sphere of) the common, and, to this end, extrapolating
the fields which are restricted to artistic activities of a
traditional and disciplinary nature, the artist-architect
adapts himself to the tenets of total art, exhorted in
modernity by Constuctivist artists such as El Lissitzky
and dada artists such as Kurt Schwitters. The term
total artist was employed by Rui Moreira Leite to de-
velop an appreciation of Flvio de Carvalhos oeuvre
between art, architecture, fashion and social studies
(Cf. LEITE, Rui Moreira. Flvio de Carvalho: artista total.
So Paulo: Editora Senac, 2008).
231
-
ty17 of his oeuvre. On top of that, some of
his main partnerships emerged from the
Dirios environment (such as Cavalcanti
himself, with whom he founded the
Clube dos Artistas Modernos [CAM18, or
Modern Artists Club] in 1932), as well
as the understanding of how the print-
ed press could keep on constituting a
design and performance-oriented exper-
imentation, and above all, an arena for
public action.
In the course of the 1930s and 1950s,
in parallel to participating in art exhibi-
tions and architecture competitions, as
well as carrying out activities as a cul-
tural entertainer at the CAM and in the
Sales de Maio19, de Carvalho sustained
17
In his dissertation about the Expressionist tendency
of Flvio de Carvalhos plastic and architectural oeu-
vre, Luiz Carlos Daher claimed that in his drawings of
dancers, the artist conceived dance as, at one and the
same time, synthesis and stylization, as both the
representation and the denaturalization of the vital
movement. (Cf. DAHER, Luiz Carlos. Flvio de
Carvalho: arquitetura e expressionismo. Master of Arts
degree dissertation. So Paulo, Universidade de So
Paulo, 1982, p. 130.)
18
In 1932, Flvio de Carvalho, Di Cavalcanti, Antonio
Gomide and Carlos Prado founded the Clube de
Artistas Modernos at the Pedro Lessa Street, in down-
town So Paulo. In an ad published in the citys
newspapers, the artists informed that the group was
set up for congregating, for the creation of a collective
model, for the subscription of art magazines, to keep a
small bar, to build up a library on art, to hold confer-
ences and exhibitions, and to defend class interests
(Cf. TOLEDO, J. Flvio de Carvalho: o comedor de
emoes. Campinas: Brasiliense e Editora da Univer-
sidade Estadual de Campinas, 1994, p. 131). The group
existed until 1934, bequeathing a legacy that led to the
creation of other clubs in the 1950s.
19
Between 1937 and 1939, Flvio de Carvalho was in-
volved with the organization of three editions of the
Sales de Maio, together with the creator of the event
Quirino da Silva and a commission formed by Geraldo
Ferraz, Paulo de Magalhes, Irene Bojano and
Madeleine Roux. By promoting exhibitions and de-
bates on modern art, the event anteceded the Bienal in
fostering the local production circuit and international
 232
his disruptive presence in the citys
program of events with several publi-
cations in newspapers and magazines.
He submitted articles; monitored the
repercussion of his proposals by means
of readers letters20; created pseudonyms
to speak of himself21
ads of objective nature, and of anecdotic
and poetic nature too; became a recur-
ring character in the coverage of social
events, one that was mythicized, polemi-
cized, and even ridiculed by a number of
journalists, but remained invariably on
the agenda.
The artist-architect, who anticipated
contemporary practices such as per-
formance as he carried out his series
of Experincias
had three editions, in 1931, 1956 and
1958), fomented what Rui Moreira Leite
called interactive situations, where the
unfolding course of events are negotiated
in real-time22. The media was attuned
to situations of this nature, as were the
streets, where de Carvalho could engage
in and come together with the multitude,
become a driving force for alterities, and be
a social reactant23
interlocutions. (Cf. LEITE, Rui Moreira. Flvio de
Carvalho (1899-1973): entre a experincia e a experimen-
tao. Doctoral degree thesis. So Paulo, Universidade
de So Paulo, 1994, p. 76.)
20
The artist collected these letters in an album that is
currently featured in the research fund dedicated to
his oeuvre, at the Universidade Estadual de
Campinas.
21
In 1928, while participating in a competition to se-
lect a project for the new Palcio do Governo, the
headquarters of the State Government of So Paulo,
wherein competitors adopted pseudonyms, Flvio de
Carvalho wrote for the Dirio da Noite newspaper pre-
tending to be a reader who wished to publish his
impressions about the projects. This enabled the
artist-architect to advocate on his own behalf. The
made-up reader claimed to be an engineer and attest-
ed to the quality of the proposal submitted by Carvalho
named Efficcia [Efficacy] (Cf. LEITE, Rui Moreira, op.
cit., 2004, p. 2).
22
LEITE, Rui Moreira, op. cit., 2004, p. 4.
23
In the book Experincia N 2, written in 1931 to
In 1955, So Paulos cultural scene
had already been dynamized by the re-
alization of three editions of the Bienal
Internacional, by the activities of the
museums of modern art, of the Teatro
(1949), of the Teatro de Arena (1953)24,
in addition to the advent of TV Tupis
signal transmission. Having seen a
number of his architecture projects be
rejected in competitions and positing an
increasingly uncompromising opposition
modern functionalism in architecture, de
Carvalho started to write a column en-
titled Casa, homem, paisagem [House,
man, landscape] in the Dirio de So
Paulo newspaper, published in the main
secton of periodical almost daily.
The column was similar to a journalis-
tic coverage of issues pertinent to urbanism
and the citys population growth, but
chronicle the episode whereby Flvio de Carvalho
walked in the opposite direction to all other followers
in a religious procession, the author stated that his aim
was: to unveil the soul of believers by means of any
given reagent that enables the study of the reactions of
peoples facial expressions, their gestures, their stride,
their gaze, to ultimately feel the pulse of the environ-
ment, to psychologically palpate the tempestuous
emotion of the collective soul, to record the draining of
this emotion, to trigger revolt to catch sight of some-
thing stemming from the unconsciousness.
(CARVALHO, Flvio. Experincia N 2: uma possvel te-
oria e uma experincia: realizada sobre uma procisso de
Corpus Christi. Rio de Janeiro: Editora Nau, 2001, p.
16.)
24
The Teatro Oficina, run by dramaturg Jos Celso
Martinez Correia, would only be created in 1958, at the
Centro Acadmico XI de Agosto, the student entity
building of the Law School of the Universidade de So
Paulo, situated at the Largo So Francisco, with a
viewto creating a new reading of the theatre, an experi-
ential modality that was critical of the worldliness and
the bourgeoisie mentality of the Teatro Brasileiro de
Comdia and of the nationalism of theTeatro de Arena.
(Cf. Enciclopdia Ita Cultural. Available at: <http://
goo.gl/yVheV2 > Accessed: 1/7/2015.)

The key difference is that,
while journalistic coverage
represents reporters attempts to
interpret facts second-handedly
according to the editorial line of
the organizations for which they
work, Flvio de Carvalho carried
out artistic and authorial inter -
ventions, designed to disseminate
his experimental, avant-garde
vision to arts audiences or those
from other domains. His mediatic
work did was not a commentary on
external facts; rather, it was the
fact in itself, one which produced
significations. 25
Casa, homem, paisagem was
composed of texts, and, in some cases,
of illustrations, from which its author
painted a word picture of the plans and
systems for a utopian city. In almost
thirty editions, published between 22nd
December 1955 and 4th March 1956,
de Carvalho expressed the basis of his
opposition to a mode of architecture
and urbanism that restricted itself to
the technical expertise of drawing and
two-dimensional thinking. He combined
proposals such as the rearrangement of
the transport system, wherein he cham-
pioned the subterranean, or subsurface,
realm as a cost-effective solution and
speed as a condition that had been im-
posed by the desires of the new man26,
with readings which assimilated ideas
psychology, anthropology and biology.
In his defence of mans telluric duty27,
which he had previously addressed in his
25
Cf. KAC, Eduardo in LEITE, Rui Moreira, op. cit.,
2004, p. 5.
26
CARVALHO, Flvio. As cidades no amanhecer do
sculo e o novo homem. Dirio de S.Paulo , Casa,
homem, paisagem, 25/12/1955.
27
Carvalho wrote five texts on the theme of Mans
telluric duty.
233
thesis A cidade do homem nu [The city
into the symbolic and ancestral dimen-
sions that characterized human habitat.
Following this line of thought, in the
column of February 4th, he claimed that
-
nal womb, and, moreover, with a divine
womb, in dealing with a tree.28 On Feb-
ruary 26th, he wrote, the orientation of
of the landscape and of the vegetation.
From the outset, he is connected to the
landscape and to the vegetation by his
gut later, in the course of rudimentary
ties are formed.29
transdisciplinary nature of Flvio de
Carvalhos proposals, who became aware
that his column provided a platform
for the daily propagation of his concept
humanism, oriented towards the in-
30
. The
column became the circulation channel
for the idea of an anthropomorphic and
laboratory-based city, arising from the
experiences of curious individuals who
were free from sociocultural taboos. The
edition of March 4th began by addressing
28
CARVALHO, Flvio. A paisagem sorridente e a
floresta a descida da rvore origens do direito de
propriedade. Dirio de S.Paulo , Casa, homem,
paisagem, 5/2/1956.
29
CARVALHO, Flvio. XI A paisagem sorridente e
a consequncia o homem a paisagem /ps-moderna
e o homem em voo. Dirio de S.Paulo . Casa, homem,
paisagem, 26/2/1956.
30
In the A cidade do homem nu conference, pre-
sented at the V Pan American Congress of Architects,
held in July 1930 in Rio de Janeiro, de Carvalho defend-
ed the directive planning of a laboratory-city, where
man intensifies his experiences with the guidance of
a single constituted institution called research cen-
tre (Cf. CARVALHO, Flvio. Uma tese curiosa. In
MAIA, Ana Maria; REZENDE, Renato (orgs.). Flvio de
Carvalho. Rio de Janeiro: Editora Azougue, 2015, pp.
32-41).
 234

the theme of the evolution of clothing So Paulo. On his way, he visited the
and ways of dressing, which de Carvalho Dirios Associados
regarded as an essential element in the media conglomerate on Sete de Abril
modernization process, even more than Street, and climbed up on a desk in
architecture and urbanism. This text the newsroom to be photographed and
engendered the creation of a second col- interviewed by journalists. The result
umn within Casa, homem, paisagem, was wide media coverage of the case.
which from that point on was called A His Experincia N 3
moda e o novo homem [Fashion and the was featured in newspapers around the
new man]. country, in the two main magazines of
In close to 40 texts, all published the time, Manchete and O Cruzeiro, as
by November 1956, the artist-architect well as media channels in Argentina,
presented his studies and thoughts on Italy and the United States, including
fashion as the structure responsible for Time Life34 magazine. The artist-architect
a process of [historical] suggestibility, collected all news clippings and, during a
which predicts catastrophic social events lecture about the subject given in 1963,
that bring about favourable outcomes he stated that this material gave proof of
or not, with the purpose of ensuring the
survival of man.31 On June 24th, de had on the Brazilian nation.35
Carvalho diverted from the theoretical After a trip to Italy, de Carvalho made
repertoire on fashion that he had been a second appearance in the media wear-
building up, and showcased a practical ing the new look. In January 1957, he
participated in a program which aired on
man of the tropics. Refuting the pants, the TV Record station, recorded live in his
waistcoat and tailcoats of the 17th cen- studio and presented by the actors Paulo
tury scheme, he designed a mens attire
- -
ings and a blouson, in vibrant colours pher J. Toledo drew attention to the fact
and a system of wires that loosened the
-
tion, thus reducing the heat sensation32. Featuring rounded shoulders, an accentuated bust, a
The news had already spread around cinched waist and a calf-length, full skirt, it was regard-
the city, but de Carvalho wanted to ed as a revolution in female clothing in the post-war
spread it even further, as possibly that period.
34
way it might be adopted. That was how, According to biographer J. Toledo, there were
on 18th October 1956, he dressed him- news crews in vans from the emergent television medi-
um, from cinema, from radio and from almost all of the
capitals most powerful newspapers, from Rio de Ja-
known as the new look in reference neiro and even a number of media correspondents,
to the model introduced by Christian from the United States (Time Life magazine), from
Dior33 and paraded around downtown Argentina and from Italy, who awaited impatiently for
the imponderable show that was about to happen in
the conservative capital of the bandeirantes [pio-
neers] conservative pioneering capital. (Cf.
31
CARVALHO, Flvio. Autor aponta. In COHN, TOLEDO, J., 1994, p. 561).
35
Sergio; PIMENTA, Heyk (orgs.). A moda e novo LEITE, Rui Moreira, op. cit., 2004, p. 3. De Carvalho
homem. Rio de Janeiro: Editora Azougue, 2010, p. 13. wished to a publish book on the subject, but died
32
CARVALHO, Flvio. Nova moda para o novo before doing so. In 2010, the Brazilian publishing house
homem moda de vero para a cidade. Dirio de S.Pau- Azougue Editorial put out a publication with the com-
lo , So Paulo, 24/6/1956. pilation of texts which ran in the A moda e o novo
33
Christian Diors new look was introduced in 1947. homem column.

that de Carvalho made skilful use of the
printed press and of the new medium of
television to promote his creation and his
ideas, becoming the only intellectual of
his time to do so with such mastery and
furore.36
Over time, this pioneering attitude
became his legacy. The electronic
performance37, which anticipated the
Brazilian video art in over ten years, was
manifestations of avant-garde art in the
television and video context.38 In the
international sphere, it was preceded
only by Spatialist Television, an experi-
ment carried out by Lucio Fontana in an
Italian network in 1952.
Between the end of the 1920s and the
1960s, de Carvalho gained broad access
to the Brazilian media, with help from
friendships he cultivated along the years
with art critics, journalists and owners of
communication channels, such as Assis
Chateaubriand. The mediatic success of
Experincia N 3 generated expectation
for new stories that the artist-architect
availed himself of two years later, in
1958. When he began to plan a trip to the
Amazon to meet the Xirians indigenous
The Dirio da Noite carried pieces such as Flvio
- Carvalho has set aside the skirt and will film indige-
da items in advance, with hopes that this nous people in Rio Negro (04/03/1958) and Flvio de
would help fund it. This way, his reports Carvalho seeks blonde star for Deusa Umbelina
among the crew which, in turn, ultimate-
ly led it to be cancelled, spread through
the pages of news channels such as the
36
Cf.TOLEDO, J., 1994, p. 517.
37
Cf. KAC, Eduardo in LEITE, Rui Moreira, op. cit.,
2004, p. 5.
38
Idem. There is no video documentation of the ac-
tion, as TV Tupi still did not use videotape equipment,
which recorded live transmissions. Although this tech-
nology had already been introduced in Brazil at that
point and was used by the TV Continental station in
Rio de Janeiro, it only began to be employed byTVTupi
in 1959.
235
Dirio da Noite, the Folha da Manh, the
O Globo and the Jornal da Bahia39 news-
papers and the North American Time
magazine40. Although it did not achieve
its initial objectives, the Experincia N 4
an original use of mass communication
mediums in Carvalhos oeuvre.
I can only
ed it by dra wing:
the redesign of the
Jo rnal do Brasil
The editorial reorientation and the re-
design of the Jornal do Brasil newspaper
was a mark in both the history of mod-
ern design and in Brazilian Concrete and
Neo-Concrete art, and a product of an
and 1961. In this interval, the periodic
and articles reproduced from the Agncia
39
(28/04/1958); the Dirio de Notcias headlined Flvio de
Carvalho: returns from visit to Brazilian indians
(19/11/1958); the Folha da Manh ran The Amazon is
no green hell; the only beasts I saw there came from
the asphalt (05/12/1958); the O Globo announced He
went in search of blonde indians but only found
xirians (24/11/1958); o Jornal da Bahia featured
Flvio de Carvalho returns from adventures with the
xirians indigenous people. The number of articles
about this trip is vast and quite diverse. In the Flvio de
Carvalho fund, where the artists archive of periodicals
is kept, there are approximately 70 items related to the
subject. (TOLEDO, J., 1994, p. 594)
40
On 22/11/1958, the Latin American edition of Time
magazine described the trip and ran a short biography
of Flvio de Carvalho in the text Playboy at Work (Cf.
Idem).
 236

cient and logical information and layout
structure, based on modern guidelines
for enhanced readability and experi-
ments with page design as an expressive
medium of communication.
The initiative was used as a model
for a number of Brazilian newspapers
thereon, and fostered the social imagi-
nary of a constructive utopia wherein
journalists, artists, poets and art critics
collaborated to invent a new language,
but one which was, above all, a social
space. The fact that this process mate-
rialized in the mass media, rather than
in a restricted and marginal publication,
read by very few, denoted the ambigu-
ous place where the redesigning process
took place, between representing a given
reality and inventing it, graphically and
semantically; to be the source of the
information structures and edit them at
one and the same time.
The kick-off of the redesigning
process was the creation of the period-
ical Suplemento Dominical [Sunday
Supplement], aimed at fostering cul-
tural debate, in the way that was being
produced by Reynaldo Jardim in the
homonymous program aired by the
Jornal do Brasil radio station. Invited by pagination and the cover. In the editorial
Countess Pereira Carneiro, the owner of
the media group, Jardim implemented
a literary section and later as an eight- texts written by a surprisingly erudite
41
-
by the rapid impact on Rio de Janeiro's
circle of intellectuals, the Countess decid-
ed to invest in the redesign of the entire
newspaper. For such, she invited young
professionals egressing the Dirio Carioca,
which, just like the Tribuna da Imprensa,
had recently also been redesigned. That
is how the new editor-in-chief Odylo
Costa Filho, and journalists like Carlos
de Freitas42, among others, came to work
at the Jornal do Brasil. In February 1957,
Amilcar de Castro joined the team, com-
ing from a previous design experience at
the Manchete magazine, with Gullar and
De Freitas.
The goal was to implement an en-
trepreneurial and informative type of
journalism, as per the North American
model, but notwithstanding, one that
engaged in political and cultural issues,
and which maintained its role in shaping
public opinion, as the paper had done
since its foundation in 1891. The new
team invested in an inside-out modern-
ization, from details in the writing style
to the layout of the internal pages, and
eventually to the headlines and titles, the
-
sources to grasp the readers attention,
such as the lead and the sub-lead43. The

page cultural supplement, with regular team of thirty-somethings, according to

collaborations by Ferreira Gullar, Oliveira Jardim44.
Bastos and Mrio Faustino and occa-
sional contributions from Mrio Pedrosa, 42
ABREU, Alzira Alves (org.). Imprensa em transio.
Rio de Janeiro: Editora FGV, 1996, p. 152.
the Campos brothers, for instance. 43
According to Ferreira Gullar, in interview granted to
The Suplemento Dominical was a Daniel Trench Bastos, these resources were intro-
fundamental piece, albeit not the only duced first in the Dirio Carioca newspaper. (Cf.
one, of a transformation that had been BASTOS, Daniel Trench. Tentativa e acerto: a reforma
grfica do Jornal do Brasil e a construo do SDJB.
Master of Arts degree dissertation. So Paulo,
Universidade de So Paulo, 2008, p. 110).
41 44
The page used to be an extension of a column called JARDIM, Reynaldo. Suplemento Dominical do
Contemporary literature. Jornal do Brasil in BASTOS, Daniel Trench, op. cit.,
 237

The design project adopted innovative suggests improvisation46, says Amilcar

working principles developed at the Ulm -
School of Design, which was founded ing environment in the Jornal do Brasil
by Max Bill, Inge Aicher-Scholl and Otl newspaper during these years.
Aicher in 1953, in Germany, and applied This already well-known sculptor
precepts from semiotics and ergonomics who had participated in the third edition
to design. In adopting this guideline, of the Bienal Internacional do Museu de
Costa Filho, Jardim, and soon De Freitas Arte Moderna de So Paulo (1953-1954)
and Amilcar began to employ a cleaner
style of layout and a visual hierarchy for Concreta (1956) and who would very soon
the content, making more space for the undersign the Neo-Concrete Manifesto in
- this same Jornal do Brasil saw layout
design as applied art47 and, conse-
They made the text matter less dense by
removing the lines and creating a space the newspapers he had been working
(or gutter) between the columns. They with since 1952, when he moved from
purchased the Bodoni font family with Belo Horizonte to Rio de Janeiro, Amilcar
its broad variation of styles, substituting
pursued different paths for the consti-
the disparate fonts that had been used tution of a modernized spatiality. Not
previously. The editorial cartoons used unlike that seen in his three-dimensional
to illustrate the text until that point work in which he combined functionality
were replaced by black-and-white pho- with aesthetics, technical expertise with
research, he developed his own distinc-
inside spreads. tive project in the Jornal do Brasil.
On 11th March 1957, in the absence To project implies in establishing
of Odylo, Ferreira Gullar, of his own mutual references between conceiving
accord, decided to publish a picture on and doing48, says Wolfgang Jean Stock.
the front page. Something which didnt
sit well with the editor-in-chief, but reform and the Sunday supplement or,
which pleased the countess and cleared in other words, in reference to a greater
the way for the practice to become authorial universe, within which Amil-
more commonplace in the newspaper.45 cars work is included , Daniel Trench
The episode reveals the individualistic
character and fortuitous nature of the posit an understanding of the idea of a
reform. More than methodological sys- project which was idiosyncratic as well.
tematization, we have here a project that The author claims that

If, semantically, this word

2008, p. 119.
45
Ferreira Gullar says that the next day, he [Costa
Filho], called me into his office and said you betrayed
me, I said what do you mean? You published that
photo on the front page of the newspaper, and you
know we dont publish photos on the first page []
And then the phone rang, it was the Countess. And I
heard him saying Ah, you liked that, thank you very
much, she had called to tell him that she simply
adored the photo on the first page. (Cf. BASTOS,
DanielTrench, op. cit., p. 22).
46
Cf. MATESCO, Viviane. Amilcar de Castro:
o experimentador do espao. Bravo! Interview. So
Paulo, Editora Dvila, 2002, pp. 59-65.
47
SAMPAIO, Mrcio. National Salon Award (1967).
In: Amilcar de Castro. So Paulo, Takano, 2001, p. 258-
260, p. 260.
48
STOCK, Wolfgang Jean in AICHER, Otl. El mundo
como proyecto. Barcelona: Editorial Gustavo Gili, 2007,
p. 103.
 238

carries with it notions of dis- the indissolubility between content

tance, it seems to reside in the and form, which became the Sunday
extreme proximity between the Supplements principle mark, in con-
act of doing and conceiving that sonance with the precepts of concrete
which it seems to blur, without poetry. Along with Gullar, who since Oc-
jeopardizing, the application of tober, 1956, had become his right-hand
this procedure in the reform of man, and the occasional collaboration of
the SDJB [acronym for Sunday Amilcar, Jardim used vanguard propo-
Supplement in the Jornal do sitions, coming from authors active in a
Brasil] 49 . variety of cultural areas and social sci-
ences, in a graphic space conceived in
Involved in everything from the struc- such a way as to deconstruct linearity.
turing of a network of authors through He did this, according to Ana de Gusmo
to the tests on the printing press50, the Mannarino, by incrementing the succes-
artists in charge of the reform and the sion of words with the simultaneous and
supplement introduced innovations
with a high degree of novelty and accu- perusal.52.
mulated achievements one edition after Breaks in lines, irregular columns
another. Once it had credibility inside the and empty zones on pages were fre-
newspaper and attained a greater num-
ber of pages, the team involved in these newspapers orthodox grid gave way to
editorial and graphic changes reached, the paths cleared by forerunners such
between 1958 and 1959, the apex of its as Un coup de ds
achievement with experimental language.
The inner and front pages of the paper, of poems, endowed with textual, visual
increasingly radical, were the respon- and sonorous references. Within this
regime, the newspaper presented criti-
chief editor since Odylos departure. The cal essays by authors such as Pedrosa,
supplement continued in the hands of
Jardim, the concrete poet who only knew Paulo Rouanet; short stories by Machado
how to edit by drawing51, according to de Assis, Virginia Wolf, James Joyce
his own words. and poems by Ceclia Meireles; and de-

than the accumulation of his functions dodecaphonic music, Zen, cybernetics

as poet, copywriter, editor and layout de- commingled, according to Jardim, with
signer in the supplement. It also indicates Noigandres [the magazine], critical
survey on all aesthetical and literary
tendencies, the presentation of authors
49
50
Idem, ibidem. unfamiliar to readers and Brazilian intel-
In an interview with DanielTrench, given in Braslia lectuals 53.
in 2007, Jardim stated I always worked on the factory
floor, together with the page designer. It was all lino-
type, some of the bigger boxes were made out of wood.
52
Those concrete poems, the squares, it all drove us Cf. MANNARINO, Ana de Gusmo. Amilcar de
mad. I liked producing the Sunday Supplement, it Castro e a pgina neoconcreta. Master of Arts degree
was unconventional. I even got a diploma from the peo- dissertation in Social History of Culture in the History
ple on the floor, exemplary employee, or something like Faculty of PUC-Rio. Rio de Janeiro, 2006, p. 11.
53
that. I loved them all. (Cf. BASTOS, DanielTrench, op. JARDIM, Reynaldo. Suplemento Dominical do
cit., p. 107). Jornal do Brasil (2002) in BASTOS, DanielTrench, op.
51
Idem, ibidem. cit., p. 116.
 239

The concrete poetry movement, to and Willys de Castro, reinterpreted geo-

which Jardim and Gullar belonged, along metric abstractionism focusing on its
with Noigandres editors (Haroldo and existential meanings55, inherent in both
the creative process and in its fruition.
This way, a line of thought which em-
Grnewald), where given the limelight, as braced the participation of the public in
it could not have been otherwise. Along the actual works, in an attempt to bring
with their independent publications, as art closer to life and to the informal lex-
seen in the magazine itself, active be- icon of daily life, began to develop itself.
tween 1952 and 1961, the movement According to Mannarino, the poten-
used the supplement as its main vehicle tiality for reader participation, or even
for dissemination and was responsible before than that, the de-alienation and
for popularizing a certain visuality as break with the passivity of the reader,
well as for releasing manifestos and already existed in the graphic and edito-
other literary works. In December 1956, rial project of the Sunday Supplement.
the supplement had announced the
1stNational Exhibition of Concrete Art, fo- man as a creative being, who searches
menting debates and critical texts about for the unpredictable, surprise, in op-
the event, which included the Frente position to mechanical work and the
and Ruptura groups, from Rio and So
Paulo, respectively, inside MAM in So value was engendered56. This individ-
ual, which Oiticica would later call the
and Culture in Rio de Janeiro. participator, was already being used as
On 23rd March 1959, the time came a prototype since the I Bal Neoconcreto
to earmark the Manifesto Neoconcreto, [I Neoconcrete Ballet] (1958), in which
a dissident document undersigned by Jardim and Pape provided geometric sol-
Theon Spanudis, Franz Weissmann, ids with choreographic movement on the
Lygia Clark and Lygia Pape, as well as stage of the Copacabana Palaces theater.
Gullar, Jardim and Amilcar. The head- No longer on the plane but in the scenic

layout by Amilcar done up in sculptural of the ballerinas who conducted them

blocks, heralded a supplement entirely
dedicated to the new movement, which
opposed rationalism and concrete sci-
entism and defended the repositioning of
the problem of expression54.
The supplement hit the streets on the
eve of the opening of the Ist Neoconcrete
Art Exhibition on March 22nd at MAM
in Rio de Janeiro. In the exhibition, the
artists who endorsed the manifesto and
54
CASTRO, Amilcar de; GULLAR, Ferreira;
VEISSMANN, Franz; CLARK, Lygia; PAPE, LYGIA;
JARDIM, Reynaldo; SPANDIA, Theon. Manifesto
Neoconcreto. Published in the Suplemento Dominical
do Jornal do Brasil on 03/22/1959.
from within.
the Sunday Supplement, which was
in print up until June 1960, demon-
strate that, though it still not directly
considering artists social insertion, neo-
concretism built the foundations for its
occurrence in the future. It projected a
social space viable for the confrontation
of academic conventions and their use,
form and, most of all, authorship, at
times as a scene on stage, at others as
a poem or a page in a major newspaper.
55
Idem.
56
Cf. MANNARINO, Ana de Gusmo, 2006, p. 11.
 240
Involving art in issues arising from its
dissemination channels and applied
languages, the movement productively
commingled instances of the repre-
sentation and invention of reality. The
extensive list of talents behind the reform
of the Jornal do Brasil and the creation of
the Sunday Supplement contributed in
towards recognizing mass press vehicles
as being frameworks of reality, without
distinction as to the extent it transmits
the changes taking place in society and
the extent it actually consolidates and
constructs these very changes57.
A n a l v i a Cordeiro
and the
i n t e r a c t i o n
b e t w e e n
a r t i s t
p e r f o r m e r
spectator
It took almost an entire decade for
Brazilian TV to move past its improvi-
sation stage in which Chateaubriand
found it necessary to, for example, scat-
ter two hundred TV sets throughout So
Paulo in order to begin broadcasting TV
Tupi and attain to its place of credibili-
ty and comfort within the living rooms58
of the populace. The 1960s marked the and assertive enunciation structure
consolidation of the vehicle, both in re- which circumvented any thematization
spect to the necessary technical expertise of technical, corporative and editorial
languages and targeted audiences.
57
Idem, p. 12.
58
Cf. RIBEIRO, Ana Paula Goulart; SACRAMENTO,
Igor; ROSO, Marco, op. cit., p. 21.
Fine-tuned into a device for the
family nucleus, broadcasting company
programming was aimed at ratifying the
division between work and leisure time.
It was therefore erected as an entertain-
ment and news vehicle able to cultivate
spectators communicational imagina-
tion, contemplating everything that
mattered, without omitting anything.
Tele-dramaturgy reduced its plots to
59
. The broadcasting
of soccer games promoted a collective
catharsis with its images of victory and
national unity. All together now, forging
ahead Brazil, long live the national all
stars!, went the song by Miguel Gustavo
used to open Rede Globos coverage of the
World Cup in 1970. Inaugurated in 1969,
one year after the level of repression was
increased by the Institutional Act No. 5,
the broadcasting company declared their
support of the military regime.
Already back then television
companies made plans to become
media utopias, a sort of empty place
from which spectators could watch60
the world. But, despite the discourses
produced in these vehicles, the place
was neither empty nor the gaze objective.
They never were and never will be, if one
considers that both the view as well as
the perspective are born from out of pro-
posals and, necessarily, social, political
and economical disputes. The manner in
which to occult these conditioning fac-
tors and maintain spectators alienated
from any critical debate was by investing
mechanisms to which they correspond-
ed.
59
Idem, p. 71.
60
Idem, pp. 23-24.
 241

Motivated by an impulse to do exactly the contemporary art crisis are due to the
the opposite, of broaching televisions pro-
duction and reception process, Analvia in that dealing with the dissemination
Cordeiro is responsible for producing of information and the ineffectiveness of
their language, thought and actions63.
initiatives aired by a television broadcast- Taking on the challenge of placing
ing company. The artist produced four herself in mainstream press vehicles,
interventions for TV Cultura between Analvias project set her apart from the
the years of 1973 and 197661 64
produced by
one was M3x3, followed by 0=45, Gestos people such as Anna Bella Geiger, Sonia
[Gestures] and Cambiantes, those three Andrade, Fernando Cocchiarale and
after an invitation extended by program- Paulo Herkenhoff, in Rio de Janeiro us-
ming director Fernando Faro, known for
his intimate and very original shots while diplomat John Azulay. Starting with the
covering musical presentations in the cameras, the set used by those in Rio was
completely different from that used by
The performances were recorded in Analvia. Both initiatives began in 1973.
the companys studios, in agreement with
the diverse professionals on the team, a scenes were in evidence, on the other,
guest dance corps and, in some cases, extreme control could be perceived in the
specialists from the IT lab at the Univer- production of an orchestrated poetics,
sidade de Campinas (Unicamp), headed
by Analivias father, Waldemar Cordeiro. their inherent high costs.
As the project dealt with production
complexity precisely for investigating the M3x3
statutes of creating videodance within a bargain. She already had Faros invita-
collective and coordinated environment, tion, but because she was so young 18
the intervention inaugurated in Brazil at the time, she still had to convince the
the trajectory of that which Analvia broadcasting companys director, Nydia
called institutional videos62, or, in other Lcia. At the same time, her project
words, a video produced with the same was selected to be exhibited during the
mass media apparatuses used by a Man, machine, society session at the
broadcasting company through the tem-
porary occupation of its facilities. the London Computer Arts Society. A let-
Directly or indirectly, the concept ter from the institution provided her with
came as an answer to Waldemar Cord- the credibility she needed to obtain the
eiros postulates set forth in his Artenica go-ahead by TV Cultura and set the date
exhibition in 1971. In the text of the same
name, the artist alleged the variables in The artist based her work on the
Triadisches Ballet (1922) by Oskar
Schlemmer, choreographer and Bauhaus
61
TV Cultura was inaugurated in So Paulo on 20th
September 1960 and was owned by the Dirios Asso-
63
ciados. In 1969, the company was turned over to the CORDEIRO, Waldemar. Artenica, in
Fundao Padre Anchieta, the organization that ad- MASCARENHAS, Nelson; VELHO, Luiz; HESS, Lilia.
ministrates it up till today and which broadcasts its Waldemar Cordeiro: Artenica. So Paulo: Sibigrapi,
signal by satellite to all of Brazil. 1993, pp. 21-23.
62 64
In an interview given by Analvia Cordeiro to Ana Term used by Analvia Cordeiro in interview with
Maria Maia at Granja Viana, So Paulo, on 06/11/2015. Ana Maria Maia.
 242

professor, and on the Laban method65, radical activities. Her work tools, and,
around which her dance education was prior to these, the interpersonal and so-
shaped by her teacher Maria Duschenes. cial communication models which she
In different ways, both references were assembles became a starting point to de-
based on the analytical annotation of
human movement and its relation with
- Dancing for TV is fundamen-
cally seen in some of modern dances tally different than dancing on
offshoots, the ballerinas expressiveness stage because you have the cam-
was always evoked as a function of era between the ballerina and
constructive rigor. the spectator. The camera should
But, besides these references, a frus- focus on precisely that which ex-
trating experience in 1972 gave Analvia presses the dancers intent. The
her idea for M3x3. Called upon by chore- objective is to program the cam-
ographer Clyde Morgan, she participated era, the dancers movements and
in Improvisao Estruturada [Structured the set. To work with computers,
Improvisation]. The performance was re- that is, to provide it with input,
corded by a TV company and, when they one must first be aware of what
the camera and the dancers ne-
camera revealed to be out of synchrony cessities are for movement. What
with the movements performed by the comes out of the computer and
group of ballerinas. The loss of images the final results are determined
fundamental in which to narrate the by the choreographer, who spec-
work66 led Analvia to think: why not ifies just how much freedom is
plan the movements together with the to be given the dancer. In the
cameras?67. process that I created, the cam-
The artist recognized the televisual eras focus and the time allotted
and media environment as a predom- to each one are pre-programmed.
inant factor for constructing a public For the dancer, we have the po-
agenda to be studied and occupied by sitions of the body and the time
it takes moving from one position
to the next. The dancer is who
65 must create the connection be-
The method was created in 1940 by Rudolf von
Laban, one of Europes pioneers in modern dance. It tween one position and the other,
consists in describing, visualizing, interpreting and in accordance with the expressive
documenting the varity of human movements based on
a written system denominated labanotation. The
force they feel, the expressive
methods four pillars are the body, effort, form and force they decide to put into the
space. (Cf. KONIE, Robin Konie, A brief overview of dance they are performing 68 .
Laban movement analysis, 2011, available at: <http://
goo.gl/kR0C6v> Accessed: 7/9/2015.) Movement would be the result of in-
66
In an interview with Ana Maria Maia, Analvia re-
called how When I was motionless, the camera teraction between the choreographer,
filmed my entire body. When I moved, it filmed my fin- the computer programmed with general
ger.There was no dialogue neither with the camera nor
with the director. All of us dancers looked like jerks, as
if we didnt have any notion whatsoever of space. []
And I noticed that TV management only talked to the 68 Statement by Analvia Cordeiro given in 1976 on the
choreographer, but how could that be if we all were SOS Utilidades program from TV Cultura de So Pau-
improvising?. lo. Available at: <https://vimeo.com/50189472>
67
Idem. Accessed: 7/9/2015.

instructions69 and nine ballerinas70. The
director and editor also worked accord-
ing to the computers annotations, which
represented, through drawings of the
movements, planes and rhythms of chang-
es. All of these interlocutors answered
therefore to directives provided a priori, but
always as exegetics, able to execute the
coordinates in accordance to the freedom
allowed and their own force of expression.
Besides the choreography, other
elements indicated the existence of a struc-
ture to be dealt with. The black-and-white
scenography was divided into a three by
three orthogonal grid, each with six-metre
sides. The soundtrack was comprised of a
repetitive blunt beat providing the cadence
of the movements. Performed with a long
body glove and black facial paint, the cos-
tume blurred the singularity of each of the
dancers facial features, allowing the differ-
ences only to appear through the attentive
observation of each of their movements.
The machine and the body, the rational
and the organic, were thus placed side by
side to interact.
M3x3 was aired on 18th April 1973 as a
special program71, introduced by a signature
tune and a brief interview of Analvia by Jlio
Leirner, a reporter working with the TV chan-
nel since its beginning in 1969. This opening
and straight, vertical and horizontal forms,
which were part of a system of movements
69
Analvia studied at the Faculdade de Arquitetura e she would later call Nota-Anna73. The edition
Urbanismo da Universidade de So Paulo, but wanted in video used extreme solarization effects
to dedicate her time to dance while having interests in
the exact sciences. In an interview with Ana Maria
Maia, she stated, as I was good in math and physics, I
programmed my first work. Studied the language using
a manual, like an autodidact.
70
The dancers, all numbered in accordance with the
space they occupied in the studio, were Eliana P.
Moreira (1), Silvia T. Bittencourt (2), Marina Helou (3),
Solange C. Metri (4), Fabiana Cordeiro (5), Analvia
Cordeiro (6), Cybele Cavalcanti (7), Nira Chernizon (8),
Beatriz Maria Luiz (9). They all came from varied
branches of dance, among which were classical and
modern ballet and the Laban method.
71
At TV Culturas archives, the M3x3 register is filed
as a special excerpt from the S.O.S Utilidade Pblica
program, with 15 minutes runtime.
243
mitigated the confrontation of languages
between the performance and the content
that had preceded it and gave a didactical
slant to its access through an explanation of
the artists motives and processes. This en-
deavor towards understanding the publics
comprehension of the project had been de-
which Analvia gave as one of her objectives
the transmission of an artistic message to
spectators72, who, in turn, would exercise
their function in its interpretation, bringing
the cycle of the works creation to a close.
Between a computer algorithm, the
public, any notion of authorship in the art-
ists research is collectively and intimately
connected to the act of interpretation. One
cannot deny Analvias strategic position as
idealizer nor, none the less, forget her inter-
est in the dynamics behind the collaboration
of machines and people.
In the following experience, 0=45, pro-
duced in 1974 on TV Cultura as well, a
in Unicamps IT lab, determined the se-
Filmed in one continuous frontal shot, the
ballerina brought life into the aleatory cho-
72
CORDEIRO, Analvia. The programming choreog-
rapher in Computer Graphics and Art, February 1977,
p. 28.
73
In the book which Analvia Cordeiro expounds her
methodology for studying corporal movement, based
on the Laban theory, the artist affirms that the mark-
ing characteristic of Nota-Anna is visualizing the wake
or trajectory of space/time displacement of parts of the
body, revealing the essence of emotive expression of
movement in its minimum nuances. (Cf. CORDEIRO,
Analvia. Nota-anna: a escrita eletrnica dos movimen-
tos do corpo baseada no mtodo Laban. So Paulo:
Annablume, 1998, p. 95)
 244
in the images to show them at times in a
positive version, and at others, in negative.
Alternating black and white in the setting
and costumes emphasized the binary and
dialectic condition of the work, its process
and result.
In Gestos (1975) and Cambiantes (1976),
the association with the broadcasting com-
pany continued, increasingly interested in
the thematization of performance mech-
anisms, going as far as to unveil them on
scene, in a self-referential manner. Gestos
was shot in the TVs studios, sans scenario
or any attempts at masking the sets back-
stage. While Analvia and Fabiana Cordeiro
moved about they were shot with a hand-
held camera while other cameras, monitors
appeared in the cameras frame. The per-
activities. The movements, in reality, did the
same, as they were based on research by the
two ballerinas in current newspapers. A cou-
ple days before, they had selected expressive
photographs, cut out those which interested forthcoming, she concludes.
them and mixed them all together. Anything
was valid: current news, publicity, reality
joy and sex74 in which the ballerina at times
soldier75, says Analvia.
After this theater dance, in which she
investigated choreographic randomness in
analogical vehicles as well, the artist once
again took up computer poetics in October
1976 with Cambiantes, her last intervention
in association with TV Cultura. In this per-
formance, stage setting, costume and edition
were fused into one to give the illusion that
the images form could be changed. And even
more than this, it suspended any certainty
in that related to the exhibition mechanism
of this image, the TV set, whose rectangular
74
The Gestos performance was also included in the told me the reactions which my work had produced.
S.O.S Utilidades program.
75
In interview with Ana Maria Maia.
shape assured audiences they were looking
at a window of the world, a true observation
point of reality.
As the four ballerinas76 danced to the com-
beat, two cameras recorded the scene one in
front and the other located diagonally above, as
if a security camera. The shots coincided with
black graphic symbols on the settings white
backdrop and, occasionally, transformed the
backdrop into an irregular-shaped surface,
At other times the black body gloves resembled
stains on the floor, demystifying the figure and
backdrop scheme responsible for the illusion of
depth and the reality of the image.
You guys are all addicted [to TV]. Im play-
ing with all your abstinence, says Analvia,
remembering the tone of her proposal and the
fact that she hardly ever77 got any feedback
from the audience. An audiences first reac-
tion to vanguard art is that of surprise and
distrust. The people ask themselves: why did I
76
Dancers were Analvia Cordeiro, Beatriz M. Luiz,
Cybele Cavalcanti and Fabiana Cordeiro. The musical
score was by Raul do Valle and filmed by Pedro
Farkas.
77
In an interview with Ana Maria Maia, Analvia nar-
rated the only time she ever got any feedback from the
public at large. When MIT produced, in 1976, a
computer produced progaram for WGBH, which is the
educationalTV in the States, I participated in that. I re-
ceived a letter from MIT, from the programs host. She
Questions like: why worry about computers if you
dance?TheTV sent me this feedback to my work.

t he pur sui t
of the pl a c e
196882
Negation ,
insertion
and
disappearance
measures
The ideal of a constructive proj-
ect, which mobilized generations of
neo-concrete and conceptualist artists
and intellectuals until the mid-1960s,
gained tactical complexity with the In-
stitutional Act No. 5 (popularly known
the military regime in Brazil. In order to
reach the public sphere and thus count-
er collective alienation and foster political
engagement, it was necessary, more than
ever, to have mastery over the operation-
al routines of the institutions, and to be
able to identify opportunities for inter-
vention in breaches of its statutes or its
control mechanisms. For such, it was
essential, as claimed Cildo Meireles78, to
modes; not only the circuits but also
the possible insertions, with regards to
78
Interview granted to the author in Meireless studio,
in the neighbourhood of Botafogo, in the city of Rio de
Janeiro, on 2nd April 2015. These words, however, can
be found in his first text about the work Inseres em
circuitos ideolgicos [Insertions in ideological cir-
cuits] from 1970.
245
the technological and language-related
resources, and despite censorship.
In the visual arts, the Teoria do
no-objeto [Theory of the non-object] by
Ferreira Gullar already posited, since
1960, the phenomenological vocation of
the Brazilian avant-garde art production,
which sought to transcend the traditional
formats of a work of art (and, therefore, of
the exhibition, the reception and the col-
lection of art) to become a transparent
body, which lends itself to perception
without a trace79. The text prompted
experimentations by a number of artists,
both from the authors generation, such
Oiticica, and also from later generations,
such as Artur Barrio, Antonio Dias, Re-
Letcia Parente, among so many other
pioneers of happenings and video art in
Brazil.
The information about a transito-
ry time and an artistic experience that
reaches contemporaneity in an increas-
as put forward by Gullar, anticipated
aspects of what was internationally
named by the North American art crit-
ic Lucy Lippard in 1972 as tendencies
of the dematerialization of the art ob-
ject.80 However, in the Brazilian and
Latin American context, this condition
presented itself as an alternative for the
survival, viability or for the continuation
of a critical existence in a repressive
regime. In recent years, a number of
79
The Theory of the non-object was written by Ferreira
Gullar on the occasion of the 2nd Neo-Concrete
Exhibition, carried out at the Palcio da Cultura do
Estado da Guanabara, between 21st November and
20th December 1960. On this day, it was published in
the Sunday supplement of the Brazilian newspaper
Jornal do Brasil.
80
In LIPPARD, Lucy. Six years: the dematerialization of
the art object from 1966 to 1972. A cross-reference book
of information on some aesthetic boundaries. NewYork:
Praeger, 1973.
 246

instances of censorship in exhibitions described by Oiticica in his Esquema geral

had occurred, such as in Propostas 65 da nova objetividade [General scheme of
(Faap, So Paulo), IV Salo Nacional de the new objectivity]82. The mainstream
media, as the dominant structure in the
and the Bienal da Bahia (1969). dispute for an agenda of social narratives
In May 1969, after a telephone call which elects some at the expense of
from the Cultural Department of the others and routinely develops a reper-
Ministry of Foreign Affairs, the exhibition toire of sections, episodes and of themes
of artists who would represent Brazil at of common interest gained strength
the Biennale de Paris was suspended and simultaneously as metaphor and as a
the work was immediately de-installed,
In light of rumours about the ma-
Museu de Arte Moderna do Rio de Janeiro
(MAM-RJ). The works were considered for the freedom of expression, the art-
subversive and the event was targeted by ists represented a series of referents of
censorship, possibly due to the fact that social communication in their works.
the museums director, Niomar Muniz According to the researcher Christine
Mello, in response to the state of affairs
Correio da Manh newspaper, had been at the time, the focus was constantly
arrested in January of the same year, shifted towards the individual, towards
after the publication of an edition of the everyday life, towards fragments rather
newspaper that was considered opposi- than the whole, towards appropriation
tional to the regime81. processes and renovation, towards the
Throughout the same period other cultural industry and towards a new rep-
editions of newspapers and magazines ertoire that stemed from the most diverse
mass medias.83
radio stations was interrupted. Between It is worth noting that, in the second
December 1968 and January 1969, the half of the 1960s, the translation to Por-
Jornal do Brasil worked under a prior tuguese of Marshall McLuhans works84
censorship routine, with federal govern- introduced concepts such as the medi-
ment agents positioned in the editorial um is the message and global village
rooms and in charge of exercising a par- to the centre of the Brazilian academic
tial or full veto of articles. Threatening and cultural debate, as can be found in
notes and telephone calls became part of
the routine of reporters, photographers 82
Oiticica concluded his Esquema geral da nova obje-
and editors, and a general drawback by tividade, from 1967, in the following way: the individual
press and media directors occurred, all and collective vitality will be the advent of something
of which, in seeking to avoid new retalia- solid and real, despite the underdevelopment and the
tions, started to practice self-censorship. chaos the future will be born from this Vietnames-
In spite of all the institutional restric- que chaos, not from conformism and idiocy. Only by
furiously destroying can we erect something valid and
tions, or even fuelled by it, artists insisted palpable: our reality.) (Cf. PROGRAMA HELIO
in the project of the construction of our OITICICA, Instituto Ita Cultural. Available at:
reality, a cultural and political one, as <http://goo.gl/hIc1t6> Acessed: 20/06/2015).
83
Cf. MELLO, Christine. Extremidades do vdeo. So
Paulo: Editora Senac, 2008, p. 78.
84
The two works translated in the 1960s were Under-
81
Cf. BARBOSA, Marialva. Histria cultural da im- standing the media: the extensions of man, from 1964,
prensa: Brasil 1900-2000. Rio de Janeiro: Mauad X, 2007, and The medium is the message: an inventory of effect,
p. 190 written in 1967 with Quentin Fiore and Jerome Agel.
 247

innumerable references by art critics of the poster of his retrospective exhibition

that generations, especially by Walter at the Petite Galerie, in Rio de Janeiro
Zanini.85 in 1975. This refers to a cycle of works
Among the artists, Rubens Gershman wherein Manuel opted not to represent
cut out a photograph that was pub- the media within the art circuit, and
lished in the obituary of a tabloid to instead began to present himself as an
paint Lindonia, a Gioconda do Subrbio artist within the frames set by the media,
and for such, competed for access to the
(1966), which was later used by the sing- means of mass production and distribu-
er and composer Caetano Veloso as the tion.
theme for a homonymous song in 1968. His work, and also that of Cildo
Oiticica placed a switched on television Meireles, Jomard Muniz de Britto,
set in one of the corridors of his PN3 Caetano Veloso, Daniel Santiago, Paulo
Penetrvel imagtico [PN3 Imagetic
penetrable] (1967). In the video work Coutinho, to name only a few, are ex-
Estmago embrulhado [Sick to ones periences based on which the concept
stomach], from 1975, Paulo Herkenhoff of mediatic intervention at that moment
in history can be examined, namely be-
he ate pages of current newspapers to tween 1968 and the early 1980s, when
allude to an ambiguous critical gesture, the establishment of control mechanisms
which at once accepts and assimilates over the public sphere inevitably triggered
the information they contain and also deviant and antagonistic endeavours.
seeks to annihilate it as it is devoured. Despite being radically different from
In 1967 Antonio Manuel began to one another, the practices of these artists
draw on newspaper pages a proce- enable us to observe aspects of the tense
dure which rendered him into a type game that lay beneath the surface as the
of content editor as he covered up or only alternative to the silence and to the
highlighted particular information in the comfort of an authoritarian status quo.
original layout with charcoal and India The tense game of lodging oneself within
ink and thus found the axiom to step the system that is the very object of ones
away from the use of themes in favour of
real interferences. The second step was
to take similar drawings to the , and extensive social penetration and
printing plates made of cardboard which there test invisibility measures which,
he collected in printing houses. Next,
the familiarity with this environment of the artistic demands in face of reality,
and with the staff working there made ultimately render parasitic action into an
it possible for the artist to carry out an attribute and a function of art.
occupation of the structural nucleus of
the newspaper, to force open the print-
ers chase with new, emotionally-charged The virus
spaces, as emphasized in the back of
of negation
85
In texts such as Museu e televiso (1976), The effects of May 1968 in France
Videoarte: uma potica aberta (1978) and Primeiros
tempos da arte/eletrnica no Brasil (1997) (Cf. emanated to other parts of the world a lib-
FREIRE, Cristina (org.). Walter Zanini: escrituras ertarian spirit of social contestation that
crticas. So Paulo: Annablume and MAC USP, 2013. was related to the idea of counterculture.
 248

In Brazil, this attitude anchored the led by the writer Ariano Suassuna, for
aesthetic and political programme of the example the manifesto became a type
Tropiclia movement, which mobilized of mediatic happening, inclined towards
problematizing a discourse from its very
actors and intellectuals. Interested in own verbal structure.
discussing the role of the cultural indus- In September of that same year, in the
try in supplanting a colonialist attitude
which generated cultural underdevel- Song Festival, which was held at the Tuca
opment, members of the movement theatre, in the city of So Paulo, and was
made use of the countrys mass media to aired live to the whole country by the Rede
disseminate their ideas. Globo television network, Caetano Veloso
In the Inventrio do nosso feudalismo carried out a similar gesture. With the
cultural [Inventory of our cultural feu- demeanour of a Tropicalista and project-
dalism], manifesto published in April ing that particular sonority, with mixed
1968 in the Jornal do Commercio86, in references of Brazilian popular culture
Recife, in the state of Pernambuco, and and others from the international pop
signed by a number of authors, including imaginary, such as the electric guitar88,
the poet Jomard Muniz de Brito, the jour- he competed in the festival with the song
nalist Celso Marconi and the musicians entitled proibido proibir [Its prohib-
Gilberto Gil and Caetano Veloso, the ited to prohibit] played together with the
Tropicalistas presented themselves in fa- group Os Mutantes. In direct reference to
vour of the establishment of new creative the censorship that was becoming more
processes that involved the use of mass severe in the country, he repeated verses
culture (radio, TV, etc.).87 Although it like eu digo no ao no [I say no to no]
was not listed in the text, the newspaper,
as the form of mass media covering the The invariably effusive public, that
act, played a role in disseminating and, had been factored in as determinant in
simultaneously, activating the counter- the previous festivals, hissed loudly and
cultural precepts of the group. In the form uttered disapproving remarks, which led
of an editorial article inserted in the cul- Veloso to stop singing and surprise all,
ture supplement among many other rival specially the TV directors, with an im-
perspectives the armorial perspective, provised speech. But is this the youth
that claims it wants to seize power? You
are brave enough to applaud, this year,
86 a song which you would not have had
The text had been presented in the solo exhibition of
the artist Raul Crdola at Oficina 154, in Olinda, before
the courage to applaud last year! Youre
it was published in the newspaper that year. (Cf. DI- the same youth that will always, always,
NIZ, Clarissa; HEITOR, Gleyce Kelly; SOARES, Paulo kill tomorrow the elderly enemy who died
Marcondes (Org.).Crtica de Arte em Pernambuco:Es- yesterday, he said. And he continued:
critos do Sculo XX. Rio de Janeiro: Beco do Azougue, today I came here to say that the ones
2012)
87
Cf. ARANHA, Carlos Antnio; BRITTO, Jomard
Muniz de; CIRNE, Moacy; DE ANDRADE, Marcus
88
Vincius; FERNANDES, Anchieta; GIL, Gilberto; Two years earlier, on 17th July 1967, a march
GUIMARAES, Aristides; GURGEL, Alexis; against the electric guitar was held in So Paulo. Mu-
MARCONI, Celso; SILVA, Falves; VARELA, Dailor; sicians such as Gilberto Gil, Edu Lobo, Elis Regina,
VELOSO, Caetano apud BRITTO, Jomard Muniz de. Geraldo Vandr, Jair Rodrigues and Z Kti paraded
Inventrio do nosso Feudalismo Cultural in Jomard through the streets, some of them carrying the
Muniz de Britto. Rio de Janeiro: Editora Azougue, 2013, Brazilian flag, and claiming that the guitar was an
pp. 32-35 (Coleo Encontros). ImperialistYankee instrument.
 249

who had the courage to take responsi- According to the poet and professor of
bility for the structure of the festival, not journalism of the Universidade Federal
with the fear that Senhor Chico de Assis89 da Paraba (UFPB), who by that time had
tried to instil in us, but with the courage been forced to retire by the AI-5, despite
of taking responsibility for this structure being fragmented in groups or even mar-
and making it explode, were Gilberto Gil ginalized, in the last years this strand
and I []. I want to say to the jury: dis- had sought to cast into this sea of roses
the virus of disobedience, of negativity, of
[]. We, him and me, had the courage divergence in face of the projections and
of walking into all of the structures and stimuli propounded by the System.92
walking out of all of them too.90 The metaphor would certainly be
proibido proibir was, in actual fact,
journalists that faced the coup and the
it became a mark in its history, due to escalation of censorship even within the
the way in which it clearly expressed an -
attitude of protest at an event with sig- nels. This was the case of journalists

TV channel that belonged to the group
which supported the military regime
from its very beginning91. In the following
edition of the festival, no song with direct
political connotation was preselected.
In an interview granted in 1979,
Jomard Muniz de Britto carried out a
companions of the Tropiclia movement,
such as Velosos speech. He claimed that,
to unmask a current of resilient action
that was receptive to and supportive
- Press Act, which instituted prior cen-
ty, a countercurrent was organized.
89
Chico de Assis was a theatre actor and playwright.
He directed the television transmissions of the
Festivals atTV Record and Rede Globo.
90
Cf. Original audio and transcription of Caetano
Velosos speech can be found on the website of the
Tropiclia project. Available at <http://goo.gl/SqiE7>
Accessed: 27/5/2015.
91
In June 2013, with the demonstrations that hap-
pened in a number of cities around Brazil the
newspaper O Globo published the editorial entitled
Apoio editorial ao Golpe de 64 foi um erro [Editorial
support to the 1964 Brazilian coup dtat was a mis-
take], which admitted and reassessed the involvement
of the largest mass media group of Latin America, Or-
ganizaes Globo, in the military regime. The online
version can be found at:
<http://oglobo.globo.com/brasil/apoio-editorial-ao-
golpe-de-64-foi-um-erro-9771604> Accessed: 27/5/2015.
while writing for the countrys main mag-
azines, newspapers and TV channels,
also collaborated with the weekly paper
O Pasquim, founded in 1969 by Jaguar,
Though alternative, this periodical always
had large print runs93, and its coverage
of politics, culture and behaviour was
always permeated with a critical sense of
humour, ambiguity and courage.
The editorial staff usually opted for
direct confrontation. Not by chance, the
sorship to the media, was introduced
precisely in the year that the newspaper
was launched, after an interview with
the actress Leila Diniz. In November
1970, when a parody produced by the
political cartoonist Jaguar of the paint-
ing Independncia ou morte ou O Grito
do Ipiranga [Independence or death or
The Cry of the Ipiranga], (1888), by
92
Cf. BRITTO, Jomard Muniz. Retomemos os de-
bates na universidade. Interview granted to Jos
Carlos Targino. Published in the Jornal Universitrio
Recife newspaper, in April 1979.
93
The O Pasquim was founded in July 1969 with an ini-
tial print run of 20,000 copies. In the 1970s, 200,000
copies per edition were printed.
 250

mocot [I want mocot] in cap- Manuel, both contemporaneous with

tions, the editors of the O Pasquim were
arrested for three months. Nonetheless,
the newspaper resisted due to an orga-
nized manifestation by its temporary
collaborators.
In seeking a complementary approach
to direct confrontation and resistance
which was probably successful due
to the large number of collaborators of
the O Pasquim, many of which were in-
Brito in the art scene of Rio de Janeiro.
Precisely in seeking an existence of his
work as an artist in the social body,
Meireles began investigating broader no-
tions of the idea of circuit. According to
the text he published in April 1970,
1) There are particular
circulation mechanisms in society
(circuit)

scene , some artists started to discuss 2) These circuits evidently

and defend that gesture which art critic transmit the producers ideology, but
and historian Ronaldo Brito called stra- are also susceptible to incorporate
tegic intelligence. Refuting not only the insertions in their circulation.

a newly formed market of galleries and 3) And this happens whenever

auction houses in the creative process, people set them off 96
in a time of increasing purchasing pow-
er due to the economic miracle94, the This was the beginning of the Inseres
critic defended a collective and individual em circuitos ideolgicos [Insertions
search for ways to act critically towards in ideological circuits] series, which,
the standing of art within society. He besides the textual formulation, led the
artist to make a series of demonstrations,
neutralization of his proposals and how where he presented practical examples
to turn art into an instrument that had a of information systems that could be
95
created in circuits that were present in
everyday life, but over the heads of their
text Anlise do circuito [Circuit analysis], centralized power. Therefore the idea
made reference to the experiences of art- was to inscribe parasitic messages and
ists such as Cildo Meireles and Antonio
the media, the industrialized goods and
94
the money.
Between 1968 and 1973, during the dictatorships
harshest years, the Brazilian economy underwent a de-
velopment cycle. The Gross Domestic Product (GDP)
12th97
jumped from 9,8% per year, in 1968, to 14%, in 1973, and
the inflation rate grew from 19,46% in 1968, to 34,55% in
96
1974. Paradoxically, there was an increase in the rates Cf. MEIRELES, Cildo. Inseres em circuitos
of income concentration and poverty. ideolgicos (1970). In: MACIEIRA, Eudoro Augusto.
95
In the text Anlise do circuito, published in the Cildo Meireles, Rio de Janeiro: Funarte, 1981, p. 24-25.
97
Revista Malasartes. Between September 1975 and The cover headline of the 11th and 12th January 1970
June 1976, the magazine had three issues edited by a editions of the Jornal do Brasil was Mdici announces
group of artists and critics, Carlos Vergara, Bernardo 20% to public servers in 48 hours. An inset image
deVilhena, Carlos Zilio, Cildo Meireles, Jos Resende, showed the draw for the match-ups of the World Cup,
Luiz Paulo Baravelli, Ronaldo Brito, Rubens Gerchman which would take place that year in Mexico. As it cov-
and Waltrcio Caldas. The magazines content was in ered two days, Sunday and Monday, the edition had 124
tune with the international debate on conceptual art pages. Cf. Biblioteca Nacional, Memria Jornal do
and criticized the art market that was emerging in Brasil. Available at: < http://goo.gl/BnRBKY > Ac-
Brazil at the time. cessed: 17/6/2015.

Jornal do Brasil, and thus was entitled In-
sero em jornal [Insertion in newspaper].
Occupying a space of approximately 7cm
x 10cm in the Miscellaneous subsec-
tion, Meireles wrote only rea n 1 Gildo
Meireles 70 [Area n 1 Gildo Meireles
70]. Gildo (and not Cildo) because at
the time of purchasing the ad the art-
ists name was misunderstood. Slightly
larger and with more graphic breathing
space than was generally used, the ad,
later named Clareira [Clearing], stood out
from the rest due to the incongruity of its
vague formulation. A mention of a place.
A piece of land for sale? Where? Does it
exist? The place was the ad itself that
lay before the readers eyes. The artist
only declared its experimental existence
which deviated from the habitual uses of
supply and demand.
The Jornal do Brasil was used as a
medium for intervention by Meireles a
second time round on the 3rd of June98
of that same year, with a smaller ad,
Far away, Letters to Cildo Meireles. Rua
- the artist managed to imprint (using a
ued with the series, employing the same
type of abstraction over an unknown
landscape, the artist now had formulat-
ed a type of self-criticism. In an interview
granted in 2008 to the curator Thas
Rivitti he stated that his motivations
to create interventions in newspapers
grinded to a halt as he realized that in
98
The Thursday, June 3rd 1970 edition of the Jornal do
Brasil featured the headline Terroristas dizem que j
mataram Aramburu [Terrorists claim they have al-
ready killed Aramburu] and Brasil estreia contra
tchecos [Brazil debuts against the Czechs]. In total,
the newspaper had 60 pages and Cildo Meireles ad
was featured on page 3 of the last supplement. Cf.
Biblioteca Nacional, Memria Jornal do Brasil. Avail-
able at:
<http://goo.gl/BnRBKY> Accessed: 17/6/2015.
251
that media one was limited by the ability
to gain control that this circuit present-
ed. In the military dictatorship this could
be fatal, it was simply a matter of going to
the printing facility and start censoring,
have the print run ruined by marking it
with ink blots or perforations, or turning
off the aerial of the radio station or the
TV channel.99
The target of reaching a wider public
and extrapolating the art sphere had al-
ready been reached using the newspaper,
but Meireles did not continue carrying
out mediatic interventions, even if this
practice had become widespread among
artists of his generation, along with mail
art. In a statement given more recently
to the author of Arte-veculo, Meireles
to what he aimed to achieve in industrial
goods and especially in money. Return-
able Coca-Cola bottles, made of glass,
and banknotes presented him with this
possibility. They were very hard to cen-
sor, it would cause a great deal of trouble.
These Inseres em circuitos ideolgicos
generated far more problems.100
It was precisely on these objects that
stamp on the banknotes and silkscreen
or decalcomania on the surface of the
bottles) more explicit protest messages,
such as Yankees go home! or Quem
matou Herzog? [Who killed Herzog?],
in reference to the assassination of the
journalist Vladimir Herzog on 25th Oc-
tober 1975. The Information Operations
Unit Internal Defense Operations
Centre of So Paulo, also known as the
DOI-CODI, fabricated evidence that a
99
Cf. RIVITTI, Thais. A ideia de circulao na obra de
Cildo Meireles. Master of Arts degree dissertation.
So Paulo, Escola de Comunicaes e Artes/
Universidade de So Paulo, 2007, p. 78
100
Interview granted to Ana Maria Maia at the artists
studio, in the neighbourhood of Botafogo, Rio de
Janeiro, on 2nd March 2015.
 252
suicide had taken place, which was how
the case that was widely disseminated by
the media, who had neither the freedom
nor the means to report another version
of the facts. By resorting to anonymity
and availing himself of the wide scope
of the networks of monetary exchange,
Meireles was able to break this silence,
even if at a restricted and rather utopian
scale.
When Frederico Morais organized
the exhibition entitled Agnus Dei Nova
crtica, with works by Meireles, Tereza
Simes and Guilherme Vaz at the Petite
Galerie in Rio de Janeiro, in July 1970, he
designed an expography for Inseres em
circuitos ideolgicos Projeto Coca-Cola,
which evinced its disproportion in the
face of the industrial scale. The art crit-
Coca-Cola bottles similar to those used
by Meireles. Buried among them all were
three bottles that had been imprinted by
the artist, and the following explanatory
caption on top of a table: 15.000 garra-
gentilmente cedidas e transportadas, em
650 engradados, por Coca-Cola Refres-
cos S.A. [15.000 medium-sized empty
Coca-Cola bottles, in 650 crates, kindly
provided and transported by Coca-Cola
Refrescos S.A.].101
Morais understanding, expressed as
this critical-visual gesture, was that
the the Coca-Cola system was powerful
102
. aimed to be a real non-object,
At the time, the artist appreciated this
reading which, it is worth men-
tioning, came from one of his greatest
interlocutors as a timely and didactic
comprehension of one of the aspects of
Disappearance became a condition
for the work of art, which, at that moment
101
MUSEU DE ARTE DA PAMPULHA. Neovanguar- in time, sought to become a prototype of
das: catalogue. Belo Horizonte, 2008, p. 163.
102
Cf. MORAIS, Frederico. Frederico Morais, o crti-
co-criador. Available at <http://www.cronopios.com.
br/site/colunistas.asp?id=3279> Accessed: 25/5/2015.
Interview granted to Gonzalo Aguilar.
the work, its dilution or inherent risk of
invisibility. In a later declaration, he re-
counted that he always considered that
the interventions reduced scale and the
possibility of its appropriation by the
-
ciency, but that this was not a particular
concern103. In an interview held during
the research process of Arte-veculo,
Meireles upheld his theory precisely in
the confrontation of paradigms:
[] hence, what I liked
were the dynamics whereby an
individual, in the solitude of his
individuality, is somehow able to
affect a macrostructure. Think-
ing of this was a great pleasure,
but I had no hope of being able
to revert this, and thus verify
the efficiency of my action as an
artist. The fact that the inser -
tions disappeared may not be
the only proof of its pertinence,
proof. The work is informed by
the Teoria do no-objeto [Theo-
ry of the non-object, by Ferreira
Gullar], which I consider an ex-
ceptional text, but there is no
particular work that can success-
fully illustrate this theory. The
series Bichos [Creatures, by L ygia
Clark] does not break free from
the object. Surely the Inseres
something that was grounded in
orality, something that was viral
in nature, which would ride on
some pre-existing thing. 104
103
Cf. RIVITTI,Thais, op. cit., p. 76.
104
Interview granted to Ana Maria Maia.
 253

critical sociability. Despite the absolute photocopying, the use of stamps and
lack of understanding or even the neu- of the fax machine, etc.), Bruscky and
tralization that ensued, engendered by
part of the system that embraced and Bruscky & Santiago (or the Bruscky &
controled it, the existence of the work Santiago Team) started in 1974 to pub-
continues to be associated with the neg-
ativity, the possibility of disrupting the city of Recife, where they both lived, and
orders of magnitude and affecting people also in other cities around Brazil. Based
rather than institutions, acting micropo- on the experiences of the Dada move-
litically, even if it is over only a single one. ment and having Cildo Meireles as the
leading proponent of that kind of prac-
tice in Brazil, the duo coined the terms
T o d a y , a r t is this
hence proposing a new category of work.
announcement Unlike the attempts to empirically verify
the circuits of the Inseres em jornais
If it is not characterized by a material [Insertions in newspapers], (1970), what
work or by an effective project of social motivated Bruscky and Santiagos pub-
transformation, art continued to be de- lications was their mutual interest for
fended by this generation of artists as avant-garde poetry, for the Poema/pro-
information, counter-information. One cesso [Process/poem] movement107 and,
of the main exponents, along with Daniel
Santiago, of the Brazilian adhesion to In addition, it is important to mention
the international (or without nationali-
ty) network of mail art, Paulo Bruscky public spaces of Recife. Throughout all
wrote a text in 1976105 with a historical
contextualization and a number of argu-
ments that underpin the importance of orintermedia, which began to be used around the
this practice of artistic guerrilla against world at the time, the term multimeios or multimedia
the dictatorships repression and the was frequently used by Walter Zanini in the texts and
writings he produced between 1970 and 1980, when he
directed the Museu de Arte Contempornea of the
the text with the statement: Today, art Universidade de So Paulo (MAC-USP, 1967-1978) and
is this announcement, which turned curated the 16th and the 17th editions of the Bienal de
into a stamp and proliferated onto other So Paulo (1981 and 1983). In the introduction of the
mail art works, but mainly consolidated catalogue to the1981 edition, he defined multimeios
itself as a fundamental concept for all as creativity that configurates the systems of expres-
sion and communication by way of new media and
his work. If art is an announcement, it also the artistic production that employs the means of
is worth examining where, how and to communication and intermedia processes (e.g., art
whom it can be aimed at. made with video, laser, computer, artists books, pho-
In parallel to the mail art production tography, by carrying out performances, etc. (Cf.
ZANINI, Walter. Introduction. IN: XVI Bienal de So
and the investigation of the language of Paulo General Catalogue. So Paulo: Fundao Bi-
the multimedia art 106
(which included enal de So Paulo, 1981, p. 23).
107
In the end of the 1960s in Pernambuco, the Poema/
processo movement included names like the artist
105
The artist has produced a few re-editions of the Paulo Bruscky and the writers ArnaldoTobias, Alberto
text.The last one, from 2005, can be found at the Festi- Cunha Melo, Ivan Maurcio and Jobson Figueiredo. (Cf.
val de Artes 2005 website. Available at: <http://goo.gl/ BRUSCKY, Paulo. Arte e multimeios. Recife: Zolu,
QUhXgI> Accessed: 25/5/2015. 2010, p. 94.)
106
Based on the translation of multimedia
 254

of their years of partnership, from 1970 Ultimately the colouring clouds

to 1992, the artists practiced happen- experiment was not carried out, but,
ings and interventions that occupied the according to Paulo Bruscky, the work
streets and mobilized friends and pass-
ers-by, as is the case of Expocorpoponte documenting the idea. If I publish the
(1972), the First International Outdoor/ ad, the work is done.109 In this way, the
Artdoor Art Exhibition (1981) and Poesia artist clearly established the association
Viva [Living Poetry] (1993)108. The ef- between the works existence and its tex-
forts to foment and challenge the public tual formulation and public repercussion.
sphere can undoubtedly be associated Submitted to a public that searched for
to the actions carried out in mass media all things in newspapers, including jobs
platforms. The newspaper, with its print- and anything else in the 1970s which
run and mass circulation, was the city ceased to exist after the Internet , the
too. ad granted ideas, utopias and taboos a
- social place. In a similar line to that ex-
plored by Lucy Lippard in her proposal
of the convergence between text, form and to organize exhibitions solely using in-
reception. Bruscky drew, photographed structions from North American artists,
and already displayed clear signs of be-
ing an avid researcher of conceptual art art category in itself, which, performed in
and of imaging technology. Santiago was
a painter and a printmaker, and also had prospective functions. Laid out side by
some experience in the graphic arts, hav- side with other ads or even news pieces,
ing worked for advertising agencies and the artists interventions actually caused
newsrooms. Ones energy and the power a disconcerting effect on parameters of
of putting ideas into operation added to reality, truth and that which is possible.
the imagination and the gregarious na- Between 1974 and 1977, the classi-
ture of the other; ones interest in science
allied to the others enjoyment of litera- to the board of directors of the main
ture and performance. newspapers of the city, and ads were
published by a number of artists includ-
a team in the Dirio de Pernambuco news- ing the poets Jomard Muniz de Britto
paper, entitled Arteaeronimbo, where and Wilson Arajo. Bruscky and Santi-
they intended to execute a random com- ago continued to work intensively. The
position of coloured clouds in Recifes work Eu como poesia nhoc nhoc nhoc [I
sky. More than a metaphor, it was an in- eat poetry chomp chomp chomp], (1977),
vention that the team spent years trying which reveals the humour generally
to materialize, to no avail, mainly due to employed by Santiago in his writings,
was made during this phase. I used the
of an airplane. Undeterred by the lack money for the months bills to publish
the ad. So I joked that I ate poetry. But
continued to search for investors through there was also a double meaning about
ads in other newspapers, such as Rio de
Janeiros Jornal do Brasil (1977), and
New Yorks Village Voice (1982). 109
Interview granted to Ana Maria Maia at the
Campinas unit of the Social Service of Commerce (lo-
cally known as SESC), on 23rd May 2015, during his
108
Cf. Ibid., pp. 96-97. participation in the Programa Performance event.

being poetry, me in the role of or func-
tioning as [something like] poetry110. The
ambiguity was the form itself nothing
like the scheme of 20 or 30 sonnets to be
recited,111 he recounts, underlining the
attitude of confrontation with the citys
academic (Parnassian) poetry scene.
Other experiments were performed
in Poesia paga [Paid poetry], Poesia de
repetio [Repetition poetry] and AAAA!
BABA! CACA! TATA, all published by
Paulo Bruscky that same year, testing
the limits of the mediums communi-
cational objectivity. The catalyst for the
18th July 1977, was the A gente vive
sorrindo, mas paga caro [We are always
smiling, but the price is high] ad, which
was sent to the periodical but censored
right away. The paper had a conservative
dubious language. Besides, Bruscky
and Santiago had fallen under the police
radar after having been arrested due to
the Mail Art Exhibition, which they had
postal service.
The ban was announced in national
media channels, such as the July 27th 112 Cf. Desclassificados, Veja magazine, 27th July
issue of the Veja magazine, in the arti- 1977,
113
p. 122. (Unsigned).
an anecdote, and referring to a curious
promotion that cost only 1.076 cruzeiros
paid out in the course of three Sundays,
the text mentioned some of the bizarre
messages written by the artists: Mqui-
machine], Uma vtima do bombardeio de
110
The double meaning derives from the fact that the
word como in Portuguese is both an inflexion of the
verb comer, or to eat, and the preposition as
in this case, in the sense of to be or to act or function
as (something).
111
In interview granted to Ana Maria Maia at Sesc
Sorocaba, on 22nd April 2015, during the public pro-
grams promoted by the Arte-veculo archive, as part of
theTrienal de Sorocaba, curated by Josu Mattos.
255
informao [A victim of the bombardment
of information], Ex-intelectual, especial-
ista em brincadeiras de salo e terrao
and terrace games], amongst others. After
giving examples, the article reproduced a
statement where Bruscky claimed that
the movement existed to break into the
literary pages circle and offer a new type
of option for middle-class readers.112
The episode did not bring the activity
halt, both that of its individual members
and of its collaborators, who, working
together since the 1970s to this day113,
have placed more than seventy clas-
114
. Ousted from the Dirio
de Pernambuco, Bruscky and Santia-
go migrated to the Jornal do Comrcio
newspaper, where they had friends who
worked as journalists such as Alber-
to Cunha Melo, Marco Polo and Celso
Marconi, co-author of the Tropicalist
Manifesto. In 1978, they announced an
open call through the mail art network
for Brazilian and foreign artists to submit
During the research for Arte-veculo, Bruscky con-
tinued publishing ads. In response to the news that the
Deputy Eduardo Cunha had proposed the construction
of a shopping centre next door to the National
Congress in Braslia, the artist created the following
ad: Motel procuro scios empresrios para colocar
um motel dentro do shopping center da cmara [Motel
I am seeking partner entrepreneurs to erect a motel
inside the shopping centre of the Chamber of Depu-
ties]. In the case of this ad there is an extra connotation,
seeing that a motel in Brazil can refer to both accom-
modation, in the sense of a hotel, or to a motel-type of
place where people go to have sex). On the same day,
he also published: Livro de artista classificado pegue
essa pgina, utilize esse anncio como capa, recorte 20
pedaos do tamanho dela e monte seu livro [Classified
artist book take this page, use this ad as a front cover,
cut out 20 pieces in the same size as the ad and assem-
ble your book].
114
The majority of the ads has been catalogued by
Paulo Bruscky and can be found in his personal ar-
chive, in his studio in Recife.
 256

proposals for a magazine named Revista
, which was independent-
ly edited that same year, with only one
offset copy, and distributed amongst
the participants and to a few research
archives. The initiative reconnected the
from other locations, but inscribed it
within a circuit that was restricted to
specialists and other individuals inter-
ested in the subject.
- The shortage of responses to this type
ities of social communication that were
Does it interest anyone that, late into a
wet, showery night I watched the thick
drops of rain through the kitchen window,
and that propped against the window
there was a cutting board, a whetstone
and a planter, and that I was cold, stand-
ing in my underwear and barefoot. The
image of solitude narrated in such detail
led the artist to declare that for him,
Among the array of unanswered ads,
the (1977), for
example, engendered the handwritten
letter by Armando de Castro Carvalho,
from Joo Pessoa. Arteaeronimbo, in the
versions of the O Povo newspaper from
1982 and of the Village Voice from 1986,
captured the interest, respectively, of the
art critic Dodora Guimares and of the
journalist Howard Smith, to collaborate
with the project.
of artistic formulation, in Cildo Meireles
opinion, was due to the an aesthetic
bewilderment caused by the texts, even
before a political or ethical bewilderment
could set in.116 For the standards of re-
pression of the time, it can be said that
there was enough freedom to experiment
with genres, banking to a large extent
on the lack of comprehension from great
part of the public and from the very me-
diums that disseminated the proposals.
Bruscky claims that the staff members

of sharing with someone, to talk about newspapers didnt know what they were
something intimate or about an individ- about. They read them and did not under-
ual viewpoint. Im not sure if it could bestand them. If they had understood, they
seen as exhibitionism, but I feel that I am
would not have accepted or published
always trying to communicate. 115 them. We made use of this loophole.117
Placed within a grid of numerous ad- The artist went back to using the
vertisers, reduced to the scale of a single
same loophole between 1978 and 1979,
individual immersed in a large crowd, the when he carried out the R(U)dio Arte
public expression of the artist is marked Show, as part of the Art Festival of the
by a paradox. If it exhibits itself, it must
Universidade Catlica de Pernambu-
therefore make use of a controlled condi- co (Unicap). The project consisted of a
tion of anonymity, and of a context that proposal to the public to experience a
creation process in sound art, which was
Followed by a postal code (Paulo 850, emitted by the loudspeakers in the uni-
versitys courtyard during the duration
displayed begins to designate the recipi-
ent of a message that has been projected produced by the students and that was
to the unknown, indicative of a possible submitted by the collaborators of the in-
conversation, although for the most part ternational mail art network was edited
it does not actually become operative.

116
Idem.
115 117
In interview granted to Ana Maria Maia. Idem
 257

into a shorter version of approximately exhibition. That same year, the artist
three minutes. At 10:30 a.m. on Satur- had participated of Information, a show
days, this cassette tape synthesis was held at MoMA, in New York, with a text120
aired on the program broadcasted by that refuted a national identity for his

of Rdio Clube, a highly popular station art was posed, anonymously printed in
of the Dirios Associados. According to the bottles, with no answers granted, the

stereotyped, presenting a bit of every- or at least elicit a suspicion of spaces of

thing. Whenever he introduced me, he -
would give a hoot of laughter and an- ums and galleries.
nounce: we are here with Paulo Bruscky, -
with the stuff nobody understands. And cation and appropriation of circuits (be
he laughed. But all taxi drivers listened them urban, industrial, monetary, me-
diatic, etc.) by artists of this generation
and this was precisely the public I want- were innumerable. Among them, those
ed to reach.118 employed by Antonio Manuel stood out
Besides Paulo Brusckys works, the in the way they extrapolated the urge to
R(U)dio Arte Show also exibited119 pro- simply occupy these spaces, and began
posals by artists such as Daniel Santiago, to be created inside them. The artists
Leonardo Duch, Roberto Sandoval, Luiz working process became a negotiation
Guardia Neto (Brazil), Robin Crozier with the staff of the domain it occupies,
in this case major newspapers of Rio de
Rod Summers and Ulisses Carrin Janeiro. I made works which had their
(Netherlands). Alternatively, the pro- meaning marked by the great danger of
grams could be accessed in the form of -
cassette tapes made available for free
listening at Disco 7, a music store on 7 within the corporate or political system
de Setembro Street, in downtown Recife, itself. It got to a point when I could only
and which was very popular with the cit- leave the workplace if I showed everything
ies cultural scene. I had done during the day,121 explains
Manuel, referring to the works entitled
Flans (1968-1975), as well as the series
What is the
120
In the text Cruzeiro do Sul, Cildo Meireles states
place of art? he was not participating in Information to defend a
career or a nationality. He was there to speak of a re-
What is the place for art? The gion that is not part of the official maps, and which is
called, for example, CRUZEIRO DO SUL. (Cf. MEIRE-
Inseres em circuitos ideolgicos Projeto LES, Cildo. Cruzeiro do Sul. In BRITTO, Ronaldo;
VENNCIO FILHO, Paulo. O moderno e o contem-
Coca-Cola had geopolitical connotations porneo [o novo e o outro novo]. Rio de Janeiro:
Funarte, 1980, p. 28). In addition to Cildo, roughly 100
artists from many parts of the world participated in the
exhibition. Amongst those born or residing in Brazil
were Artur Barrio, Guilherme Vaz and Helio Oiticica,
118
Idem. besides Cildo.
119
Cf. Artistas postais vo ao ar hoje pela Rdio 121 In interview granted to Ana Maria Maia, which took
Clube. Article published in the Dirio de Pernambuco place in his studio, in the neighbourhood of Laranjeiras,
newspaper on 2nd June 1978. Rio de Janeiro, on 27th and 31st March 2015.
 258

Clandestinas [Clandestines] and the Chupava sangue dando gargalhadas

work Exposio de 0 s 24h [Sucked blood and roared with laughter],
from 0:00 a.m. to 12:00 a.m.] (1973). next to a photograph of Lygia Pape wear-
ing vampire fangs. The horror narrative,
Flans, drawings produced on top of in the tone of a novella, was intentionally
printing matrixes, the artist gradual- composed in a way so as to get mixed
up with the papers headlines, such as
newsroom of the O Dia newspaper, one Noivos assassinados [Bride and groom
of the most widely read papers in Rio de murdered] and Pistoleira morena [Bru-
Janeiro during that decade. He was ac- nette woman shooter], in sensationalist
fashion and of strong popular appeal123
deputy Chagas Freitas, and informally as was characteristic of the periodical.
obtained a pass to spend time in the The artist claims that, in tampering
newsroom, and more importantly, in the with the papers information, he aimed to
newspapers printing facilities. He had create duplicity, a fallacy that was dif-
124
The
fallacy gained veracity when the artist,
Design) for a few years and was curious in the manner of previous experiences
about the large-scale layout development by Yves Klein, in the 1960s125, printed a
and printing processes. As an artist in small print run of the altered cover pag-
the early stages of his career, he was also es, reincorporated them in to the body of
interested in the way that the paper had the newspaper and took them to news-
a power of communication with a public stands, to be sold as though they were
that was wide-ranging and unrestrict- -
ed,122 naturally a wider and more diverse ing about the alteration in its content.
than that of art exhibitions. With this parallel distribution126, the
The free-pass allowed him to pro- cycle of the work completed itself, which
duce the Clandestina series, which
proposed the creation and distribution of 123
an alternative version of the front page of The historian Marialva Barbosa defined the editori-
al line of the O Dia newspaper as a journalism of
the newspaper, with image and text inter- sensations (or yellow journalism). By adopting this
ferences made by the artist. Resulting in type of language, the newspapers founder, Chagas
a total of ten, the Clandestina displayed Freitas, ensured the popularity of the medium and its
- effectiveness in the maintenance of a political plat-
tones, or else were dedicated to making form for his campaigns for deputy and later, for
the work of contemporary artists such governor of the State of Rio de Janeiro. (Cf.
BARBOSA, op. cit., 2007, p. 213.)
124
In interview granted to Ana Maria Maia.
125
On 27th November 1960, Yves Klein published a
The artist also inserted sections of his photograph of his The leap into the void under the
own works and would make analogies headline Theatre du Vide (Theatre of Life), in the
Dimanche, a supplement of the France Soir newspaper,
between his insertions and the original in the place of its original contents. He and a number of
texts and images, so as to confuse the friends distributed the modified newspaper in kiosks
reader about what was in fact the news and news stands in Paris. (Cf. FLORIDO, Marisa. Ns,
item and what had been added. On June o outro, o distante. Rio de Janeiro: Editora Circuito,
7th, the artist inserted the headline 2015, p. 198.)
126
The artist reenacted this distribution process for
the film entitled Annimo e incomum (Anonymous and
Uncommon, 1990), by Rogrio Sganzerla. The on-line
122
Idem. version is available at: <https://goo.gl/x3P6SD> Ac-
 259

the artist claims was conceived with the loopholes in the hegemonic discourses.
aim of reacting to the political system, It was only when the manipulated cover
to the aesthetic system, taking the works pages returned to the art circuit, where
they became proof of their mundane
institutions, mainly sponsored by the and anonymous trajectory, that they
government (and thus offering no oppo- were given a handwritten signature from
sition to the current regime). He did so by the artist, set next to the credits for the
riding on the back of the newspaper, and newspapers founder, who was complete-
somehow twisting its real content.127 ly oblivious to the initiative. This way, in
The strategy that Manuel associated with Manuels perspective, the two became
everyday guerrilla handbooks, which co-authors of a public narrative.
- The regimes of visibility and the con-
ditions of appearance in the social sphere
128
, and guide other works by the artist, from the
which allowed him to conceive a work Urnas quentes [Hot ballot boxes], (1968),
on the fringes of the real, over which he hermetically sealed boxes with undis-
interfered concretely, albeit on a scale
that was prototypical in relation to the in the event named Apocalipopotase,
scope of mass media. Clandestinas in held at the Aterro do Flamengo, Rio de
the same way as Inseres em jornais Janeiro. In the installation Fantasma
and Inseres em circuitos ideolgicos [Ghost], (1994), the artist appropriated
- himself of a photograph published in the
tween art and the world could be an Jornal do Brasil newspaper, soon after
apposite place for the artists activity. By the Vigrio Geral massacre. In the image,
a witness covers his face with a bed sheet
the information networks to the point of while granting an interview to the press.
disappearance or, at least, loss of control, Bringing him into an installation made
could possibly be a strategy for his work. with suspended charcoal pieces, Manuel
The same Manuel who, in 1970, af- declares he wants to speak of the in-
ter appearing naked in the Salo de Arte voluntary identity loss of that ghost,
Moderna, which was held at MAM-RJ, trapped in a cosmogony where there is
for the performance O corpo a obra [The poetry, but also shock, productive en-
body is the work], inspired the saying by ergy, and also the risk of being smeared
Mrio Pedrosa on art as an experimental with a porous, black matter.129
exercise of freedom, also experienced a In a text about the Clandestina series,
degree of clandestinity to investigate
wavers between synchronizing himself
with the world and representing the act
cessed: 25/5/2015.
127
for himself, and, in the same gesture,
In interview granted to Ana Maria Maia. projecting himself as a linguistic sign.
128
In interview granted to Ana Maria Maia, Antonio
Manuel recounts: I remember, sometime in the 1960s, For him, Antonio Manuel had turned
Nelson Motta and I received a small book, which had
been sent from London, on ways to subvert the sys- to manipulate simulacrums, models of
tems. It was a lawbreaking, transgressive thing, against social integration. He remained inside
the political system in England. It taught how to pro- and outside the system, in the industry
duce telephone tokens, or how to forge a bus ticket.
This manual assembled everything that was against
the system and the status quo, tactics for a daily
129
guerrilla. Interview granted to Ana Maria Maia.
 260
(the newspaper and the cultural indus-
try) and in nature, here understood as
the universe of creation. In this interim,
he was able to promote collective expe-
riences of dissent, and to belong to the
common sphere in alternated acts of par-
Soon after the O corpo a obra130 pro-
posal was turned down by the jury of the
Salo de Arte Moderna, who claimed that
that category of work (a naked body, the
artist himself, a living man) was not in
keeping with the contests criteria, Manuel
met with other artists, and together they
headed to Mrio Pedrosas house. There
they recorded a statement where the art
critic supported the initiative and the way
that, in the action itself, life transcended
the traditional conception of a work of
art. According to Pedrosa, this was an
example of activity-creativity, which
uproots man from his daily routine and
presents him with a new dimension. The
art critic went on, advising the group:
the activity-creativity is a fun-
damental chapter of the world
today of refusal of the society
of mass consumerism one of
massification of mass culture.
[] Take care of the world. Cre-
ate the world of the future. [] All
negativity is creative. It breaks
all taboos, leads to the end of all
taboos, and leads to ruptures of
all sorts, in the ethical sphere, in
the sexual, moral sphere in the
creative sphere. 131
The episode, which happened in
1970, granted Antonio Manuel greater
130
The Brazilian cartoonist Jaguar published two car-
icatures of Antonio Manuel performing O corpo a
obra: one in the edition of May 27th of the ltima Hora
newspaper, and the other in the alternative periodical
O Pasquim, on 28th May, 1970.
131
Cf. PEDROSA in O Jornal, 1973, p. 2.
contact with Pedrosa, as well as a degree
of mistrust from the museums staff,
which, three years later, in July 1973,
cancelled the artists solo exhibition. In
fear that something similar to the O corpo
a obra would take place again, the in-
stitution banned all projects presented
by the artist, starting with a happening
with a live goat in the foyer of the mu-
seum. It was, in fact, an allusion to
the word body (seeing that the word
goat in Portuguese is bode, which is
pronounced in a similar way to body
Manuel in that space. Still guided by the
art critics ideas, which stipulated that
cultural revolution was the only alterna-
tive to the alienation of mass culture, the
artist approached Washington Novaes,
editor of the O Jornal newspaper, and
told him about the idea for Exposio de
Antonio Manuel: das 0:00 s 24 horas
[Antonio Manuels exhibition: from 0
a.m. to 12 p.m.], an eight-paged pull-out
publication presenting all the proposals
rejected by MAM, in addition to the tran-
scription of the conversation with Mrio
In retaliation to the recent resignation
of Reynaldo Jardim, the editor accepted
the idea and published it on 15th July.
With a print run of sixty thousand cop-
ies, the exhibition broke the conventions
about art exhibition spaces, having cir-
culated as an editorial piece that was
sold out in a single day. A small text in
the artists position: the space of the
Museu de Arte Moderna (MAM), of art
galleries/has become small in/relation
to the/mass media.
The activities in the O Dia newspaper
continued in parallel to this experience
in the O Jornal. After the Clandestinas
and the Exposio de Antonio Manuel:
das 0:00 s 24 horas, the kept on
being produced until 1975, when Chagas
Freitas ran into Manuel by chance in the
 261

t h e pur s u i t
printing plant, with many of the news- of the place
papers employees helping him to print
197185
The owner of the newspaper did not know
him and, when he learnt of his routine in
the plant for the last two years (informal-
ly authorized by his son), he suspended
all the activity. In the name ,
of r e d e m o -
Thus ended the history of mediatic
interventions by Antonio Manuel. From
that point on, the references he made
to the universe of social communication
went back to a metaphoric condition cratization
a n o t h e r
and, in some cases, were taken to the
urban landscape. In Frutos do espao
[Fruits of the space] (1980), set up in the
gardens of the Catacumba da Lagoa Park
in Rio de Janeiro, orthogonal iron sculp-
tures formed a graphical grid of columns.
place :
The narrative and visibility structures
were set forth by the work, but history
remained open.
to vanish
from the
coverage of
arts and
c u l t u r e
and re-emerge
as a
social fact
Antonio Manuel carved out his clan-
destine space in the O Dia newspapers
printing plant to experiment the power
of deviation of his artistic proposals on
 262

Coutinho ran the opposite course: after on the microcosm.133 The routine of be-
two years working for the Jornal do Brasil ing a journalist, which lasted nine years,
newspaper and a few frustrated attempts was an important laboratory for the de-
velopment of Coutinhos conversation
1975 he was hired by Rede Globo, one cinema, which was clearly divergent
of the largest media conglomerates in the
world, to work on the weekly documenta- language and style adopted by the net-
ry show Globo Reprter, and thus found work.
a niche in the network132 to develop his In an episode about the drought in
own language in documentaries. the Brazilian Northeast, produced in
The program was the only one that
sent to the towns of Ouricuri, in the state
and not video cameras. This ended up of Pernambuco, and Irec, in the state of
giving the crew greater autonomy, as the Bahia, two of the sites that were most af-
sluggishness of the production processes fected by the climate phenomenon. Upon
ultimately hindered internal censorship. arriving in Ouricuri, he decided to con-
Taking advantage of this autonomy and tinue the research and gave up visiting
of the innovatory direct sound captur- the other town. There, he made:

afforded greater mobility , he investi- [] a take of three-minutes and

gated the reportage genre to the point of ten-seconds where a suffering indi-
making something simple and uncom- vidual spoke of the various species of
plicated blow up. The possibility, as he roots that he had been forced to eat
recounts in a report produced in 1992, during the many droughts he had lived
of looking and hearing people, in gener- through. He talked and exhibited the
al poor people from rural areas or from roots. The program, and this particu-
the city the social and cultural other. lar take, were aired in their full extent,
Of trying to understand the country, its having been duly approved by an ex-
people, its history, life and myself, but ternal censorship board. Today, this
would be impossible, mainly due to
form rather that content itself. A single
take lasting longer than three minutes,
132 how could that even be? As stated in
In O olhar no documentrio: Carta-depoimento
para Paulo Paranagu, an account given by Eduardo
Globos instructions handbook: Be
Coutinho in 1992 for the Festival du Rel catalogue, the
suspicious of anyone speaking for
filmmaker recounts that at the end of 1970s, the entire
more than thirty seconds. In journal-
production team ofTV Globo, including the journalistic
ism, the average take is three or four
team, was made on magnetic film; the Globo Reprter
seconds long; in the case of camera
was the only exception.We worked with reversible film,
that is, without a workprint, which is subject to getting
movement, it could last seven or eight
dirty or being scratched when using the moviola. This
seconds; lines of speech dont exceed
increased the distance between the product that was
thirty seconds, in daily newscasts, and
technically clean and represented the Globo quality
no more than one minute, in longer
standard, and the Globo Reprter. In summary, at that
reportages. These are unwritten rules,
time, and despite the dictatorship, our nucleus consti-
tuted a particular niche in the network, where we were
of course. They have become a general
allowed to work with more autonomy, at a slower pace,
and in ways that were more open to controversy and to
a relative degree of experimentation. (Cf.
BRAGANCA, Felipe. Srie Encontros: Eduardo 133 Cf. COUTINHO, Eduardo in BRAGANCA, Felipe.
Coutinho. Rio de Janeiro: Beco do Azougue, 2008, p. 15). op. cit., p. 15.
 263

consensus among professionals in the

industry. 134 It is neither
In the second half of the 1970s, pros- journalism nor
pects of the countrys political opening
began to emerge. Journalists, artists and c i ne ma , it is life
intellectuals began to articulate them-
selves to reoccupy a public sphere that -
had been crushed by years of repression.
To be on television and in the most pop- Glauber Rocha telephoned me to say:
ular newspapers was an opportunity to Fernando, television will be the great
put into effect a mass communication guardian of democracy.135 Such state-
scheme, to present the reality and the ment was voiced by Fernando Barbosa
countrys problems in a straightforward, Lima, the television director responsible,
open way. The aim was no longer to amongst other feats, for broadcasting, in
produce bewilderment and episodes of February 1979, the Programa Abertura
slight, momentary suspension of an or-
der, as had been pursued by the previous in South America, TV Tupi. The program
generation. Now the duty was to collec- mobilized countless collaborators of what
tively build a new order, and for such, press historians call the televisual meta-
to face the social differences and the re- language of democratic opening136. The
pression that led many of the countrys
media platforms and public interlocutors about the show and its materialization
to adopt gestures of self-censorship, in a denotes the common experience of a
type of consent of disallowance.
The television and the streets became throughout the 1960s, followed by the
work fronts, possibly for contrasting rea- dismissal of professionals with a critical
sons. The move to television represented and innovative spirit from the news-
the search for visibility and the attempt to
rooms, due to the AI-5 in 1968.
revert the stigma of a platform that had Barbosa Lima was one of the authors
been co-opted by the regime. The diver- responsible for supplanting a radio-
phonic language that was still in use in
and the practice of urban intervention, -
which at that point was still unheard of tributing to the development of a new
in the country, represented challenges to television genre in Brazil. Together with
the systems of visibility and attempts of
displacement of what can be understood worked in the program Preto no Branco
as an agenda and indicator of news relat- (1960), broadcasted by the TV Rio net-
ing to culture. The artists formulations work, he innovated in the set designs
began to be added to a diversity of mat- and employed camera close-ups to better
ters and discourses, and, in some cases, capture the interviewees expressions.
strategically placed in sections covered Later on, in 1963, when working at TV
by different specialty areas, such as, for
example, the sections focused on cities 135
or urban life. Cf. LIMA, Fernando Barbosa in RIBEIRO, Ana
Paula Goulart; SACRAMENTO, Igor; ROXO, Marco.
Histria da televiso no Brasil: do incio aos dias de hoje.
So Paulo: Editora Contexto, 2010, p. 141.
134 136
Cf. Idem, p. 18. Cf. Idem, p. 143.
 264
news show Jornal de Vanguarda, which
received an international prize for the
originality in its approach, and was cited
as a reference by the philosopher of com-
munication theory Marshall McLuhan
in his classes. Afterwards the newscast
was aired by TV Tupi, where it eventually
came to an end when censored by the
dictatorial government.
The same professional history that
had led Barbosa Lima to be placed on
the list of subversive people by the hard-
line division of the regime also made
him the most likely candidate to lead a
new undertaking in the early years of
the transition to an open political sys-
tem. The President Joo Figueiredo and
formed commissions and created mech-
anisms to foster the democratic process
and, amongst other initiatives, decided
to invest in the creation of a television
program that covered a variety of themes
Barbosa Lima was invited to jointly devel-
op a pilot for Abertura with TV Tupi and
the production company Teletape, owned
- time, actively live, or simply receive, as
port from the Caderneta de Poupana,
an agency of the Brazilian federal savings
Aired every Sunday, the program had
approximately sixty editions, until July
1980, when the network was shut down.
It had a relatively low budget, which was
inversely proportional to the high level of
human capital it retained. In a brief and
fragmented narrative, composed of stu-
dio scenes, externally shot segments and
small interventions, the show brought to-
gether great names such as Walter Clark,
Antonio Callado, Fausto Wolff, Fernando
Sabino, Ziraldo, Roberto DAvila, Vivi Na-
buco, Sargentelli, Oliveira Bastos, Norma
Bengell and Glauber Rocha. Among the
guests were individuals who had been
of Lus Carlos Prestes, Leonel Brizola,
Darcy Ribeiro, Miguel Arraes, Tancredo
Neves, Caetano Veloso, and even children
of political exiles, who Roberto DAvila
had met in Paris137.
to Abertura employed a dramatic
soundtrack and the audio of photograph-
Brazilian presidents sworn in through-
out the years, up to the one currently
only one in the group with a smiling de-
meanour. The narrative gradually began
growing lighter and less formal, as imag-
es of politicians, artists and intellectuals
deemed as left-wingers began to be dis-
played. The video evoked in the viewer a
feeling of awakening from a nightmare,
one of the surrealist painting The false
mirror
title and the artworks composition were
metaphors for a dual gesture of engage-
ment and mistrust. Incorporated in the
white part of a great eye, the image of a
sky represented a fragment of freedom
that the observer could, at the same
a partial, encapsulated representation of
the world.
The programs main host was Luiz
of the historical radio and television news
program Reprter Esso, a version of the
North American Your Esso Reporter of
the 1930s, was back in Brazil after years
of self- exile in New York. His image re-
inforced the spirit of renewal. Slogans
intonated messages that ranged from
Abertura: a free Brazilian television
channel to here everyone can speak
their minds, rather than the govern-
ments. A free Brazil for free Brazilians.
137
Cf. Idem, p. 144.
 265

In the edition of 1st April 1979, Jato- and also that of television, as,
b read the following editorial opinion respectively in the descriptions
off-camera: that follow. The first account was
given by Heloisa Castellar: The
Economic development cannot multitudes The multitudes are
flourish without cultural develop- inherently good, you know? They
ment. Television will be elected in our are a I dont know, they are
history as the great platform to elevate so Its a certain pureness and
the cultural level of the Brazilian peo- you feel this immediately when
ple as rapidly as possible. A television you are in contact with them like
that is conscious of its role of giving this. Because of something that
the people a bit of what they like, and youre doing, right?
a great deal of what they need. An
open television produced with every- The second description was
ones participation []. Mr. President, provided by [TV Globo actor]
a cultural opening is as important as Lima Duarte: Because you say
a political opening. May television to the spectator: I am here in
become a powerful instrument of eco- Switzerland and he believes it.
nomic and cultural liberation. Cultural In theatre, right? So in television
opening: a new channel in each TV set. 138 we did the same thing. You hang a
drop cloth and say: How it rains
With this line of reasoning, the pro- in Norway! and he believes it!
gram explored themes that supposedly
were not at issue, such as the countrys The news editors of Abertura held
- television responsible for the public it
sion of the people, whose low education reached. In being a mass media vehicle,
levels sanctioned (and still sanctions) the it ought to be engaged with proposals
systemic social subordination present that addressed themes such as educa-
everywhere. This stigma was a legacy tion and empowerment of the masses,
that is to say, the empowerment of the
to theatre, envisioned a passive cordiality population. Both the medium and the
from its popular audience, which com- intellectuals and artists which, in that
mercial television reinforced. As describe particular position, were endowed with
Roxo, Ribeiro e Sacramento, visibility to avail themselves of the role of
public interlocutors were summoned
They are the the multitudes, to undertake the cultural opening
at times characterized by their project. One which, from this particular
standpoint, did not only entail a unilateral
intellectual or cultural, other dissemination of erudite knowledge, but
times portrayed as nave. This above all the articulation of this knowledge
can be perceived in accounts with a popular repertoire, with the cultural
about the public of radio drama industry and with the reality experienced
in the streets of the country.
Among the collaborators of Abertura,
138
Cf. ABERTURA. Director: Fernando Barbosa
Lima. Rio de Janeiro: TV Tupi, 1st April 1979, Program that point was already renowned for
N 11, 60 minutes, pal-m, U-MATIC. (Cinemateca being the founder and main producer
Brasileira Collection CB-0093). of Cinema Novo, besides having worked
 266

Jornal da Bahia to solitude, its the artist.141 The short

newspaper in the 1950s, was the one sentence was included as a fragment in
who took up the challenge head-on. As the Aberturas script, and, without any
he positioned himself within the frame contextualization about what it actually
at all times, articulated his words in a meant, it ultimately denoted Glaubers

common sphere.
the camera follow his movements, and In six months of collaboration,
with an informal attitude, prompting the Glauber made a few episodes on his own,
interviewees to act in the same way, the where he basically promoted himself
director claimed he was making an epic (this is just like election propaganda!) or
show. -
In Glaubers opinion, only masters of dustry (the cinema is a national shame)
ceremony needed a script. He, in turn,
worked on the streets, under natural -
light, where anyone could become a cine. In the most outstanding episodes of
central character. Would this be jour- his brief passage through the show, how-
ever, he invited different interviewees,
Glauber answered: Its neither journal- such as journalist and music producer
ism, nor cinema. Its life.139 Nelson Motta, philosopher Luiz Carlos
Glauber surpassed the limit of what -
was considered the standard with regards carenhas, the stations driver Severino,
to what and who would become news and the vendor of the (illegal and highly
(and thus what and who would not). He popular) gambling game Jogo do Bicho
instigated controversies and responded [Animal Game]142, Brizola, whose name
to them on-air, nominally. This was his was homonymous with that of the pol-
trademark, but also an attitude that per- itician Leonel Brizola, who had recently
meated the atmosphere of the program, returned from exile and was one of the
which demanded from the reporters a leaders of the PTB, or Brazilian Labour
degree of courage and a willingness to re- Party.
A dynamics of deconstruction of the
audience, and be reciprocally prodded. standard method of television interviews,
Norma Bengell, an actress and singer where the reporter limits himself to ask-
who also participated of the program140,
stated, in the edition of 22nd April 1979, them, was established with each of the
that if there is anyone who is not entitled interviewees. Instead, Glauber would
break protocol and make his presence
as the director of the scene conspicuous.
139
Cf. RIBEIRO, Ana Paula Goulart; SACRAMENTO, He issued commands such as Face the
Igor; ROXO, Marco, op. cit., p. 122. camera, speak up and reveal yourself
140
In one of her episodes, Norma Bengell appears
with black actor Antnio Pitanga in the middle of a
street in Rio de Janeiro. He is silent, and she starts
141
speaking: Pitanga says that censorship has been Idem.
142
abolished. Pitanga continues to ask: where is the Jogo do Bicho [or the animal game") is an illegal
Brazilian black man? (Cf. ABERTURA. Directed by gambling game in Brazil, similar to a federal lottery,
Fernando Barbosa Lima. Rio de Janeiro: TV Tupi, 1st but with animals instead of numbers.Though the game
April 1979, Program N 11, 60 minutes, pal-m, has been prohibited by federal law since 1946, it contin-
U-MATIC. (Cinemateca Brasileira Collection ues to be practiced on a large scale in the streets of
CB-0094). major cities.
 267

or he would act as some type of referee for the interviewees. The passing of the
between other people, as happened in microphone to Brizola symbolized his en-
the episode in which Luiz Carlos Maciel couragement for the vendor of the jogo do
read the statute of a political party that bicho to intone his own voice and represent
he wanted to found, and, at Glaubers himself, making full use of that interlo-
cution. On the other hand, in the case of
during the entire speech. The scene
caused embarrassment in the way that it speak about his specialty subject, Glaub-
displayed a relationship of servitude that ers microphone became a destabilizing
element, capable of distorting and silenc-
television critic Artur da Tvola observed ing a legitimized voice for a brief moment.
that Glauber stirred up a very interest- -
choanalysis? Who was Sigmund Freud?.
the people. While Mascarenhas answered them with
The people was represented in the
though he were giving a lecture, the direc-
an immigrant from the Brazils Northeast tor continuously repositioned him within
and the latter, a black man from the favela the frame, shading his image against the
or slums who worked odd jobs to survive. backlight and interrupting his speech with
When he interviewed Brizola, the director off-camera comments. In the last of these,
Glauber entered the frame to announce
the people?. In face of the absence of a the seven big names of television are
resolute answer, the episode represented Flvio Cavalcanti, Chico Ansio, Sargentelli,
another embarrassment for the director, as Chacrinha, Sonia Braga, Silvio Santos and
newspaper articles claimed he had humil- Nelson Rodrigues, abruptly cutting off the
iated his interviewee. Ribeiro, Sacramento interviewees explanation and leaving out
and Roxo, on the other hand, believe the any concluding remarks. The list of names
episode was deliberately designed by Glau- all of which either derived from the so-
ber to break with the cordial posture of called low culture or were responsive to
a false racial and social democracy143 in it delineated Glaubers fundamental dis-
cordance to a cultural model based solely
without patronizing or ascribing him to on erudite knowledge. In the same way
a predetermined and marginal place, the as the members of the Tropiclia move-
- ment, especially the poet, journalist and
er to the people. In the last scene of the
interview, Glauber announced that Brizola entitled Geleia Geral [General Jelly]144 for
would return to the program and said, ges- the ltima Hora145
turing with the microphone towards the
interviewee: at this moment, I am passing 144
the power to the people.The microphone Gelia Geral is an expression coined by poet
Dcio Pignatari, which was used as a title for and cited
was Glaubers main directing instru- in the lyrics to a song by Torquato Neto and Gilberto
ment. He literally manipulated it during Gil. The term refers to the state of affairs in Brazil at
the scenes, clearly revealing the projec- that moment in time, where it was, on one hand, bound
tions and challenges that he formulated up in modernizing projects, and on the other, in popular
traditions. (Cf. OLIVEIRA, Ana. Tropiclia: Rudos
Pulsativos, Gelia Geral. Available at: <http://goo.gl/
zXcvjh> Accessed: 01/08/2015)
143
Cf. RIBEIRO, Ana Paula Goulart; SACRAMENTO, 145 Torquato Netos column in the ltima Hora news-
Igor; ROXO, Marco, op. cit., p. 150. paper was published between 1971 and 1972.
 268

Oiticica who constantly made reference perceive how the message was construct-
to Chacrinha in texts such as Brasil ed, and that they could accept or refuse it
Diarreia [Diarrhoea Brazil]146 (1970), and in part or altogether.148
also participated in the panel of judges of
the latters self-titled TV show in 1967, experience in the Globo Reprter show
Glauber lost no opportunity to pay tribute echoes some of these issues about the
to the great icons of the Brazilian popular revelation of the documental apparatus.
imagination. Aspects such as a horizon- According to Coutinho, the discomfort
tality that was purposefully established generated by this type of metalinguistic
in relation to accounts from participants narrative is owed to a virulent natural-
of different social classes, as well as the ism that pervades Brazilian commercial
interest in the cultural industry and in television channels, which view report-
-
tion for an autonomous Brazilian reality, testimony of reality, rather than partially
one that was free of colonial rancidities, storytelling, permeated and biased by
viewpoints and dilemmas. The documen-
which Glauber drew upon throughout
his trajectory. By ethnographic and po- loathes nothing more than showing all
-
rethink the Greek polis based on the ing, the agonic relationships between the
society of the Tupi indigenous people of two instances installed in the opposite
Brazil. In this new society, all things, sides of the camera.149
including power and knowledge belonged The dialogical character of the
to all members of the tribe, without any Abertura captivated the public, but dis-
hierarchical ranks of command, subordi- pleased the shows advertisers. In May
nation or ownership.147 1979, the program had as much as 12
This much-desired laboratory of million spectators150, surpassing the
differences led Glauber to leave the struc- Fantstico show, broadcast by TV Globo
tures of enunciation visible at all times at the same time. The successful rates
as part of the framework of the Abertura led the rival weekly show to modern-
ize its language, but were nonetheless
the long takes without any editing;
the improvisation of the host-director; advertising agencies, which simply did
the interviewees surprised reactions; the not wish to risk linking their clients
interferences of events that happened
there and then and what happened be-
hind the scenes. This naturalization of task-force organized by a number of its
the proceedures carried out on the set collaborators151, the Abertura resisted
resulted in a metalinguistic work and al-
lowed not only the interviewees, but also
the people in the general audience to 148 Idem., pp. 152-153.
149
Cf. COUTINHO, Eduardo, op. cit., p. 19.
150
The rates were taken from the article entitled
146
This text was written in February 1970 in partner- Glauber Rocha agora estrela de TV (Glauber is
ship withTorquato Neto, who employed the term in the now a TV star), published in the Folha de S.Paulo
Gelia Geral column in the ltima Hora, published newspaper on 13th May 1979.
151
Rio de Janeiro between 1971 and 1972. In the article published by Folha, Glauber states
147
Cf. RIBEIRO, Ana Paula Goulart; SACRAMENTO, that, in terms of salaries,TVTupi paid 90% less thanTV
Igor; ROXO, Marco, op. cit., p. 151. Globo.
 269

until TV Tupi was shut down. The chan- the public call, was to print and commer-
nel had already been facing an internal cialize the prizewinning works and thus
crisis and eventually lost the concession raise funds to maintain the platforms
of its signal in July 1980. In the opinion and the national work that they have
of Barbosa Lima, the shows main legacy been developing in favour of amnesty.156
was to have planted the embryo of the The contest was therefore part of
Diretas.152 153 a political campaign embraced by the
The redemocratization process was left-wing newspapers. A nonpartisan
urgent and echoed in the media and out campaign, but which marked a clear
in the streets, giving rise to reprisals by opposition to the regime. The Abertura
the military governments political re- show certainly fomented this practice
pression forces. The year that Abertura among communication platforms, mak-
was discontinued, bombings154 of news- ing the most of the television industrys
paper stands, publishing houses and high degree of visibility and of a radical
newsrooms had become commonplace. experimentation of language, and also
Martins and De Luca report that some
newsstand vendors became so scared of collaborators. The pressure from the
as to post notices in their stands with population and from the media intensi-
information such as We dont sell the
Hora do Povo, Movimento, Pasquim and Movimento Democrtico Brasileiro (MDB,
other such newspapers.155 They referred or Brazilian Democratic Movement), for-
to newspapers and magazines that were mulated a constitutional amendment in
on the governments black lists, due to March 1983 aimed at instituting direct
their unrelenting criticism and to the presidential elections. The project was
explicit campaign that they had waged submitted to the National Congress and,
against the dictatorship from the onset. with a shortage of 22 votes, was not ap-
Back in 1978, for example, the O Pas- proved.
quim and Movimento newspapers, along The defeat, however, had the effect
with other alternative vehicles (Jornal of mobilizing a growing number of mil-
da ABI, Reprter, De Fato, Coojornal, Em itants, who began to gather in public
Tempo and Bagao) promoted the Um rallies with the participation of trade
cartaz para a anistia [A poster for am- union and political leaders, intellectuals
nesty] contest. The aim, as detailed in and artists. After publishing an editorial
in favour of democratic opening, on 27th
152 March 1983, the Folha de So Paulo
Cf. RIBEIRO, Ana Paula Goulart; SACRAMENTO,
Igor; ROXO, Marco, op. cit., p. 147.
newspaper took on a fundamental role
153 in this campaign. From thereon there
The Diretas refers to the Diretas J, or Direct
(Elections) Now campaign, a civil unrest movement were numerous texts and covers dedi-
which demanded direct presidential elections in cated to giving legitimacy and attracting
Brazil. supporters to the movement. To ward
154
In April 1981, while a show in commemoration of
Labour Day was being held at the Riocentro conven- off the boycott that was being carried
out in other platforms, such as those
tion centre, with a public of 20 thousand people, a bomb
exploded in a car where there were two army officers.
The explosion had been programmed as an attack to
disperse the crowd, but as it detonated earlier than
planned, it ended up killing one of the officers.
155
Cf. MARTINS, Ana Luiza; DE LUCA,Tania Regina. 156 Cf. Concurso um cartaz para a anistia took place
Histria da imprensa no Brasil. So Paulo: Editora Con- in the O Pasquim periodical, between 18th and 24th
texto, 2012, p. 256. May 1978.
 270

of Organizaes Globo157, the Folha ap- success of the initiative, the newspaper
pealed to all sorts of indicators and pleas. decided to extend it, issuing an open call
On 25th January 1984, it anticipated the for submissions, among which was an
illustration by Hudinilson Jnior, who,
So Paulo, with the announcement that until 1982, was part of the group 3ns3.
The format of the publications was
with joy and hope, with conviction and
patriotism. That same year, in the edito- a brief presentation text and the repro-
rial of February 12th, it appealed to the duction of the artists proposal, generally
reader by way of the use amarelo pelas in black-and-white. From the perspective
Diretas [use yellow in the name of the of a track record series of more radical
Diretas] campaign. On April 9th, the mediatic actions which, to a greater
front-page headline of the newspaper an- or lesser degree, granted the authors the
nounced: Governo pode vetar Diretas ao opportunity to rearrange the circulation
vivo pela TV [The Government can veto structures and systems of the mediums
the Diretas live on TV]. they were dealing with , the inter-
The newspapers cultural supple- ventional character of this initiative is
ment, entitled Ilustrada, whose editor at
the time was Marcos Augusto Gonalves,
articulated the project Os artistas bra- production of a single image which would
sileiros pelas Diretas [Brazilian artists be incorporated to the newspapers
for the Diretas]. It was launched in Feb- standard layout. Far from being able to
destabilize it in any way, as at that point
were invited to create an illustration on there really was no intention of eliciting
the theme of the opening of the political any type of editorial experimentalism, the
system. The original work would be ex- images produced represented different
hibited in the lounge of the newspapers attempts to symbolize the presence of the
artist158 in the public sphere of his time.
be printed in an edition of the supplement. On February 19th Rubens Gerchman
The Folha published one drawing a day, published an image of an army of peo-
by Rubens Gerchman, Ivald Granato, ple, heads aligned to the left, marching,
Mario Gruber, Darcy Penteado, Glauco
Pinto de Moraes, Claudio Tozzi, Gregrio that of a cartoonist. An arrow directed the
Gruber, Dudi Maia Rosa, Carlos Fajardo, motion of the multitude, along with the
motto Juntos pelas Diretas [Together
for the Diretas]. On February 23rd, the
Thomaz Ianelli and Marcello Nitsche, newspaper ran the work by Marcello

157
In the edition of 10th December 1983, the reportage
of the Folha de S.Paulo newspaper claimed to have
questioned Roberto Marinho and Jos Antnio do Na-
scimento Brito, chairman of the Organizaes Globo
and executive vice-chairman of the Jornal do Brasil
newspaper, respectively, about their position on the di-
rect presidential elections. Both interviewees stated
that they would rather not respond. Cf. FOLHA DE
S.PAULO, 1983.
158
The initiative was similar to that which the Ilustrs-
sima started to carry out at Folha de S.Paulo in the
2000s.The Sunday supplement invites artists, general-
ly Brazilians, to produce art works to illustrate the
texts.The presence of the images is foregrounded, es-
pecially in the cover, where they are often scaled-up.
However, what defines which images will be used is
the actual content of the articles and essays, that is,
the topics that are previously defined by the
newspaper.

Nitsche entitled Vamos colorir o Brasil
[Lets colour Brazil] perhaps the most
daring of all submissions. Making use
of the reproducible nature of newspaper
and transforming it into an interactive
piece, the artist traced a labyrinth of
- thors commitment to giving continuity to
ic element. The commands for using it
were displayed beneath the image: in X
(such as the X of your vote), you are free
to paint in the colour you desire; in O,
paint in yellow; in , paint in blue. After
colouring in the drawing, cut it out fol-
lowing the outline (dotted line) and pin
it up in a visible spot.
Although it did not activate the very
structure of the newspaper itself as
Nitsches work had done, Luiz Baravellis
intervention, carried out two days earlier,
opened up the way for another, and more
lasting collaboration between the artist
and the Folha. The synthesized image
he created for the project depicted a nar-
row-shaped ballot box, compatible with
the size and shape of the ballot that an
elector would deposit inside. Displaying
no further elements, no title or motto
surrounding the drawing, and marked
only by the gesture of the painter and by
his signature, the scene stipulated that
direct elections: the defence of each indi-
viduals freedom of expression and power
of decision. Less than a year later, when
the country had already elected a civil
president159, Baravelli started to publish,
159
In January 1985, after two years of campaigns in
support of the Diretas J and the defeat of the Dante
de Oliveira amendment in the Federal Congress, the
Electoral College appointedTancredo Neves the coun-
trys first civil president. With his sudden death hours
before he could assume office, the vice-president Jos
Sarney was inaugurated instead, in whose mandate
the 1988 Constitution came into effect. In 1992, during
in the mandate of Fernando Collor de Melo, fraught
with charges of corruption, the Folha de S.Paulo once
again began to invite artists to participate in a new
campaign, entitled Arte entra em cena pelo
271
also in the Ilustrada, a series of weekly
chronicles, whose trademark was the use
catchphrase see you on Friday, which
reinforced the process-oriented tone of
the rationale behind it as well as the au-
the conversation which unfolded with
reader. As part of an editorial program
supplement to an author from a differ-
ent area of the arts and culture160 each
day, Fridays were conceded to Baravelli.
On 26th April 1985161, he inaugurated his
space by manifesting his feeling of being
published in a mass vehicle channel:
I think I am a bit nervous. Up to
now I have only written things for
small-time art magazines with a lim-
ited circulation to a specialized public.
Many of the people from the real world
arent even aware of these magazines;
each of these such publications must
have about eighteen readers, who are
also potential collaborators and all
(people and magazines) are terribly
limited []. Trying to leave this bou-
doir a little, I have agreed to write in
this particular newspaper, which I am
told has close to a million readers ev-
ery day, about three readers per copy.
It is a giant leap from eighteen to a
million and that is why I am a little
nervous. [] What do I do now? Invite
everyone to my next exhibition? Will
there be enough white wine? My God,
the gallery has only one restroom!
Where will everyone park a million
black Chevrolet Monzas? (Yes, fellow
mortal, it is necessary to have a black
impeachment [Art takes the stage in support of
impeachment].
160
Besides Baravelli, other participants included J
Soares, Angeli, Paulo Leminski and Patrcio Bisso.
161
Cf. 18 (120?) X 1000 000, chronicle published in
the edition of 26th April 1985 of the Folha de S.Paulo.
 272
Monza to attend the vernissage). A mil-
lion! No, reader, it cant be done! In the
autumn of our impossibilities, I realize
that we shall never meet!
Baravelli had his career marked
by educational and editorials projects,
which permeated and ascribed a discur-
sive character to the artistic experience.
162
between
1966 and 1977, co-editor of the Revista
163
Malasartes magazine between 1970 and
1974, and founder of the Arte em So
Paulo magazine in 1981164, the artist nev-
ceased searching for a relationship with
the world outside the arts.165 Although
162
The Escola Brasil was created by four artists from
So Paulo: Luiz Paulo Baravelli, Frederico Nasser,
Carlos Fajardo and Jos Resende, former students of
Wesley Duke Lee. In the 1960s, the four founders were
students of architecture; three of them participated in
the Rex Gallery & Sons, created by Geraldo de Barros,
Nelson Leiner and Duke Lee. The gallery introduced
them to the Brazilian artistic milieu, especially that of
So Paulo, and the debates which were being carried
out on experimental creative and educational practic-
es. (Cf. SANTOS, Thas Assuno. Escola de arte
Brasil, depois de dois pontos uma experincia artstica
(e social) depois de 1968. Master of Arts degree disser-
tation for the Social History program of the Faculdade
de Filosofia, Letras e Cincias Humanas of the
Universidade de So Paulo, 2012).
163
In three editions published between 1975 and 1976,
the Malasartes magazine proposed to question the
functioning of the art circuit in Brazil and the art mar-
ket. The topics covered were a direct response to the
economic boom which allowed the local art market to
strengthen its bases,and is also related to the concep-
tual debate which propagated itself from the United
States and Europe to Latin America and other parts of
the world in the 1960s and 1970s.The magazine was ed-
ited by a group of artists formed by Carlos Vergara,
Bernardo de Vilhena, Carlos Zilio, Cildo Meirelles,
Jos Resende, Luiz Paulo Baravelli, Ronaldo Brito,
Rubens Gerchman and Waltrcio Caldas.
164
Between 1982 and 1983, Baravelli continued to col-
laborate with the magazine, which began to be edited
by Marion Strecker and Lisette Lagnado during this
period.
165
The artist resists in acknowledging his educational
and editorial career as part of his production. In
along the years he prioritized the use of
a traditional support base such as paint-
ing in his practise, he did not shun from
reporting on the diversity of agencies
that constitute the art circuit market,
institutions, schools, etc.166 so as
to demystify this domain and capti-
vate new audiences, with humour and
unpretentiousness.
This way, the chronicles he pub-
lished in the Folha for a year or so put
the viewpoint, the dilemmas and the
self-criticism of artists at the heart of a
compelling and familiar narrative, which
was always invariably enmeshed in pres-
ent-day political and economic issues.
Baravelli spoke of himself, but also ad-
dressed more broad-ranging readings. As
-
tioning himself about the social place
of the artist in other texts167, as well as
grappling with the artists loneliness and
autonomy, and the links between artist
and pundits, on one hand, and with large
audience, on the other.
Baravellis position on the artist as
the central character of a public debate
is also due to a zeitgeist of the 1980s in
Brazil. In the column of May 24th, the
author refers to the artists as the only
interview granted to Ana Maria Maia in his studio in
Granja Viana, on the outskirts of So Paulo, on 11th
June 2015, Baravelli drew a dividing line: To me, my
painting work and these forms which I relate to the out-
side world are separate things. In a way, I am a
traditional artist. Despite all my experimentation spirit,
which led me to the Rex group, to the Escola Brasil and
to the Arte em So Paulo magazine, I chose to be a
painter.The Arte em So Paulo, for example, is not art, it
is about art.
166
These issues were especially addressed in the col-
umn of the editions of 3rd and 10th January 1986, in a
single text, split in two parts and entitled Fazer,
mostrar, ver, comprar [To make, to show, to see, to
buy].
167
Some examples are De clandestinos e
extremistas [On illegals and extremists], published
on May 24th, and Enfim SOS [Finally SOS], from
26th July 1985.
 273

visible heroes of capitalism, who embody embroiled in the operations of the circuit,
the ideal of the self-made man. This which granted legitimacy and made their
protagonism and all the corresponding work viable, experienced a moment of
endorsements for example, the carte mediatic hypervisibility, a process of me-
blanche given to Baravelli by the Folha dia exposure, as described in the column
to publish on any theme, without cen- of September 13th.169
sorship or editing arise as a result of This context made Baravellis chroni-
the aura of glamour that the artists re- cles about art, as he likes to underscore,
tained at that point, seeing that, in view gain conceptual and tactical pertinence.
They mobilized the language of a chan-
as though they could fabricate money. nel to somehow reveal their implicit
In a later interpretation of the facts168, codes and mechanisms. They enfolded
Baravelli recalled the rise in speculation art into a landscape of circumstantial
from the buying and selling of artworks,
particularly paintings. as a symptom, and also as an agent.
Due to this commercial movement, Paraphrasing the Hollywood actor Gene
which presented itself as one of the few Kelly170, Baravelli realizes that his column
- at the Folha
vestment, the coverage of visual arts from the simple gesture of moving back
increased both in the culture and in the the camera. This way, the texts allowed
economy sections of newspapers, where- settings, scenarios, processes and char-
by the latter published periodic price acters that were previously unknown by
the majority of the audience to be seen in
the editors themselves with information the shot (or into the frame of representa-
supplied by the galleries. The artists, tion, into the painting canvas).

168
In an interview carried out in the artists studio, on Once on the
11th June 2015. Baravelli recounts that Those were hy-
perinflation years and the visual arts provided a
smokescreen for financial speculation (which, in fact,
o u t s i d e
still occurs). Inflation rates were so high that prices
changed from one day to the next. A chap had some e v e r y t h i n g
money put away. If he left it overnight in the bank, he
lost 2%. People needed to buy something they could expands itself
sell for a profit later. Doing this with real estate takes
time, there is the deed, bureaucracy, it takes long. The
same applies to cars. But not to art. At the time there
The work has a life of its own be-
was a very famous art gallery called Galeria So Pau- cause it embodies all of us. Because it
lo, owned by Regina Boni. I witnessed situations is our everyday reality, and it is at this
where, for example, a person arrived saying Look, I
have 50 thousand, what do you have for 50 thousand? as artist, because I no longer am171,
There is a Baravelli. That is fine, Ill have it. The guy
didnt even look at it, the work remained in the store
room. Two weeks later, the same guy went back to the
169
gallery and said: Are there any buyers for that work by Cf. BARAVELLI, Luiz Paulo. O mdium das medi-
Baravelli which I bought? Yes. How much is it worth as. Published in the edition of the Folha de S.Paulo
now? 62. So sell it. There were price quotes in the newspaper of 13/09/85.
170
newspaper for the painting. Based on information sup- According to Baravelli, the phrase that was enun-
plied by the gallery, but it was the papers initiative, as ciated by Gene Kelly was making films is easy. The
some sort of public investment tip, in the economy camera just has to be moved back.
171
section. The artist reproduced the text of the manifest in his
 274

stated Artur Barrio categorically in the between the act of representing and that
LAMA / CARNE / ESGOTO [MUD / of coming into being in reality.172
In Barrios work, for example, a pro-
cess developed itself, encompassing from
art circuit, added to the urgency of act- De dentro pra fora [From the inside out]
ing in the public sphere to stand against to Situaes T/T, 1, both from the same
the coercions imposed by the military
regime, led Barrio to devise another a turned on television set into the exhibi-
order of visibility for his proposals. In tio space which he gradually covered it
collaboration with the art critic Frederico with a sheet, to indicate the obliteration
de Morais and other participants in the of its content, in the second he went to
Do corpo terra [From body to earth] the streets and assumed the subjection
event, which took place that same week of his work to external dynamics, which
at the Belo Horizonte City Park and in were out of his control. In times of intense
the urban area surrounding the park, he speculation about the political disap-
effected the sudden materialization of his pearances and the methods of torture
bloody bundles (Situao T/T, 1), with- employed by the agents of the military
out giving any previous notice out in the government, the bloody bundles of cloth
and animal remains arose the curiosity
Without any kind of indication or sign of passers-by and attracted the press
linking author and event as artist and
work, respectively, both the bundles action and the second to try to silence the
and the artist initially went unnoticed by
the citys art enthusiasts and from any as possible from the site. In spite of the
media attention or coverage on the cul- risks of denunciation or even silencing,
ture sections of newspapers. Once they the fact circulated and was made public.
were exposed in the newspapers city and For such, it was necessary to try not to
urban life section, though, they started to be an artist, concealing himself from the
exist as social facts. censors and also from the interlocutors
The public existence of the critical of the art circuit, although this obviously
and creative gesture, planted in routine was not enough to make him cease being
to misrepresent it and potentially re- -
oclastic, dissenting posture. According
generation and gained momentum in the to Jlia Rebouas, in this case, to call it
1980s, with the process of democratic art would be the same thing as to call it
opening in Brazil. It was only at this point non-art. Or to simply not call it anything
pixao at all.173
[or tagging] and urban intervention were The endorsements would detach the
consolidated, especially on account of artists from their surroundings, giving
the gradual easing of censorship. Before
this, however, the avant-garde artists al-
ready engaged in the tense interplay with 172 Cf. A gerao tranca-ruas [The street lock-up
the world, seeking for potential intervals generation], reportage by Francisco Bittencourt for
Jornal do Brasil, published on 9th May 1970.
173
Cf. REBOUAS, Jlia Maia. Artista corpo ci-
dade poltica arte: Relatos sobre Artur Barrio e sua
obra. MA Dissertation in Arts. Belo Horizonte, Escola
blog. Available at: <http://goo.gl/1VIWil> Accessed: de Belas Artes/Universidade Federal de Minas Gerais,
15/08/2015. 2011, p. 100.

them a type of visibility and power of ac-
tion that this generation deemed sterile
and elitist. Hence, there were inumerous
attempts by artists such as Barrio to
position themselves in a way that was
contentious, even with the understand-
ing that their actions would eventually be
assimilated by the circuit to which they
semester of 1971, Frederico Morais, who
was then the coordinator of the Depart-
Moderna do Rio de Janeiro, articulated
a series of events entitled Domingos de
Criao [Creation Sundays].
With monthly programs and open to
anyone who wanted to participate in the
free activities held in the museums es-
planade, in the Aterro do Flamengo, the
editions of the event attracted a variegat-
ed public, which included artists such as
Barrio, Cildo Meireles, Carlos Vergara,
among others, without any sort of dis-
tinction. According to Morais, the idea is
that everyone is creative and people sim-
ply dont exercise this creativity if they
are inhibited or prohibited to do so, by
politics, by their family. I also pondered
that not every creative person is an artist,
and that not every artist is creative.174
Although the proposer of the events
did not originally plan them as a mediatic
action, he claims that he assimilated the
negative reaction of art critics as proof
that what he had been searching for
had been achieved. In the face of an
unrestricted and spontaneous creation
process, which for the most part did
not result in the creation of artworks let
alone propel individual authorships, the
journalists of culture ended up writing
few lines or even boycotting the event as
174
Cf. Statement given by Frederico Morais in the
documentary film Um domingo com Frederico [A Sun-
day with Frederico], directed by Guilherme Coelho, 175 Idem.
2011 (Duration: 60 minutes. Minute mark of the ac- 176 In an account given by Mrio Ramiro and
count: 5 to 648).
275
a whole. The specialists on issues perti-
nent to the everyday life of the city, on the
other hand, were attracted by the num-
ber of participants, who spread out over
the Aterro as they would on a Carnival
day. The Domingos left the pages of the
culture sections to feature on those as-
signed to urban life. According to Morais,
this feat gave a new dimension to issues
pertaining to art, to the museum, to ma-
terials it became a journalistic fact of
the city in itself.175
Aware of the type of topic that would
attract urban life journalists - such as
popular conglomerations, polemics,
crimes or public order offenses - and of
the dynamics of the in the heat of the
moment approach which they employed,
from that point onward other artists and
groups began to deliberately chase me-
dia coverage. In the race for visibility in
a highly disputed and contrasting sphere
of the common, capable of reinforcing so-
cial stigmas by means of the expressions
and adjectives employed, penetrating the
agenda of the mass media with themes,
attitudes or characters other than the
usual ones proved to be as attractive a
challenge as occupying the streets.
At the turn of the 1980s, the civic
reopening of a space that had been
restricted to popular demonstrations be-
gan to take place. A member of the 3ns3
along with Hudinilson Jnior and
Rafael Frana , one of the groups that
adhered to this movement in So Paulo,
Mrio Ramiro observed that at the mo-
ment that the presence of the Rota, the
controversial political police of the State
Government of Paulo Maluf, was reduced
from the streets, numerous actions of
marginal outcast art or alternative art
began to arise.176 Pseudonymns such
Hudinilson Jnior to the website of the Centro
 276
as Co Fila, Juneca e Di, inscribed on
the citys walls as though by a territori-
al demarcation strategy, propelled the
early days of pixao as an expression
of the periphery, which thereon grew
as an increasingly aggressive language,
and undecipherable to the eyes of the
dMagrelos, Manga Rosa and TIT, as well
as the 3ns3, all resorted to the collec-
tive format and to the ephemerality of
the organization of events to render
cultural and political meanings to the
landscape of everyday life. With these
groups there emerged a fundamental
mark for urban intervention in Brazil,
which, despite having occurred before,
With references from both the Dada and
Surrealist avant-garde movements and
from Situationist-derived tactics of drive
and of dtournement in the contestation
of commodities in consumerist society,
this generation of artists experimented
the type of activity they were carrying
out. Creative intervention or human
intervention, as Viajou would claim.
Interversion, 3ns3 would counter,
rendering the word version into a radical
for suspicions and changes, or for that
which Ramiro regards as alterations of
the natural order of things.177
Such alterations used to be performed
by Ramiro, Hudinilson and Rafael Frana
at dawn, when there were less people out
on the streets. In a few hours, all traces
of the action carried out could have dis-
appeared. It was therefore necessary to
document the actions using photography
Cultural So Paulo, during the installation of the exhi-
bition entitled de 2012. Available at: <http://goo.gl/
wl49zD> Acessed: 01/08/15.
177
In conversation with Ana Maria Maia at the Centro
deArtes Plsticas da Escola deArtes e Comunicaes,
carried out on 21st May 2015 during the research for
Arte-veculo.
and video, but the group had no re-
sources for such. Hudinilson, who had a
daily habit of reading all newspapers and
magazines that were discarded in the
building where he lived, and which made
him a sort of media tracker, considered
the possibility of mediatic coverage of
the interventions. If attained, it would
not only generate a documentation of
the work for the future as well as salvage
its existence in the present. This made
Ramiro articulate the notions of urban
art and media art into words:
I regard urban interventions as
an early form of media art, resulting
in a temporal existence that is more
meaningful than the actual physical
existence when its presence is felt by
the mass media. Much more than an
installation or the product of a perfor-
mance, urban intervention existed as a
story narrated by television or by the
printed press. 178
On 27th April 1979, when they car-
ried out the Ensacamentos [Bagging]
actions wherein they covered the
heads of city monuments with plastic
garbage bags, as was done in methods of
torture by suffocation the membres of
the 3ns3 rang up the main media chan-
nels of the city reporting the occurrence,
without revealing their identity. Pretend-
ing to be nonplussed citizens who were
appalled at such acts of vandalism, they
landed several articles179 denouncing
178
Cf. RAMIRO, Mrio. Between form and force:
connecting architectonic, telematic and thermal spac-
es in KAC, Eduardo (org.). A radical intervention: the
Brazilian contribution to the International Electronic Art
Movement.This content was organized by the Leonardo
On-line magazine, vol. 31, n. 4, 1998. Available at:
<http://goo.gl/8nyj78> Accessed: 26/6/2015.
179
The following day to the Ensacamentos, 28th April
1979, articles were run in the Folha da Tarde, the ltima
Hora, the Dirio da Noite, among other newspapers.

the event. The Folha da Tarde reported
the majority of statues that contribute
to decorate public areas dawned hooded
by plastic garbage bags.180 The ltima
Hora newspaper announced in a tone
of disdain that the Duke of Caxias has
escaped. We apologize [sic]: he is a com-
plete novice at it, referring to the author
of the Ensacamentos, whose identity was
not revealed in the report.
All the articles were published in the
newspapers supplements on cities and
urban life, as had occurred with Artur
Barrios bloody bundles and with the
Creation Sundays organized by Frederico
Morais. Compiled and photocopied, they
were distributed among personal inter-
locutors of the group. To the editorial
sector focused on culture, however, the
urban interventions of 3ns3 continued
to be non-existent.
For the action they would carry out in
July that year, the 3ns3 planned anoth-
er tactic, also aimed at the incorporation
of media processes in realizing the public
- with the X-Galeria, they realized that
es. They produced a press-release for the
X-Galeria project, in which they aimed
to seal off the citys art gallery spaces
and mark an x for interdiction in their
faades along with the phrase What is
inside remains, what is outside expands
itself. At a party, they ran into Paulo
Klein, editor of the recently launched
Jornal da Tarde newspaper, to whom
they proposed that a reporter follow the
night activities, and write an article about
it later using the inside information. The
only condition was that the authors of
the project should not be revealed.
The journalist broke the agreement
and revealed the full names of the three
artists, who, from then onward were
180
Cf. No centro da cidade, esttuas encapuzadas 183 Cf. As categorias bsicas da comunicao, pub-
[In the city centre, hooded statues], article published lished in the Ilustrada supplement of the Folha de
in the Folha da Tarde newspaper on 28th April 1979.
277
placed on the blacklists of art dealers in
So Paulo and on that of art critic Jacob
Klintowitz, also from the Jornal da Tarde,
-
dalo, violncia. Que artistas so esses?
[Scandal, violence. What kind of artists
are these?] the very next day. Disagree-
ing with the groups views about the art
market, manifested in their choice for
the outside, Klintowitz alleged it is not
true that artists have no opportunities.
world where a young artist has as much
possibility to exhibit, to become news in
important newspapers and magazines, to
win prizes.181
The incident unfolded further in a
space granted by the newspaper for the
artists right to respond, and, lastly in
-
the citys art scene, the textual exchange
created a mediatic circuit for the proj-
Ceclia Nichelle, Ramiro claimed that,
the newspaper was the channel, since
not even close friends had direct contact
with the thing itself. They came to know
through the media.182 This medium
was used in November that same year
to disseminate the work As categorias
bsicas da comunicao [The basic cat-
egories of communication]183, a random
and uncredited collage of theoretical
texts, interspersed by comments and
181
Cf. KLINTOWITZ, Jacob. Escndalo, violncia.
Que artistas so esses?, article published in the
Jornal da Tarde on 10/07/1979.
182
Interview granted to Araclli Ceclia Nichelle on
11th November 2009, during the MA research process
that led to the dissertation entitled O que est dentro
fica/ o que est fora se expande: 3ns3 coletivo de arte
no Brasil, presented in 2010 in the Visual Arts program
of the Universidade de Santa Catarina.
S.Paulo on 18th November 1979.
 278

conclusions from the group. At the end by letting themselves be fooled by the
of each sentence, a mocking laririri. To artists so as to incite the very rhetoric
end, the phrase And about our plans for that addresses their feats solely using
analysis here displayed, we ratify our po-
sition. 3ns3. SP 1979. The Ilustrada
that ultimately served both to enkin-
and signature, which continued using dle the politics of dissensus enacted by
coverage from newspapers and television the pixao movement since Dis times,
networks in their interventions184, carried and to engender a type of institutional
out until 1982, when the group split up. criticism which artists from Duchas gen-
Similar practices to that of 3ns3 were eration implemented in their city.
employed by pixador Di, in 1990, and by Further to the motivating forces of a
the artist Ducha, in 2000. After practic- historical period marked by the open-
ing contravention acts the pixo, a short ing of the political system in Brazil,
term for pixao, carried out by scaling
the faade of buildings and high-rises, in opponents unfolded in the decades that
this case that of the Conjunto Nacional followed: the communication of an indi-
in So Paulo, and placing a red light in vidual in the mass media, the clash of
the heights of the Christ the Redeemer the specialized language of art with the
statue in Rio de Janeiro, respectively narratives of life and of the streets. In
, both rang up the newsrooms of daily
papers pretending to be witnesses rather the objective, translation efforts are nec-
than the actual authors of the actions. essary. In exercises performed between
The articles that were published based 1983 and 1988, Mrio Ramiro sought
on their testimonials reveal the failure to understand this translation in and
in the fact-checking mechanisms of the between media, or intermedia, paying
newspapers (According to the resident, special attention to technological issues.
185
) The values that started to guide the in-
vestigations pursued by the artist were
184
simultaneity, spatial suppression, inter-
The group continued to practice their Interverses
in several different contexts around So Paulo, and oc-
activity and increasing immateriality.186
casionally in other cities. On 7th December 1981, they
realized Arco 10 in the viaduct of Doutor Arnaldo Clones uma rede simultnea de rdio,
Avenue, in the western part of So Paulo.The next day, televiso e videotexto [Clones a simul-
the project was featured in both the Folha de So Paulo taneous network of radio, television and
and TV Globo. The last work carried out by 3ns3 was
Interverso/despedida [Interversion/farewell], held
videotext] presented at the Museu da
from 12th to 26th July 1982 at SESC Pompeia. Imagem do Som (MIS), in So Paulo, in
185
The article, published in the album S Pixo and un- 1983. From the transmissions of the idea
dated, continues to describe the event: According to a of an object (a metal rod) by way of dis-
resident, who requested to be identified solely as Di, tinct mediums, the premise of the work
the pixadores may have entered from climbing on top of
a public phone and from there springing on to the was to create virtual doubles (clones) of
eaves overhanging the faade. From there, they would
have broken a window on the first floor. He reported
that, besides breaking the glass and making a dent in emphasizes that it is inconceivable that the buildings
the window frame, the invaders forced their way security scheme allowed this type of action to take
through doors. The buildings administration denied place, seeing that there are men doing rounds inside
the information and filed no complaints to the police, and outside the building. At night, security is doubled,
confirming only that the pixao had been carried out. he stressed. (S PIXO, s/d).
186
Di claimed the situation threw him into a panic. He Cf. RAMIRO, Mrio, op. cit., 1998.
 279

the work in other places, in the houses of pieces. For each supposition, a new por-
people who owned the necessary devices trait was created, and thus the dynamics
to accommodate it in its entirety. The of interactive creation between both art-
installation set up at MIS on 26th Novem- ists repeated itself.
ber 1983 consisted of the transmission Kac devised this experience as an
of this rod in the form of indiscernible aesthetic investigation that subverted the
sounds, similar to interference or static, passive and automatic use of telecommu-
by the Rdio Cultura FM radio station, nications, foregrounding the subjective
then as image in the television program and human factor.189 The interchange,
Fbrica de Som, aired by TV Cultura, -
strated as evidence of what the two
terminals. The event which made artists called a response system, a
reference to Joseph Kosuths tautology -
posited in Art as idea, as idea (1965) and tion about the concept of authorship and
anticipated the mediatic convergence of about the presence of the private individ-
the internet in a prototypical scale also uals within communication channels of
mobilized a fourth medium, the news- broad collective reach in the future. By
paper. In the Folhetim section of that reversing the unilateral discourse into a
days edition of the Folha de S.Paulo , dialogical and horizontal process, Retrato
the text O labirinto da reproduo [The suposto rosto roto synthesized the spirit
labyrinth of reproduction]187 introduced of a time when the dispositifs of mediatic
fundamental concepts for the work.
On 8th October 1988188, Ramiro car- revealed and vied for by many areas of
ried out another mediatic network, this knowledge, amongst which, expanded
and enmeshed, was art.
and without using the physical space
of a museum as a venue for the presen-
tation of the result. The simultaneity in
Retrato suposto rosto roto [Presumed
portrait foul face] would take place
between So Paulo and Rio de Janeiro,
between the studios of the TV Cultura,
where Ramiro was located, and Kacs
studio, between the television medium
and a fax sistem, between the public and
the private spheres. Taking part of the
Eureka, program aimed at young people,
broadcast live, Ramiro would send Kac
illustrations of parts of the human face
via fax: mouths, eyes, noses and ears.
Minutes later, the response arrived in
the form of an assemblage of the various

187
Published on 18th December 1983, pp. 6-7.
188
The initiative was reported by Alexandre Martins in
Telearte em rede [Networked teleart], published in
the Segundo Caderno supplement of the O Globo
189
newspaper on 9th April 1988. Cf. KAC in RAMIRO, op. cit., 1998.
 280

vo i c e s a nd
t act ics technical dispositifs and on the language
and themes that were employed, names
198396 like Glauber Rocha and Chacrinha be-
came precursors190 of practices that
would mobilize the next generation,
above all in the investigation of a televi-
Aesthetics of sual language, but also with regards to
other media, such as newspaper and

inversion: radio.
The prevalence of the interventions in
television channels occurred not only on
account of the political opening, but also
-

e i t h e r
nologies for capturing and editing moving
images, which became increasingly por-
table and thus able to be experimented
you are beyong the limits of large corporations.
The language of video had already been

with everyone present in Brazil for nearly ten years,

mat of the Super-8, and above all when

-

else or you
are the odd was imported in 1973 by the diplomat
John Azulay and lent to a group of artists

one out Area of the Museu de Arte Moderna do

Rio de Janeiro (MAM-RJ), including Anna
Bella Geiger, Sonia Andrade, Fernando
Cocchiarale, Leticia Parente, Miriam
Danowski and Paulo Herkenhoff.
Also in 1973, Walter Zanini,
process of political opening enabled the Director of the Museu de Arte Contem-
public sphere of the streets and mass me-
dia to gradually be repopulated. In view (MAC-USP), began to foment video art
of this previously non-existent, or at the practices with the exhibition of Regis-
very least dangerous possibility, artists tro do Passeio Sociolgico pelo Brooklin
and vanguard communicators dedicated [Documentation of Sociological Walk
themselves to testing the press chan- in Brooklin], by Fred Forest, at the 7
nels and to making their mechanisms of
enunciation and social legitimacy explicit who was in So Paulo to participate in
to the general public. The ways in which the Communications Sector organized
news is constructed, who was and who
was not on the agenda of mass media
vehicles, and what approaches and judg-
ments were instilled in it. By producing
interferences and glitches, by creating 190 Cf. MELLO, Christine. Extremidades do vdeo. So
ambiguity or focussing attention on the Paulo: Editora Senac, 2008, p. 95.
 281

art practitioners in the international art Although the Video Art Sector last-
scene. His work bore close relation to ed only one year, ending in 1978, when
the strand of production pioneered by Walter Zanini left his position as direc-
Nam June Paik and Wolf Vostell around tor of the museum, the debates and
1959, using both museums and galleries experimentations in video production
as well as television channels, such as continued to take place in new locations
and with other agents. In 1979 Roberto
York and WDR from Cologne, who offered Sandoval and Renata Padovan opened
them creative research laboratories191. a production company at a mix venue
Zanini wanted to install something
similar at the MAC-USP, a centre for a studio called Aster,193 on Cardoso de
Almeida Street, in So Paulo. In August
foment a generation of Brazilian video
artists. After a few initiatives, such as festival took place at the Museu da
the consignment of local works to the Imagem e do Som de So Paulo (MIS-SP),
Videoart192 exhibition, at the Institute of which juxtaposed single-channel pro-
Contemporary Art of the University of jections, on a cinema screen or monitor,
- with installations and performances. Ac-
ing camera and an edit suit and in 1977 cording to the organizer Solange Farkas,
founded a Video Art Sector in the muse- the festival was born from the realization
um, coordinated by Cacilda Teixeira da that the video was looking for a place to
Costa and Marlia Saboya. The research exhibit its language194.
activities and production that were car-
ried out using this medium resulted in the network of video producers and pro-
new works by artists such as Gabriel grammers in Brazil continued to grow,

Gross, Julio Plaza, Regina Silveira and and exhibition possibilities. During this
Marcello Nitsche. -
cassette and the U-Matic system, which
were more modern and lighter than the
191
In the context of the public television networks, a
Portapack195
number of workshops and research laboratories were environment had been formed for the
carried out with the artists to experiment with equip- emergence of independent producers,
ment and languages. Fred Barzyk used the Public
Broadcasting Service to direct The Medium is the
193
Medium in 1969, while Nam June Paik made Global Regina Silveira, Mary Dritschel, Julio Plaza and
Groove in 1973. Cf. ZANINI, Walter. Videoarte: uma Sonia Fontanezi were among those who made use of
potica aberta. In: MACHADO, Arlindo. Videobrasil: the infrastructure of the production company to make
Trs dcadas de vdeo brasileiro. So Paulo: Instituto their own vdeo works. Silveira and Plaza shared a
Ita Cultural, 2003, p. 51. printinmaking studio in the same house with Donato
192
At the request of Suzanne Delehanty, Walter Ferrari. In another space, Walter Zanini, Cacilda
Zanini compiled a list of Brazilian atists interested in Teixeira da Costa and Marlia Saboya set up the office
making vdeo work. Regina Silveira, Julio Plaza, where they carried out the research for the book
Donato Ferrari and Gabriel Borba, all based in So Histria geral da arte no Brasil [General history of art in
Paulo, did realize their projects due to lack of Brazil] launched in 1983 by the Instituto Moreira Salles.
equipment. Ultimately the representatives were Cf. TEIXEIRA DA COSTA, Cacilda. Videoarte no
Antonio Dias, who had made works in Italy and in the MAC. In: MACHADO, Arlindo, op. cit., p. 73.
194
United States, and participants of the group from Rio Cf. FARKAS, Solange. OVideobrasil e o vdeo no
de Janeiro, Anna Bella Geiger, Sonia Andrade, Brasil: Uma trajetria paralela. In: MACHADO,
Fernando Cocchiarale and Ivens Machado, who used Arlindo, op. cit., p. 228.
195
the equipment owned by diplomat John Azulay. Cf. MELLO, Christine, op. cit., p. 97.
 282

whose members came from art and by way of experimentation, as in most

communication universities who were al-
ready keen to experiment with the limits
of broadcasting, that is, with distribu- -
tion channels for large audiences. They tionalized as they repeat or adapt both
explicit and implicit demands, command
granted by the federal government196 to respect and captivate an audience so as
few dominant groups, and, according to to continue in TV stations, radio channels
Christine Mello, sought to get involved and in newspapers. They institutionalize
- themselves to disseminate the possibili-
tions. As outsiders, they had access to ties of deviation from the norm. In this
less hegemonic forms of production197 way, they also run the risk that, with
but had great disposition to persuade time, they become the norm itself, once
and negotiate. they have been accepted and have estab-
According to Yvana Fechine, one of lished stronger and lasting connections
the stylistic resources of these interven- to the mainstream press corporations.
tions was the aesthetic of inversion198,
capable of frustrating a rhetoric that
had been consolidated in the name of Independent
the legitimacy of other interlocutors
and focuses of interest, or even the de- even from within
construction of the agenda-setting and
media framing mechanisms of the ve- The independent video production
hicle. Seeing how they tested a critical houses that arose in Brazil in the 1980s
language without compromising the wanted to make television199, to have their
popularity of mass media, the cases that proposals included in the programming
were analysed seem to administrate a aired by public access stations. That is to
polarity between experimentation and in- say, they wanted to compete for a place
stitutionalization. They experiment with in a highly valued and exclusive space.
a lack of productivity in optimized and There were few commercial channels in
expensive spaces; they imprint subjec- operation and the cable television sys-
tivity into narratives that conceal agents tem would only be implemented in the
and alienate recipients. All of this is done following decade. Routinely called the
antitelevision or countertelevision200,

196
The concession of rights for radio and television
broadcasting in Brazil is still granted by the federal
government. According to Article 21 of the 1988
Constitution, [] Powers and responsibilities of the
Union [] to explore, directly or by way of authoriza-
tion, concession or permission [] the services of
sound broadcasting and sound and image broadcast-
ing.This means that, although private companies use
it, the diffusion of television and radio signals is con-
sidered a public service, as is electric power supply
and public transport. Cf. INTERVOZES. Concesses
de rdio e TV. November 2007, p. 3.
197
Cf. MELLO, Christine, op. cit., p. 83.
198
Cf. FECHINE,Yvana. O vdeo como um projeto utpico
de televiso. In: MACHADO,Arlindo, op. cit., p. 104.
199
In the text entitled Vdeo e TVDO: Anos 80,
Tadeu Jungle states: We intended to make television
programs.The primary objective was not vdeo art. Cf.
JUNGLE, Tadeu, Vdeo e TVDO: Anos 80. In:
MACHADO, Arlindo, op. cit., p. 213.
200
In the text,Tadeu Jungle declared to this day, vid-
eo is still regarded by many art critics as a form of
counter-television, or, at best, it is associated with the
reinvention of its language, with the idea of some sort
of experimentalism that involves its apparatus. (Cf.
Idem, p. 88). However, during the research for
Arte-veculo he expressed a divergent view in regard to
this position. He defended that, more than criticizing or
opposing themselves to it, what really interested his
 283

their extensive repertoire did not discard
the possibility of being integrated into the
programming schedules.
The fact that, within this environ-
ment, production companies such as
to think like the psychopath he pursues.
The author goes on to observe that the
hunt only ends when such a degree
of complicity between the two of them,
the policeman and the psychopath, has

to be kaleidoscopic and iconoclastic, sig- thinking like the second: hence in this
nals their existential contradiction. They
could only sustain the independence of its continuous counterposition to the
their means of production and of their other.203
work ideology being in large corpora- The television was the police, and the
production companies were the psycho-
reasons. They needed something that
presented itself as a paradigm in order themselves, as though they were both
to develop a language of answers and de- looking into a distorted mirror. At that
constructions. This, in turn, engendered time there was already much discussion
what Walter Zanini called an impeccable about the short and long-term effects
dialectic201 between art and communica- of this interaction. For example, when
tion and between the exception and the Cacilda Teixeira da Costa curated the
search for understanding. exhibition Vdeo de Artista & Televiso,
The independent logic promoted the in 1986, she wrote about the delicate
utopia of transforming the ethical and situation of entering the world of enter-
aesthetic bases of television, whose op- tainment, choosing between the access
erating model was guided by a hierarchy to television and to crowds of spectators
of production over reception (unidirec- and the actual research, which implies
tionality), by the canons of illusionist a more limited public.204 -
representation (television as a window makers this did not represent a risk, but
to the world), by the metrics of commer- rather, a challenge. Transiting between
cial breaks (interruptions that dictate the the inside and outside of the stations was
mediums syntax)202. In grappling with in itself a modus operandi of the work.
such premisses, even if only in particu- For every program aired, a number of
lar and, largely short-term experiences, others continued in the pilot stage.
the production companies embarked It is about this posture, adopted in the
on a game of tension and reciprocity. early days of the history of independent
According to the analysis carried out production companies, that this essay
by Yvana Fechine, this game was simi-
which involved naturalizing the language
Silence of the lambs (1991) between the of their proposals and absorbing a num-
FBI and Hannibal Lecter. The serial killer ber of their members as permanent staff
of large TV stations, produced important
team and imposes his methods on the outcomes. However, for now it deviates
investigator, stimulating the policeman from the main focus of the study, which

generation was to be onTV, to engage themselves with 203 Cf. Idem, p. 87.
its programming, regardless of the way this was done. 204 Cf. TEIXEIRA DA COSTA, Cacilda. Vdeo de
201
Cf. ZANINI, Walter. In: MACHADO, Arlindo, op. artista & televiso. Museu de Arte Contempornea da
cit., p. 53. Universidade de So Paulo (MAC-SUP), 1986, p. 9.
202
Cf. FECHINE,Yvana, op. cit., p. 88. Catalogue.
 284

is based on the concept of mediatic inter-

ventions as producers of bewilderment academic directory, and invited them
and of experimentation with hybrid dis- to co-direct a program that would be
courses in mass media vehicles. aired on Saturday evenings on TV
Fechine points out that this exper- Bandeirantes. Hand-picked to compete
imentation was based on resources with the soap opera Baila Comigo, a huge
such as expressive montage, which hit produced and aired by TV Globo,
breaks the linearity of the naturalist Mocidade Independente206 [Independent
screen as superposition of different con-
Youth] had been chosen by Walter Clark,
tents and post-production resources; the networks director of programming,
self-referentiality and presentation of
who had recently been hired207 by the
process as product, which work togeth- station due to his track record at the TV
er towards the unveiling of the narrative -
apparatus; besides the aesthetic of thetive role in the Abertura program, which
inversion205, as has already been men- had been cancelled in 1980. As suggest-
tioned. In the Brazilian context, among ed by its name, Mocidade represented a
so many other production companies in bold experiment, seeing how, in Mottas
own words, it was aimed at presenting
the emerging trends across the artistic
TV) occupied a fundamental role in the 208
. It was directed at young people,
development of this poetics. thus nothing could be more appropriate
Both emerged at the Universidade than having young people producing
de So Paulo in the early 1980s, at the it. Therein lies the generational DNA
that was expected from the members of

respectively. Its members, generally stu-

- Motta, who also directed the program, along with
ble, new ways, which included horizontal
searching for ways to show their video
work. Not by chance, they started to re-
television industry from long-established
professionals who nonetheless had an
avant-garde mentality. The terms seemed
to contemplate everyone: a touch of irrev-
erence and freshness in exchange for an
endorsement, which would support their
particular proposals within the station.
Having worked in the cultural indus-
try since the advent of Bossa Nova, the
journalist and musical producer Nelson
Motta heard of the work developed by
205
Cf. FECHINE,Yvana, op. cit., p. 104.
206
Mocidade Independente was conceived by Nelson
TVDO. The producers were May Pinheiro and
Leonardo Neto. The editing was carried out by the di-
rectors and by Paulo B. Garcia.
207
In January 1981, TV Bandeirantes hired Walter
Clark to reformulate the stations programmes. In six
months, the diretor had made a series of changes and
implemented new programs, such as the Mocidade
Independente and the childrens program Turma do
Lambe-lambe, wherein Daniel Azulay used the screen
as a toy, and the children were encouraged to touch
the television set and stick things on it, so that they
could awake from the hypnotic trance of television,
as recounts the host. Chacrinha had a five-hour pro-
gram on Sunday afternoons, and a was engaged in a
public dispute with Clark, who wanted to reduce the
length of the program. (Cf. Revista Veja, 1982, p. 182)
208
Cf. A fonte da juventude: Nelsinho Motta volta
TV trazendo os artistas de vanguarda e disposto a
conquistar um espao para as loucuras de sbado
noite [The source of youth: Nelsinho Motta returns to
TV bringing vanguarda artists and determined to es-
tablish a space for Saturday night craziness],
published in the Veja magazine on 1st July 1981.
 285

TVDO, namely Ney Marcondes, Paulo graphic sex scenes or frontal nudity210
Priolli, Tadeu Jungle and Walter Silveira. or attention, parents, this program
On 1st July 1981, Veja magazine does not cause any type of physical or
announced the programs premiere psychological dependence. It is indepen-
show, with participations by the artist dent. TVDO transmitted mottos like we
are preparing the television for the next
millennium T V D O or cinema and/or
representatives of two distinct periods TV TVDO depending on the screen that
which, just like Motta and the TVDO, it is watched on by way of teletext an
would meet on that very stage. The arti- editing resource that had recently began
cle included an exclusive interview with to be explored by numerous Brazilian
the members of the production company artists and which ultimately resulted in
who declared they would establish a a curatorial project developed by Julio
break with conventions in Mocidade. Plaza for the 17th Bienal de So Paulo, in
During the interview, Jungle stated that 1983. The message the sound turns up
televisions great ambition is to apply
formulas, formats, to build an industry television screen, superposed over a vid-
of programs and make things easier. We eoclip where the pop singer Lulu Santos
offer an alternative to this scheme, which played the programs theme music, enti-
can be employed by the stations in the tled Tesouros da juventude [Treasures of
long run.209 youth].
Throughout the eight programs, The layout design and its interaction
aired between June and August, these with the background images connected
alternatives were tested during all pro- the texts to the legacy of visual poetry
duction stages, from the creation to the and of Brazilian concrete poetry211. In
recording of situations, as there was no addition to rendering the surface of the
preliminary script. However, it was in the television screen into an experimental
editing process that TVDOs trademark two-dimensional plane, they fore-
consolidated itself in effect. By means of grounded its existence using its power
resources such as image fusion, shorter to simulate reality, despite the absence
shot lengths and faster, repetitive cuts, of the illusion of depth generated by the
voiceovers, visual effects and text inser- images. As we shall see, the video artists
tion, they superimposed a voice over the who were making works for television
deeply focused on explorations using this
comment or contradict it. This engen- theme and this procedure.
dered a friendly arm-wrestle with Motta
himself, who, despite having given up
the role of host, had an image of himself
where he got the text wrong repeated and 210 Archives of programs fromTadeu Jungles person-
satirized in practically all of the shows. al collection.
211
Tadeu Jungles work as a visual artist is closely
connected to Concrete poetry. In works like the video-
generations continued. Off-camera ironic poem Tatu bola no bebe Coca-Cola [Armadillo does
alerts were issued during the opening not drink Coca-Cola] (2013-2014), for example, he pays
credits of each block, such as: attention, tribute to the poem Beba Coca-Cola [Drink Coca-Cola]
children, this program does not contain (1957) by Dcio Pignatari and adds a layer of protest
against the World Cup in Brazil. (Cf. SARAIVA,
Alberto. Tadeu Jungle: Videfotopoesia. Rio de Janeiro:
F10 Editora and Oi Futuro, 2014. Coleo arte &
209
Cf. Idem, p. 181. tecnologia)
 286
The narrative of Mocidade Independente
was fragmented and multi-layered, as was
that of the Abertura, which Motta pointed
out as his greatest inspiration212. There
was neither a host nor a set design spe-
cially conceived for the program. There
was, though, a meeting place where
guest musicians and artists, friends and
observers spent the entire afternoon.
This place was called Pauliceia Desvaira-
da, a nightclub owned by Motta and by
Ricardo Amaral.
The Asdrbal Trouxe o Trombone213,
a comedy theatre company from Rio de
Janeiro, was among the Mocidades most
- the names shown on the
ance in the show, a comedy sketch was
rendered wherein Motta issued a call for
young actors, musicians, singers, [] at
least six people, consisiting of four young
men and two young women, that is, pre-
cisely the groups line-up, to participate
in a new television show. The Asdrbal
heard the call and got on a bus to So
Paulo to present themselves as candi-
dates. From thereon, they conducted
interviews in the streets and interacted
with the programs production crew214
and its guests. The groups arrival was
narrated as a sort of metalanguage of
the television process (which included
the recruitment of talent). Its presence
212
Cf. Veja, 1982, p. 118.
213
The Asdrbal Trouxe o Trombone theatre group
was formed in 1974 in Rio de Janeiro, with a language
marked by the desconstruction of dramaturgy, unaf- Joo Saad, cancelled the Mocidade, TVDO
fected, natural style of interpretation and collective
creation. Its initial members were Regina Cas, Luiz
Fernando Guimares, Patrcia Travassos, Evandro
Mesquita, Perfeito Fortuna, Nina de Pdua and Gilda
Guilhon. Cf. Enciclopdia Ita. Available at: <http://
goo.gl/zilFqB> Accessed: 13/7/2015.
214
In one of the episodes, the Asdrbal conducted a
street survey based on the question: Have you got the
money?. While the group interviewed passers-by,
Patrcia Travassos caught sight of Tadeu Jungle and
said check out theTVDO, folks!. In the editing stage,
the frase Message to the Asdrbal / Regulation /Time
/ is up / t v d o was introduced by broadcast teletext.
strengthened the humorous note and
the interdisciplinarity sought by the
Mocidade, in announcing a new creative
generation.
Aware of a new scene and of its re-
lation to the past of the Brazilian and
international cultures, Motta and TVDO
not only mixed artists of different origins
but also made use of an extensive archive
then edited into one great remix. At the
end of the shows, a text preceded the
closing credits:
screen should head to the viaduto
do ch [a viaduct in downtown
So Paulo] on Sunday to get a kiss
from tvdo: norma bengell, oswald
de andrade, alemo videoteca,
artists of the concrete movement,
caetano veloso & gretchen, amado
from the audio, serginho number
9 shirt from the so paulo football
club (spfc), nelson motta and lulu
santos, pinto the assistant
camera technician.
It was a sentence that ended with a
comma and brought together a variety
of people, from the diva of the Cinema
Novo to the televisions operator, all in
lower-case letters.
After the owner of TV Bandeirantes,
for its work to remain independent from
the large television networks215. In 1982,
the members joined together with the
215
We tried this. We tried to make institutional vid-
eos for commercial companies. We tried making
documentaries about the visual arts. We tried to insti-
tucionalize ourselves. We did not succeed. Cf.
JUNGLE,Tadeu, op. cit., p. 213.

a production company called Videoverso,
which continued to produce pilots and
try to sell them to the networks. They
made the program Teve Show de Bola,
which consisted of traditional television
coverage of a football game with exterior
shots, a reporter and people-talk (or
street listening type interviews), but
focused on topics that were tangential to
the initial theme. In narrating the actual
game, they addressed issues such as the
hot dog sold at the entrance to the sta-
dium, the players hairstyles or even the
media coverage, in which they included
themselves.
The topic was always the inverse
[avesso in Portuguese] or the other
side of the theme itself, and thus the
project was extended as the Avesso
- claimed to be from the Aurlio dictionary,
ta-baile, Futebol (formerly Teve Show
de Bola), VTV, Circo and Punk. TV tary manoevers by way of signals without
Cultura expressed interest in the show,
but in seeing the result, decided not to
air it. It was art trying to be TV I had
not yet understood the lesson of master
of culture. [] TV could not look at it-
self,216 stated Tadeu Jungle.
The Avesso signalized a dissent be-
tween TVDO and TV Cultura soon after
the Tadeu Jungle and Walter Silveiras
involvement in one of the stations hits.
The Fbrica do Som was a program with
a studio audience that was predominant-
ly musical, with performances held in the
theatre of the Sesc Pompeia and at the
Campo de Marte airport between 1983
and 1984. At the height of the national
rock scene it featured shows with some
of the most popular Brazilian bands
of the time, including Tits, Ultraje a
Rigor, Paralamas do Sucesso and Isca de
Polcia. The program also included com-
petitions, poetry recitals and interviews,
216
Cf. Idem, p. 214.
287
and according to Fechine, situated itself
in the fronteirs between popular and
erudite culture, incorporating particular
montage processes and the most deliri-
ous of video art discourses, in addition to
standard formats that were being deliv-
ered by commercial television.217
Jungle, who presented the program,
was a keen admirer of the concrete poet-
Campos brothers. He regularly invited its
representatives to the programs and pre-
sented some of the issues to this mode
of expression which combined literature
and visuality218, and even produced a
special edition in tribute to the move-
ment. One day, he wanted to provoke
-
otics. According to an entry, which he
semiotics was the art of conducting mili-
the use of the voice. In an attempt to
lend credibility to a meaning he had just
invented, he assertively asked Haroldo
de Campos, who was in the audience, if
The poet and professor in semiotics at
the Pontifcia Universidade Catlica de
So Paulo (PUC-SP) declined to give an
answer as a specialist in the subject.
Laughing, he changed the subject and
jokingly remarked: leave the Aurlio
alone.
The audience was a chapter of the
program in itself. Packed into the the-
atre and wrangling over the microphone
at every opportunity to participate, the
crowd congregated into a type of political
arena made up of individual empow-
erment and public dispute. This is a
program of young troglodytes from So
217
Cf. FECHINE,Yvana, op. cit., p. 88.
218
The edition of the program on 17th September 1983
paid a tribute to the concrete poetry of Augusto de
Campos.
 288

Paulo, bellowed Jungle, surrounded by it came to driving interviewees into a

a swarm of people, who grabbed him by
the shoulder and tugged his shirt. The trenchant remarks. His cynical humour

his primary objective was to draw spec-

tators out from their passive attitude
towards mass media vehicles.
- was a character, after all, but one which
tion. One wrong move, and you will be
manipulated. Therefore, be careful with
what you are watching, he once stated,
standing on the stage. Next, he asked for
a video tape segment to be played, where
he appeared engaging in physical activ-
ity while he delivered the following text:
20 people were necessary to shoot this
outdoor scene. Broadcast television is
not authorial; it is the work of a team,
which demands a considerable degree of
as alibis, allowing him to crack schemes
and draw closer to their sources. He
chronicles or narratives of any kind. He
participated in press conferences and re-
ported from the streets, as is commonly
done in telejournalism, to parody this
particular professional domain and fuel
suspicions concerning the credibility
which the mass media is keen to estab-
lish in regards to society.
The parody was one of Olhar

else or you are the odd one out, and have same ingredients used by television to
nothing to show.219 captivate an alienated audience pop
Tadeu Jungles cheeky, rather rogu- music, humour, casualness and spon-
ish manner turned him into an enfant taneity, among others were employed
terrible of TV Culturas evenings. The by the group to demystify its canons
contruction of his identity as the host
of the show could be traced back to be critical of what they were seeing.221
Glauber Rocha as one of the reporters Initially the production company was
of the Abertura, a common reference to composed of Fernando Meirelles, Paulo
Jungles generation. According to Regina
Roberto Salatini, all former students
and a number of other producers to
adopt a deliberately mischievous ap- Universidade de So Paulo (FAU-USP).
proach to making television.220 They were later joined by Renato Barbieri
As part of the history of the projects and Tas.
realized by the production house Olhar Apart from experimentations in video
art and a routine of discussions at the
this attitude gave rise to a character Cultural, a weekly study group that
took place in a space at Benedito Calixto
performed by Marcelo Tas played dumb
and nave, but revealed himself as ex- Olhar in the television industry started
tremely shrewd and keen-witted when in 1982 with an invitation from Goulart
de Andrade, an investigative journalist
219
who previously had become famous for
From a program found in Tadeu Jungles personal the punchline vem comigo [come with
collection, at the 14 minute mark of the recording.
220
Cf. MOTA, Regina. A pica eletrnica de Glauber:
Um estudo sobre cinema e TV. Belo Horizonte: UFMG,
221
2001, p. 16. Cf. FECHINE,Yvana, op. cit., p. 92.

me] in the Comando da Madrugada pro-
gram (TV Globo), and was now working
for TV Gazeta. In the same way as Motta
had approached TVDO, Goulart turned
ideas222. Once the invitation was accept-
ed, he announced one of his evenings in Christine Mello:
the station as follows:
Todays program, which once
again inaugurates live television
in the city of So Paulo, brings
you the performance of a new
group in Brazilian civilization, the
youth. [] I am only here to make
this introduction, in this time slot
which is mine and which I have
handed over to these young peo-
223
There was time available for further
features. Besides the evening slots, the
host also had three hours on Saturdays.
This way, he could chaperone their and
speed up the video makers professional
training with the access to the stations
production. During four months, Olhar
aired a program without name, which in
itself revealed its construction process,
and created the campaign Come up
with a name for the show to engage the
public. The name suggested by the poet
Paulo Leminsky, Antenas [Antennae],
was ultimately that with the greatest
number of votes.
Between October 1982 and March
1983, the production house also collab-
orated with the 23 Hora, a news and
variety show based on the narrative of
222
Jungle recounts that the TVDO had been invited
before, but had not accepted because they would not
get paid a fee. Cf. JUNGLE,Tadeu, op. cit., p. 207.
223
Extract from an account given by Goulart de
Andrade for the Videobrasil 30 anos program, produced 224 From an account given by MarceloTas to Christine
by the Associao Cultural Videobrasil in 2013. Avail- Mello on 25th November 2003. Cf. MELLO, Christine,
able at: <http://goo.gl/ZB5GGv> Accessed: 25/6/2015. op. cit., p. 102.
289
in-depth reportage with which Goulart
ended the days program. It was up to
Olhar to produce small interventions
based on this content. In one of the edi-
tions, they transformed the television
[] one long continuous take
of the image of a very beautiful
into the studio, with very tran-
a telephone number at the bot-
tom of the video frame. It was the
number of the production compa-
on call in the production house.
People called the number, trying
to understand what was going on.
We asked their name, telephone
number, profession, etc. And
asked them to wait on the line.
When the next person called, at
the end of the call we gave them
the telephone number of the
previous person, putting specta-
tors in contact with each other.
The only thing they had in com-
mon was the fact that they were
watching the Aqurio. We never
learnt what they spoke about. A
few days later, we were still get-
ting the most unusual telephone
calls, which ranged from people
expressing their appreciation to
loud swearing, accounts of people
becoming friends and even con-
tent analysis and messages about
the Aqurio. 224
 290

Olhar experimented with interactivity,
chance and with the possibility of break-
ing with any narrative expectation at TV
Gazeta. It was a daily exercise in which
Goulart liked to position himself as a
mediator and the group stipulated a ro-
tation of functions, wherein they all took
After they left the station, the group
continued to work in partnership with
production companies such as Abril
Vdeo, which commissioned programs
like Crig-R (1983) and Olho Mgico
(1984), and invested in national and
international stories for the report-

and hosting. It was in this environment, Barbosa Lima invited Olhar to collaborate
on a particular day when it was Tas turn with the series Aventura at TV Manchete.
recounts, the most charismatic charac-
ter of the production company emerged
spontaneously, arising from the combi-
nation of the reporters embarrassment by Fernando Meirelles and then by
and the cameramans sagacity to direct
him on the scene.
On a rainy afternoon, we were
in the city of Santos wondering
what to do. We had travelled from
So Paulo down through the moun-
tain range towards the coast, piled
into a Kombi, with two missions:
filming Itamar Assunos show in
the evening and coming up with
a story to be recorded during the
day. [] Standing before a bro-
ken digital clock at the beach, I
taped a bulletin presented by that
still nameless reporter. Surpris-
ing climatic variation in Santos,
85 Celsius degrees at Gonzagas
Beach. We returned to So Paulo
and that innocent joke became a
regular comic sketch in the pro-
vignette, a white sheet of paper on
a typewriter, displayed the words
Santos Urgente [Breaking News
from Santos], which jiggled across
the screen. A vibrant soundtrack in
a CNN-style breaking news report
was also included, adding telejour -
nalistic credibility and making that
whole absurdity very entertaining.
There, they developed a parodic sketch
entitled O Mundo no Ar.
There went the anti-reporter and
who directed the scene and every now
and again chatted with Varela, thus
revealing his involvement in the report-
convention of the Brazilian Democratic
Movement Party (PMDB), at the multi-
Pinheiros in So Paulo. Varela, however,
announced the event as a launch party
for the program. Names such as politi-
cian Ulisses Guimares and economist
and former planning minister Joo
Sayad were shown expressing how hon-
oured they were in participating not
of the party, but of the convention. This
information, however, went unnoticed by
most spectators.
Despite its short duration, the pro-
gram consolidated the intervention
of Marcelo Tas sassy alter ego in the
coverage of a Brazilian political and
social agenda. Varela interviewed per-
sonalities such as Luiz Incio Lula da
-
elled to Serra Pelada, Havana and New
York, in addition to having probed deep
into the internal workings of Brasilia,
especially the National Congress. Oper-
ating from behind the scenes of politics,

he coined phrases which summed up his
brazen, cheeky attitude, like: Deputy,
do you believe what you say? to Nelson
Marchezan (Democratic Social Party, or
PDS) or Is it true, Mr. Maluf, that you are
a thief? to Paulo Maluf (PDS), who was,
by then, a presidential candidate with
support from the military government.
After four episodes, O Mundo no Ar
was cancelled by Adolfo Bloch, Jewish
owner of TV Manchete, who thought
that a humorous skit during one of the
programs was insulting to the Jews.225
In 1987, in the same year in which
Videobrasil Festival, the group left free-
to-air TV. This change led to its gradual
dispersal, as the groups members be-
came involved in personal projects.
After a sojourn in the United States,
Netos do
Amaral program (1990-1991), on MTV,
a parody based on the nationalistic
jingoism of the Amaral Neto, o Reprter
program (1970 thru 1983). Other projects
soon began to reunite the original mem-
commercial and institutionally oriented
proposals.
An experience undertaken by Marcelo
Machado and Fernando Meirelles between
the years of 1987 and 1988 prolonged the
connection the videomakers had with the
- endeavored to give their video-reporters
ing of televisions production means. The
experience occurred within TV Mix, aired
by TV Gazeta, a daily entertainment,
information and service program for the
225
Marcelo Tas said that his leaving TV Manchete
was brought about by a surrealistic misunderstanding.
The broadcasting companys owner, Adolpho Block,
didnt like a parody we produced on a famous commer-
cial for Apple computers. The scene showed a world
dominated by Big Brother, by George Orwell. Mr. Block
though it was a line of Jews heading for the gas cham-
bers. (Cf. Idem, p. 216).
291
state of So Paulo. It was in this context
that the bee reporter was born, a vid-
the city covering news as it took place. As
a one-man crew recording and interview-
ing at the same time, the reporter would
then rush back to the studio, which aired
the material without edition.
director of the Casper Libero Foundation,
Jorge Cunha de Lima, arose, according
to Meirelles, from the lack of TV Gazettas
funds at the time to keep more than one
team on the street for the program. Along
VHS cameras opened new possibilities as
well. Machado remembers that, with the
Camcorder, cameras became a one-man
tool. Like a pen226. Technology collabo-
rated with the need for low production
budgets. With the price of one team, we
were able to hire new students, forming
new teams227, Meirelles concludes.
VHS up until then had been an excep-
tion on TV, as its media and production
of aesthetics, Meirelles and Machado
wagered on the bee logic. Recalling Max
Headroom228, a computer-generated TV
they had watched during their Olhar
a few personal traits, such as vests that
were easily recognizable on the streets.
226
From an interview with Marcelo Machado for the
Dirio de um Videorreprter blog, by Paulo Castilho.
Available at: <http://goo.gl/6UAl7m> Accessed:
16/5/2015.
227
From an interview by Fernando Meirelles in the
same blog. Available at: <http://goo.gl/c81iZ7> Ac-
cessed: 16/6/2015.
228
Max Headroom was the first TV host generated
by a computer. Created in 1985 for the film Max
Headroom: 20 minutes into the future, aired by British
TV and later transformed into a series.
 292

Other characteristics were found in the elevator before any of the major press
practice. The bees experimented using vehicles were able to do so229. Besides
diverse transportation means such as being agile in broaching his subjects, An-
haias microphone was to him a constant
different methods of broaching people channel for assuming positions and pro-
on the streets and always had to rely on voking common sense.
improvisation, since none of the material On the side he continued his ac-
was ever edited. tivities as artist and journalist and in
The dynamics of the incentives addition to his work for TV Gazeta in the
and innumerous adversities faced, as late 1980s was a constant collaborator
seen in the context of a university TV on radio stations and newspapers, in-
station, associated with the Csper cluding in sections dedicated to letters to
Lbero Faculty, helped in forming many the editor from readers230. Because of this
new professionals who later continued
- himself as a practical artist. He truly
eo and in other arts in general. Among did many things and allowed himself the
these are Caio Fernando Abreu, Cleber right of, in the middle of giving real news,
experiment with fallacies, distortions and
Marcelo Guedes, Renata Netto, Serginho controversies. In 1985, on the Verdades
Groisman, Astrid Fontenelle, Anna e Mentiras radio program, aired by the
Muylaert and Ale Primo. University of So Paulo, he announced
Another bee was Geraldo Anhaia that the Serra do Mar had slumped
Mello, who was an active video art- into the sea231. Upon publishing, in July
ist already in the late 1970s, when he 1994, Lavagem s ostras [Oyster Swill],
an anthology of 55 articles on a variety
performance A Situao [The Situation] of subjects written for his column in the
(1978) with the museums Portapack Jornal da Tarde
camera. The video was made with one alleging, what I write is hogwash. Read-
stationary camera focused on the art- ers are the precious pearls that consume
ist himself playing the role of a host my garbage232.
for a news program, getting drunk on Amid his wide array of activities, that
cachaa while repeating one news item
(The Brazilian social, political, econom- independent attitude, despite having
ical and cultural situation). Despite not constructed an institutional trajectory
being so well known, he could be seen in the press and cultural circles, was
as a prototype of that which in the up-
coming decade innumerous producers,
including Anhaia himself, attempted to 229 According to what ex-bee reporter, Marrcelo
do inside the TV companies: deconstruct Guedes told Paulo Castilho. Available at: <http://goo.
hegemonic television genres and the gl/yQvf0j>
230
Accessed: 12/6/2015.
The artist collected his articles published by the
public exercise of cultural emancipation Brazilian press and, before passing away, in June 2010,
through information. published many of them in the Fatos e Fotos [Facts and
At TV Mix, this was Anhaias role. He Photos] blog. Available at: <http://goo.gl/FlZvig> Ac-
caused a major impact when, after Luiza cessed:
231
24/6/15.
- Cf. Artista protesta contra radiao, published
in the Cidades [Cities] supplement in the Folha de
rently to PSB) was elected mayor of So S.Paulo newspaper on 15/11/1986.
Paulo, he managed to sneak into her 232 Cf. MELLO, Geraldo Anhaia. Lavagem s ostras.
apartment building and interview her in So Paulo: Sniper, 1994, p. 54
 293

the screening of Beyond Citizen Kane, on than submissive, untruthful, a censor, as

27th May 1993 at MIS-SP. The documen- well as wearing a ridiculous wig234.

same year for Channel 4 of BBC London,

tells the history of Rede Globo and its al- The fly in the
liance with Brazils military dictatorship.
The groups founding father, Roberto ointment of
Marinho, is compared with Charles
Foster Kane, the newspaper tycoon cre- c o n s u m e r i s t
Citizen Kane, 1941. s o c i e t y
Anhaia headed the museums vid-
eo department, a public institution If the idea of mass media entails the
connected with the So Paulo State gov- organization of an ideological agenda with
ernment. By order of the then governor which political power can be exercised
-
al production model, dependent on large
The press heatedly struck back against economic and technical subsidies, and
the censorship. The museum replied by in turn, rooted in high expectations in
alleging that the copy was defective as
well as having problems with the copy- The industrial scale of the operations of
rights. In contradiction to the museums the media is a factor which undoubtedly
communication, Hartog himself divulged -
a document in which he authorized the adigms. References to taste, for example,
- arise not only as an a priori assumption
where in Brazil. made by the media outlet, in the exercise
No longer working at MIS-SP, but of an educational function, but also from
still basking in the limelight the case had the search for popularity. Such reference
turned his way, Anhaia programmed an- adds a popular235 dimension to the pro-
gram, along with its derivations, such as
pop and folksy.
located inside the Martinelli Building. He The myriad dimensions of printed
also made VHS copies to distribute the and television media as a structure
that is inherent to consumerist society
bookstores and universities and published spurred a number of artists into carry-
a book on the subject233. Quartim de Mo- ing out interventions in the turn of the
raes, press agent for the So Paulo Cultural 1990s. Their motivations stemmed both
Secretariat, made a public apology for the
event saying that Anhaia was crazy. In a 234
note sent to Veja So Paulo on 23rd June The note by Geraldo Anhaia de Mello was pub-
lished in Veja So Paulo on 23/6/1993, in response to the
1993, the artists responded to the accusa- article O vdeo sensao, from 16/6/1993.
tion by replying that it is better to be crazy 235 In Culturas hbridas [Hybrid cultures], Nstor
Garca Canclini states in the act of consuming, the
popular sectors always lie at the end of the process, as
recipients, spectators who are forced to reproduce the
cycle of capital and the ideology of the dominant
spheres. Cf. CANCLINI, Nstor Garca. Culturas
233
MELLO, Geraldo Anhaia. Muito alm do cidado hbridas: estratgias para entrar e sair da modernidade.
Kane. So Paulo: Scritta Editorial, 1994. So Paulo: Edusp, 2008, p. 205.
 294

from the desire to feature in this massi- Leirners experiment in the period-
ical brought the Arte em jornal [Art in
dissolving the dichotomy between high newspaper] project to a close. Coordi-
and low culture. Nelson Leirner whose nated by Jacob Klintowitz 239, the project
Dadaist matrix of making work had led
him to investigate the boundaries be- generations240 with double spreads in the
tween art and merchandise, commodity Saturday Supplement. The initiative was
fetishism and ownership since the 1960s set up by the newspaper whose trade-
featured an image of a mesh of insects mark was the willingness to take risks in
over a plain grey background in the Jornal its editorial approach, which comprised
da Tarde newspaper on 15th July 1989. the visual identity created by Murilo
He claimed that he orbited around the Felisberto, the essayist and literary style
possibilities of graphical experimentation of writing of the North American New
and circulation presented by this vehicle Journalism241 movement and the edits
236
. However,
he undoubtedly did so as an artisan,
the Grupo Rex collective, formed the previous year by
opinion, was laying the industry to waste Geraldo de Barros, Nelson Leirner, Wesley Duke Lee
and also annihilating art, and opposing and the art students Carlos Fajardo, Frederico Nasser
himself to the increasingly commercial and Jos Resende. The exhibition opened with works
by Leirner displayed with a notice informing that they
and individualized structures of creation could be taken away by the public. In no longer than
as a result.237 eight minutes the gallery was stripped bare and the
The image, conceived in partnership event was over, ending the history of the collective with
with Carlos Alberto Kose, responsible for this ironic commentary about the art market, which
the artwork of the Jornal da Tarde, oc- was then starting to develop. In 1970, he carried out an-
other happening, performed this time in the great open
cupied the entire page, without a title or hall of the modernist building of the Faculdade de
caption, and represented a combination Arquitetura e Urbanismo / School of Architecture and
of pleasure, delectation and problem. Urbanism of the Universidade de So Paulo (FAU
USP). The artist set up a tunnel-like structure made
artists can be a problem for the other with black garbage bags, and was taken by surprise
the following morning when he realized that the work
and for the collectivity. Being a part of, had been dismantled and its parts had been taken by
not to mention having been formed by the institutions students and teachers. Instead of trig-
consumerist society and by the waste it gering the collective experience, both works confirmed
produces and disposes of, these char- that the fruition of an artistic experience, in some cas-
acters encapsulated its incongruities. es, takes place on an individual and individualistic
basis, just like any other form of consumption.
The same incongruities that Leirner had 239
The journalist and art critic was previously cited in
this book, regarding the episode of a disagreement
linked the fruition of participative works with the 3ns3 collective, in 1979.
240
such as No-exposio (1967) and FAU The artists who participated in the Arte em jornal
USP (1970)238 to their fetichist disintegra- were: Yutaka Toyota, Renina Katz, Tomie Ohtake, Ivald
Granato, Maria Bonomi, Marcelo Cipis, Claudio Tozzi,
tion. Jac Leirner, Wesley Duke Lee, Waltercio Caldas Jr.,
Lygia Pape, Hrcules Barsotti, Dudi Maia Rosa, Nelson
Leirner and Luiz Paulo Baravelli.
236 241
Cf. Um artista se esconde nas ideias, Jornal da This genre of journalistic reportage arose in the
Tarde, 15/8/1989. United States in the early 1960s, with key figures like
237
Idem. Tom Wolfe, Gay Talese, Norman Mailer and Truman
238
The No-exposio [Non-exhibition] took place at Capote. In 1956, Capote published a text which is con-
the end of 1967, in the form of a happening performed at sidered a forerunner of this style in The New Yorker
the closing event of Rex Gallery & Sons, a space ran by magazine, a profile on the actor Marlon Brando
 295

of front pages that invited the public to the best selling newspaper in the city of
construct the news. On 28th January So Paulo244. They created that which
1991, for example, beneath four head- artists and gallerists conceived as a
-
duced, with the authors approval, by the
dozens, even hundreds of copies. In this
here your extraordinary headline]. context, the print run reached just about
The Arte em jornal series was initiated 120 thousand issues.
on 8th April 1989, as a new experience of As had occurred in Nelson Leirners
communication-art within the structure edition, the investigations carried out on
of the Jornal da Tarde: printing plants, the two-dimensional surface of the page,
archive of photographs and texts, the like the use of images and drawings, for
newsroom and the photographic depart- example, predominated over those of a
ment, poets, intellectuals and scientists more experimental character, such as
as special guests.242 The idea was to re- three-dimensional, urban interventions,
which sought other places for the work.
in a reproducible medium like the news- The majority of the artists transited
paper. According to the introductory text through the terrain of images that were
unfamiliar and out of the ordinary, per-
meated with key elements which seemed
A singular expression in its out of place, with intentional varia-
conception, but multiple in its tions in the design of the project and
production process and in its ef- with discursive proposals in the form of
fects. [The project] Is an answer conceptual writing, image inscriptions
or even visual poetry. In the interven-
our time poses in face of mass tion entitled Furos [Holes], published
production and consumption. on May 27th 1989, Jac Leiner dismissed
Is individual creation possible? the possibilities that proceeded from her
studio directly to the offset printing plate.
of art still have any meaning at a Seeking out an experience that was not
time when its technical reproduc- just visual, but tactile, she chose to
tion is possible? 243 work in the newspapers printing facility,
manually modifying the printing pro-
In a parallel circuit to that of the art cess of the pages of the periodical. She
market, the artists produced works that positioned herself next to the Goss a
adapted themselves and addressed the cutting-edge245
subject of the reproducible medium in
244
The Jornal da Tarde distributed approximately 120
thousand copies of its Tuesday, Thursday, Friday and
entitled The Duke in his domain.Talese defined New Saturday editions. On Mondays and Wednesdays, it
Journalism as often reading like fiction, but is not fic- reached 190 thousand.The numbers granted the news-
tion, [] which allows, demands in fact, a more paper the title of best-selling newspaper in the greater
imaginative approach to reporting, and it permits the metropolitan area of So Paulo. Cf.Ruyzito, satisfeito
writer to inject himself into the narrative if he wishes. com o apoio s novas propostas. Jornal da Tarde,
(Cf. Cold Blood Analysis. Available at: <http://goo.gl/ 5/5/1990, p. 9B.
245
iR73F9> Accessed: 01/07/2015). The data provided by the Brazilian Printing Indus-
242
Cf. Arte em jornal, Jornal da Tarde, Caderno de try Association (Abigraf) shows that in the turn of the
Sbado, 9/4/1989. 1990s a number of media outlets modernized their
243
Idem. printing machinery, driven by the opening-up of the
 296

that time, capable of printing 45 thou- news, Leiners literal holes promoted a
sand copies an hour and, using pliers, suspension of the medias discourses and
twisted the metal fasteners attached to of its claim to reliably represent reality. In
the machine rollers through which the its place, they awoke to reality itself, to

The small traps generated numerous

- and saliences.
ally blank, displaying only the title of the Another interesting experience, which
- also associated the mediatic intervention
to an action which was extrinsic to the
to that which was carried out by Antonio surface of the newspaper, was carried out
Manuel in the 1970s, Leirner established by Waltercio Caldas. Using the structure
a type of creative laboratory in the print- of an electronic billboard on So Joo
ing facility of the Jornal da Tarde. After Avenue, in the centre of So Paulo, the
testing out a few ideas, she concluded artist transmitted two phrases through
that the night: Isto como sombra [This as

With the holes, I achieved a here]. By way of a game of opposites (light

synthesis. The information that is
cut out and does not solidify it-
self into text. That is why I didnt
even out a configuration of holes.
It is an empty form of seduction.
Instead, the appeal of real infor -
mation. [] I dont talk about
anything. The work simply impos-
es itself. I wanted this newspaper
to be a grater, to be extremely
rough. 246
The title Furos added double mean-
ing to the work. At the same time as it
made reference to the artists operation,
whose effects are witnessed by the page-
work, the term also alluded to the jargon
furo jornalstico, a Portuguese idiom
is reported before the competition, or
a scoop. Grafted into the blank space,
where there was complete absence of
Brazilian internal market to imports. (Cf. Mercado re-editorial content. The artist and visual
trado: grficas e fornecedores apontam solues para
melhorar, Negcios da Comunicao, available at:
<http://goo.gl/IoQDW5> Accessed: 10/9/2015).
246
Cf. Furos. Essa artista provoca voc, Jornal da 247 Cf. Fbrica de ar, Jornal da Tarde, Saturday sup-
Tarde, Caderno de Sbado, 27/05/1098.
and shadow, that and here; that which
is visible and that which is hidden, that
which is near and that which is far), the
artist sought to problematize the concept
of news, in the same way as his previous
works do with the idea of sculpture.
Operating as statements in the public
space, and in this sense, in a similar way
to the media, Waltercio claimed he did not
want to misuse the machine [as matter
for sculpture], but to make use of its ca-
pacity to produce meaning.247 The action
carried out in the streets became a news-
paper report. Bleeding off the edges of the
page as a photographic record, it drew
the conceptual tautology of the work to a
close. It became a sculpture-page, news
of a public sculpture, a sculpture of news
and news in itself, all at the same time.
In the following years, the Jornal
da Tarde remained in close proximity
to the artists. In addition to its intent
of supplying the reader with cultural
repertoire, it continued interested in im-
plementing language experiments in its
plement, 29/04/1989.
 297

poet Lenora de Barros248, who had also

worked in the redesign of the Folha de Witt, the worlds largest hairdo, Marcel
S.Paulo 249 in the late 1980s, was invited Duchamp when he shaved the star on
his head, and the Xipfagas Capilares
write a regular column on Saturdays.250 [Capillary Xipophagi] (1984) by Tunga
umas came into existence in the space were published in the Capillary Forms252
of a vertical strip that ran from the top to edition, revolving entirely around hair.
the bottom of the page, and was directed Through the use of images with small
at Brazilian and international contem- texts, a sort of pre-blog253, Lenora, in
porary art, interspersed with comments, -
musings, ideas and works by the artist,
along with variegated thoughts on gen- themes came from her own personal
eral topics. work. At the time of the column given
as an example, the artist had just made
It was a constant memory ex- Hair Styles
ercise. Google didnt exist at the using various digital hairdos254.
time and I used the newspapers Analogies were commonly used in the
data bank, which was fantastic. three years of umas.
Copyrights werent as regulated as in which visual poems or registers of per-
they are today. The papers legal formance were laid out in such a way as
department told me I could use the to take up the entire space, the column
images since what I was doing was wound up alluding to aspects of real or
considered art criticism251. virtual interlocution. Not unlike sports
played by two, or especially ping-pong,
which had already been used as a
248
Lenora had collaborated with the Poesia em Greve
metaphor for previous work255, Lenora
[Poetry on Strike] and Corpo Estranho [Foreign Body]
magazines, both edited by artist Julio Plaza. one point and the other.
249
In a public interview granted to Ana Maria Maia, at The exemplary Jogo de damas256
the Trienal de Sorocaba, on 22/4/2015, Lenora told that [Game of checkers] was construed
she started to work at the Folha de S.Paulo em 1986. I
started out as an art editor. They intended to redesign
based on the similarities between the
the newspaper. As I came from concrete poetry, I think
I already had a passion for graphic design.They invited
252
me to create the first-stage design of the sections of The Formas capilares edition was published on
the periodical.The first section was Sports and next, 28th May, 1993.
253
the cultural section called Ilustrada. Next they want- According to that stated by Lenora in her
ed to rethink the design based on the experience of the interview.
254
Jornal do Brasil. Rethink the use of photography, photo- The same image was used in Procuro-me, pub-
journalism. I concluded this stage and travelled to lished in a Folha de S.Paulo supplement in 2001, soon
Italy, as my husband [Marcos Augusto Gonalves, re- after the September 11th terrorist attack in NewYork. In
porter of the newspaper] was sent to work as a foreign this context, the artist used a frightened face in a por-
correspondent there. At the Folha, the artist published trait alluding to the wanted posters of Osama Bin
a number of visual poems, such as X, dor! [Shoo, Laden, held responsible for the attempts.
255
pain!] and Retroviso [Retrovision]. The ping pong balls are recurring elements in other
250
The Jornal da Tarde was its team of columnists. Be- work such as Olhos de Lil [Lils Eyes] (2000); Dividir
sides Lenora de Barros, it invited names from several ideias, multiplicar imagens [Divide ideas, multiply
areas, such as the singer Rita Lee, the journalist images] (2001); Deve haver nada a ver [which can be loo-
Marlia Gabriela, the anthropologist Roberto da Matta sely translated as There must be nothing to do (with)
and the filmmaker Cac Rosset. All of them wrote on a or see] (2002) and the series Ping-poemas (2000-).
256
fixed day of the week. The Jogo de Damas edition was published on
251
In interview with Ana Maria Maia. 31st July 1994.
 298

performances Ensaio para joo-bobo - in Lenora as editor, narrator and, most of

say for Bobo doll] (1993), by Lenora, and all, in the character she enacted.
Mes Poupes [My Dolls] (1993), by French In the early 1990s, a time still marked
Marie Ange Guilleminot, both based on by the previous decades hedonism and
the gesture of cloaking oneself in a white expressiveness, visual artists were sig-
cocoon. Laid out one opposite the other
in such a way that if the page were dou- media not unlike rock stars or TV actors.
bled over the two artists would come face Be it through their own devices or after
to face, the images were supplemented being broached by the vehicles, they
by the caption how two number ones underwent an especially media-oriented
moment, one of the few in which the de-
un-mirrored destinies257. sire to reciprocally collaborate could be
Less for exacting originality than for
disseminating shared sympathies be- experimentation and vice-versa.
tween strangers258 and not necessarily In a timely proposal in May 1991,
related or alike, the idea of de-mirroring which lasted only a single day in the
allowed for the senses to bifurcate while ltima Hora260, in Rio de Janeiro, Ricardo
understanding remained open, even Basbaum published instructions on how
alongside so-called objective journal- to construct new perspective bases
istic genres. In another column, the amid the profusion of images and symbol-
artist asked herself without offering any ic appeals for consumerism. Contention,
replies: [Would] duplicating images be impulsion and contamination, the artist
multiplying or dividing ideas?259. recommended, for himself more than
For three years, in around 130 edi- for anyone else. In a broader sense, the
tions, umas created dilemmas and, script could possibly be used to create
at the same time, empathy for complex paths for media interventions more
themes, such as representation and
archiving in the contemporary world. moment. If contention meant the neces-
Conceptual, in the manner in which it sity of critical perception and resistance,
deconstructed the mechanisms of dis- contamination, on the other hand, de-
course, as well as pop, in the boundaries manded involvement and exchange. It
it established between art and the cultur- would therefore be necessary for artists
al industry, the column found its balance to come together in paradigms which are
not exclusively their own and to anoint
257 themselves in others ointment, drawing
Idem.
258 on its powers and effects, making it their
In interview with Ana Maria Maia, Lenora revealed
cure and rendering it their own.
why she used the image from the work of Marie Ange
Between adoring and parodying all
Guilleminot, without, at the time (not even on the occa-
kinds of cultural refuse, from kitsch
sion of the statement), having known her personally: I
had this costume I had made for a Bobo doll. In Geneva
through to popular, as seen on the
at an exhibition by this artist I saw a costume similar to
streets in the city and in Saara, the
mine. I used it for a column but never actually met her. I
later got the impression I was setting forth the possi-
bility of dialogue. And then at Piv [in So Paulo, products in Rio de Janeiro, Mrcia X. is
where the artist held an individual exhibition in 2013], a an example of an artist who let herself
French curator took a picture of the column and said he
would send it to Marie Ange.
259
After having published in Jornal da Tarde, this edi-
tion was transformed into the Duas Operaes [Two 260 Cf. BASBAUM, Ricardo. Imagem, ltima Hora,
Operations] work (1994/2004). Revista UH, 10/5/1991.
 299

be contaminated by the logic of mass catchphrase who wants money?, was

media. Armed with the materials, heroes, a great success with those in the lower
end of the socio-economic hierarchy and
culture, the artist brought into her pro- resulted in record audience rates for the
fessional venue aesthetical paradigms channel.
- The project never reached fruition nor
iarity. After all, they differed from those are there any indications that a pilot was
hailing from high culture which persisted ever made, perhaps because of the techni-
in being practiced there, despite theoret- cal complexity and high costs involved in
ical debates on overcoming the great producing and airing audiovisual content
divide261. on the cable system at the time. However,
Commercial television programming fundamental evidence for its concept can
was one of these mundane structures be found among the annotations265 left by
she was attracted to. Because of the way the artist before passing away in 2005.
Hosted by Mrcia X. and Silvio Santos
as a duo, TV Studio was to follow the same
262
, she considered television a synthe- routine of attractions commonly seen on
sizing object of the 20th century263, the talent show programs. The jury, however,
aesthetic repertoire of which should still would be different as it would be comprised
be thoroughly investigated within the of specialists in loco and another off the air
made up of artists and critics who would
attributes. -
In a project such as TV Studio a glria en each candidate and then send them in
por um minuto [TV Studio a minute of to the studio. The sum of the scores from
glory] (1987), Mrcia X. revealed herself both the juries would represent the in-
to be a fan of SBTs main host and owner, tersection between contemporary art and
Silvio Santos, included in her collection popular culture, in an attempt to identify
of icons of the human race264. Together the myths and fundaments in which these
with Alex Hamburger, Aimber Cesar and artistic manifestations structure their lan-
Mauricio Ruiz, the artist intended to in- guage266.
tervene in an auditorium program such The Coroao da Miss Mundo de
as the talent show Show de Calouros Plstico [The Coronation of the Plastic

[Door of Hope] (1984-1996), which, with program. With the candidates on stage the
the participation of the audience and the two juries were to elect a winner and create
common criteria for the following catego-
ries: luminescence, environment, joint
261
Cf. HUYSSEN, Andreas. After the great divide: venture, swagger, cleavage, tools,
modernism, mass culture, postmodernism. adhesion and exist267.
Bloomington and Indianapolis: Indiana University
Press, 1986.
262
Excerpt from original manuscript belonging to the
265
records department of the Rio de Janeiro Museu de The personal collection of works and projects of
Arte Moderna (MAM-RJ), no page. Mrcia X. was donated to MAM-RJ in 2013. The initia-
263
Excerpt from original typewritten text belonging to tive unfolded from the exhibition curated by Beatriz
MAMs records department, no page. Lemos entitled Mrcia X Arquivo X, held at the mu-
264
The logic behind the cones do gnero humano seum between February and April 2013.
266
[Icons of the human race] collection was initially for- Excerpt from artists typewritten text, no page
mulated by the artist in an exhibition of the same name, (MAM-RJ Collection).
267
in 1988. Idem.
 300

The populace the camera. The authors says:

speaks on I wanted to radicalize the idea

that people were in a space which
satellite dishes was a non-space of sorts. Faces
were the landscape. You would
and in the read everything in the peoples
faces and nowhere else. [] [It
c o m m u n i t y would be] a video able to be un-
derstood no matter what language
While this generation of artists and they spoke 269 .
independent producers sought to decon-
struct TV as a vehicle for disseminating
hegemonic discourse something that with up to 3 minutes runtime each, the
helped consolidate the political/
footage likened TV to a non-place, as
economical empowerment of its sponsors expressed in the metaphor of a suppos-
and alienated the populace in general edly universal black box. Most of all, it
, they were also active in multiplying counted on capturing diversity through
enunciation sites and supporting ges- the people portrayed. Strangers among
tures of self-representation. In three ofthemselves, their ethnicities, costumes
her productions, seen in video-art ex- and languages were confronted in Koguts
hibitions and on TV channels, Sandra -
Kogut asked herself how do people want ed in the partial or total incomprehension
to show themselves? Who do they think of that which was said, since it is stated in
they are publicly and how are they going different languages. What would be un-
to act out this persona?268 derstood, says Kogut, was the complexity
First came Videocabines so caixas and the irreducibility of differences. The
pretas [Video booths are black boxes] andvideo thus became a possible projection
What do you think people think Brazil is?for the global village270 described by
-
Marshall McLuhan, a retribalization of
nisms: a photo kiosk located in a public distant people through electronic media.
area allowing pedestrians to enter and However, the contacts it engenders did
freely express themselves in private. In -
1991, after an invitation extended from tions, and remained in need of subtitles
or explicative preambles.
In Brazil, the segments were exhib-
author realized Parabolic People. Using ited during the breaks in MTV Music
Televisions programs, with excerpts
intimate kiosk, Kogut traveled to dif- focusing on themes such as localism,
ferent cities around the world to record racism, globalization and even TV itself.
individual expressions, accents, sponta-
neous messages as well as answers to
269
Idem.
270
The term global village was first described in the
book The Gutenberg Galaxy: the making of typographic
268
Statement given at Videobrasil 30 anos. Available man, from 1962 and was in Understanding media: the
at: <http://goo.gl/zcT1Ej> Accessed: 29/6/2015. extensions of man, from 1964.
 301

what is the difference between a window In an even more commercial and pop-
and a TV?. Through the use of digital ular context, the polyphony which had
edition resources, the author arrived at motivated the author to begin her investi-
what Yvana Fechine called polyphonic gations into video and self-representation
video edition271. are found suitable for a project antago-
The idea of window, in this context, nistic to the initial one. Too minimal to
reverse the cultural standardization proj-
ect which a broadcasting company like
In the second place, it has to do with TV Globo historically practiced in Brazil,
the self-referenciality of that particular the proposal aimed at being aired within
representation of the real in video. Com- an environment marked by the exoticism
prised of innumerous planes inserted on
the same screen, either by fusion or jux- the identity of the means in which con-
tent is exhibited, or even their power to
Parabolic unveiled the image frame as a co-modify and naturalize all radical ges-
narrative structure. Upon opening innu- tures in their programming, underlines a
merous smaller windows within that of crucial issue of media interventions. To
video and television, it de-functionalized what extent was her utopia of contami-
and begins to investigate them as rhet-
oric and form, to be combined through to transform them, even momentarily,
digital edition resources, graphic sym- instead of merely supplying them with
bols, transitions and animated lettering. positive attributes, such as newness, risk
Vertical narratives, which thwarted and experimentation?
the progression of a linear story, could
also be seen at this time in the language the few roads left would be the alterna-
of music videos and art breaks272 tive networks and the disputes arising
aired by the broadcasting company. through their use in the direction of
After Parabolic, which was awarded at re-democratizing social communication.
the Videobrasil Festival in 1992, Kogut This route which naturally involves
took this type of aesthetics to TV Globo, other regimes of visibility, as well as other
where the videomaker directed the Brasil agencies, funding mechanisms and bal-
Legal273 program (1995-1998), as hosted ancing items was embraced in 1984
by TV Viva, an independent production
house associated with Centro Luiz Freire,
271
FECHINE,Yvana, op. cit., p. 95.
272
Format created by the station for short-form exper-
the state of Pernambuco. Founded by
imental content aired in intervals between programs.
(Cf. LOVELL, Sophie (Org). MTV on Air: The Visua Barroso and Nilton Pereira, it was the
l Message and the Global Language. Berlim:
Die Gestalten Verlag, 2005) social movements274.
273
Brasil Legal was a program from the Guel Arraes
nucleus atTV Globo. First aired in December 1994, as a
year-end special, it was prolonged until April 1998, and
aired onTuesday, Wednesday and Sunday night. It pre- Memria Globo, Brasil Legal. Available at: <http://
sented news reports as well as fiction skits made on goo.gl/wxeQ04> Accessed: 29/6/2015.
274
trips throughout Brazil. It counted on the talents of BEZERRA, Cludio. O riso como alternativa es-
writers such as Hermano Vianna, Pedro Cardoso, ttica para o jornalismo eletrnico: caso do Bom dia
Jorge Furtado and Cludio Paiva. When Sandra Kogut Do, da TV Viva. Articled presented at INTERCOM /
became director of Brasil Legal, she worked in associa- XXVI Congresso Brasileiro de Cincias da
tion with Joo Alegria and Luiz Felipe de S. Cf. Comunicao. Belo Horizonte, held between 2nd and 6th
 302

Diverging from broadcasting logic, He was outgoing, a ladys man and sassy.
which airs a wide-reaching program from He involved the audience downtown in
a central point (one-to-many model), TV his dramatic skits277 and jokes both of
Viva was organized not unlike an itiner- which broke the ice and provoked the
ant caravan. They produced a one-hour audience.
th
,
on the outskirts of Recife. The screening
circuit was disseminated by word of
Fernando Collor de Mello government,
was taken to the site in a Kombi van. The and went out on the streets to hear the
idea, according to researcher Cludio
Bezerra, was to create content that was Quem v cara (no) v Aids278, he broke
different than that aired by major tele- the silence reigning over HIV and AIDS
vision channels, but which would also and discussed ways of avoiding conta-
double as a space for articulation and gion. The people speak, a journalistic
resource in which to broach the imme-
local community275. After the show, a mi- diate opinion of part of the populace on
crophone was provided for the audience
to manifest itself, suggest themes for new not only as a source of information, but
programs and participate in debates and mainly as one for putting current issues
social commitments. into a subjective perspective and one of
Using genres easily recognized on empowerment.
TV and by their targeted audience, the The slogan TV Viva, a sua imagem
program TV Viva -
Maluca (for children), Quatro Cantos ect aimed at the cultural and political
- formation of the more needy population
ture), Jornal Olho Vivo (journalism), -
tation. As the production houses main
(humour). The structure of the last two objectives were aimed precisely at the
also used journalistic resources such as communities on the outskirts of town,
interviews, but the object was to satirize and not in the convergence of any he-
the construction of news and emphasize gemonic model, TV Viva was active for
that which was heard on the streets.
The host for both the humour pro- It existed mostly through funds coming
grams was Brivaldo, a parody of a TV from international cooperation which
allocated money to third world countries
Played by actor Cludio Ferrario, he was
different from Marcelo Tass character
in the sense that he accumulated the
Cludio, op. cit., p. 11).
characteristics of a carnival-reveler276. 277 The skits were created together with the two film-
makers who accompanied Brivaldo, Adalberto
Porpta or Nilton Pereira. Not unlikeVarela, the report-
September 2003, p. 5. er-reveler also referred to the camera as a faceless
275
Idem. character, who he called Dagogerto. (Cf. Arquivo TV
276
Brivaldo was a mixture of reporter and popular car- Viva).
278
nival reveler. Both the program as well as its host Blocks of interviews with runtime of 14 minutes
dialogued with the popular Italian tradition of comme- aired in the program of 1st May 1988. (Cf. Arquivo TV
dia dellarte and plays from Pernambuco. (BEZERRA, Viva, DVD-B003).
 303

vo i c e s a nd
as well as raising funds by reinvesting t act ics
in other sources, among which were
commercial broadcasting companies in 200210
Brazil and other countries in the world
for whom they produced documentaries
and diverse programs.
In this manner, keeping in mind the
return of their activities on the outskirts T a c t i c s
and FR3 in France. In Brazil, Brivaldo
to be the
was seen in Casseta e Planeta Urgente!
and Programa do Fausto, on TV Globo,
SBTs Planto da Madrugada, Manchetes
m e d i a
Documento Especial, among others.

Temporary zones of consensus depict

positions where unexpected alliances
are forged, always maintaining the right
to disconnect oneself when opportune.279
The terminology used by David Garcia
and Geert Lovink, at the end of the
1990s, guided from then on a generation
of Brazilian artists and activists, which
inaugurated the 21st century making
critical propositions to the language, in-
stitutions and to the media framing and
agenda setting of mass media. If access
to increasingly inexpensive and home-
made technologies enabled the entry of
independent producers in large media
vehicles in the 1980s, the popularization
of the Internet280

279
The term used by David Garcia and Geert Lovik in
1997, in one of tactical medias earliest texts (Cf.
GARCIA, David; LOVINK, Geert. The ABC of Tactical
Media, 1997), derived from that which the pseudonymn
called temporary autonomous zone already with the
intention of triggering, in 1985, activism in information
networks. (Cf. BEY, Hakim. T.A.Z: Zona AutnomaTem-
porria: anarquismo ontolgico e terrorismo potico.
So Paulo: Conrad/Rizoma Editorial, 2001.)
280
The Internet was already underway since 1971,
when Vinton Cerf and his team connected three differ-
ent networks (interneting). In 1989,Tim Berners-Lee
invented the World Wide Web (www), a project con-
sisting of hypertexts to dynamize the transmission of
data from one point to another. This platform took
round about a decade to become popular around the
 304
of the hegemony of the media, using for
this, other places and strategies. In this
new dynamic of social communication,
the authors not only held the tools but
also the enunciation channels. The scale
of production stopped being a barrier to
the breadth of dissemination and recep-
tion.
This technological turnaround
which is inevitably semantic, episte-
mological and legal is still being built
281
crises of major
media corporations and force them to
rethink their activities, resources and
public. However, when it still presented
itself in its prototype version, this change
led to the organization of discussion
groups and the cultivation of dissent
and noise in the traditional media space,
such as television channels and news-
papers, but also in the streets, in e-mail
lists and in cultural events.
The idea was to appear on the
agenda-setting process, be a part of the
world. In Brazil the Internet was introduced in the 1990s
and at first was only made available for research in a
few universities. The net only started to be commer-
cialized by the Brazilian telecommunications company
Embratel around 1994, and became a service that could
be acquired by the general population of the country
the following year. (Cf. Histria da Internet no Brasil.
Available at: <http://goo.gl/mbwyT> Accessed:
01/08/2015).
281
Since the early 2000s, the largest media companies
in Brazil have started to cut back on their operations
and personnel. In 2010, the Jornal do Brasil permanent-
ly shut down. Between 2011 and 2014, the publisher
Editora Abril dismissed more than 400 journalists and
stopped publishing roughly ten magazines. The com-
pany had the highest number of lay-offs in the industry,
followed by the Estado and the Folha de S.Paulo, both of
which discharged 65 people each. Next came the
Grupo RBS (54), the online portal Terra (50) and the
Valor Econmico newspaper (50). The data was ob-
tained in a survey conducted by three specialized
websites: Comunique-se, Portal da Imprensa and Por-
tal dos Jornalistas. (Cf. A conta dos passaralhos.
Available at: <https://goo.gl/tkaYHw> Accessed:
01/08/2015).
so-called consensus zones, but in a
controlled and passing manner. Via the
hit-and- run282 strategy, the dissolu-
tion of criticism would be avoided in a
long-term institutionalization movement.
Different from the interventions that hap-
pend in the 1980s, which, in many cases,
resulted in the artists becoming a part of
therefore, of the parody and subversion
into a standard vocabulary , these
proposals arose in the year 2000 with an
awareness that it was necessary to politi-
cize the colaboration between civil society
and mass media, the individuals or small
representative groups and corporations.
Faced with radically different scales
dominance of a hegemonic agenda which
was not always interested in taking on
other approaches, it was necessary to
elaborate tactical responses, that devi-
ated from the direct confrontation with
the rival and combined actions and
resources so as to undermine [their]
strength and effects283
the Berlin Wall post-fall situation and
initiatives of what Garcia and Lovink
later dubbed tactical media began to
emerge in various parts of the world.
Tactical media is what happens
when the cheap do it yourself
medias, made possible by the rev-
olution in consumer electronics
and expanded forms of distribu-
tion (from public access cable to
the internet), are exploited by
282
Cf. GARCIA, David; LOVINK, Geert in CLINIO,
Anne. A ao poltica no cotidiano: a mdia ttica
como conceito operacional para pesquisas em mdia,
cotidiano e poltica. Revista Mdia e Cotidiano, artigos,
seo Dossi, anais do IV Seminrio Mdia e Cotidiano,
n. 1, p. 174, January April 2013. Available at: <http://
goo.gl/Z1eLte> Accessed: 18/9/2015.
283
Idem, p. 180.
 305

groups and individuals who feel the verse dont hate the media, be the
aggrieved by or excluded from the media287 that so clearly marked the
wider culture. Tactical media do trajectory of the group, which adopted a
not just report events, as they are
never imparcial, they always par - including the promotion of shows in
ticipate and it is that, more than fanzines and the distribution of records
anything else, which separates through the mail, bypassing the tradi-
them from mainstream 284 media. tional role of the major record labels.288
The bands aim in becoming the media
itself was to advance its own agenda and,
media circulated in the electronic dis-
cussion list Net.time, a follow-on to the of any centralized and perennial model.
Next Five Minutes tactical media festival, Taking their chance with home-made
tools, experimentation and amateurism,
1993, and was followed by another four contrary to any professional handbook,
editions in different cities around the the tactical media activists bet on a dis-
world.285 By setting in motion a group cursive genre rooted on experiences of
of narrative actions as well as those daily life and of collectiveness, without
associated with programming compu- incurring new representations or becom-
tationional systems, which cannot be ing institutionalized. Instead of crediting
dissociated from the facts, but rather the individual, they favoured horizontal
participate in their construction286, collaboration networks or even the ano-
the tactical media collectives naturally nymity of hackers.
began to weave connections with social The gesture was particularly pertinent
-
the democratization of the news media,
which has remained active ever since. the workings of a whole system for the pro-
In this political and technological duction and commercialization of works.
context, to appropriate mediatic dis- Attuned to this criticism, which echoed
courses to oneself had the purpose of practices from the 1960s and 1970s, when
destigmatizing the causes of the mi- great efforts were made to reconduct art
norities and empowering the voices of back into everyday life and to engage with
its members. The do-it-yourself ethic the micropolitics of vital experiences (of the
presupposed acts of self-representation
and self-management that at that point
were modelled on anarchist practices 287 The band The Dead Kennedys was formed in 1978
and North American punk culture. Jello in California. In 2001, during an interval from their
Biafra, the vocalist of the band The Dead activities, the vocalist Jello Biafra produced the record
Kennedys encapsulated this precept in Become the media, where he
expressed his views on themes such as the presidential
elections, the Green Party, the International Monetary
Fund, the Columbine massacre and the international
284
Cf. Idem, p. 170. fight for the democratization of the news media. In the
285
The following editions of Next Five Minutes track that addressed the latter, he coined the slogan
Festival of Tactical Media took place in 1996, 1999 and dont hate the media, be the media.
288
2002-2003. The lack of continuity and periodicity of the Anne Clinio (2013, p. 175) cites the popular slogan
event reinforced its transitory and anti-institutional DIY not EMI, based on a play on words referring to
character. the verb die, created to express the conscious rejec-
286
Cf. GARCIA, David; LOVINK, Geert in CLINIO, tion by musicians of the large record companies such
Anne, 2003, p. 171. as the multinational EMI.
 306
author, of the public and of the communi-
ty), several artists became media-activists.
Promoters of networks and founders of
a number of collectives289 which start-
ed to emerge at that time, they began to
perform, as recounted by the net critic
Ricardo Rosas, the function of creators
of strategies that will reverberate290. Or, in
other cases, they resonated with actions
previously carried out by third parties, act-
ing as gatekeepers for diversionary tactics
and approaches, as an agent between the
mediatic agenda and social and artistic
agency.
289
In a lecture he gave in 2005, Ricardo Rosas listed respected by intellectuals and artists.
the agents and factors which led to the formation of ar- The positioning was not only symbolic,
tistic collectives in Brazil during the turn of the century. but also strategic. Any spectator zapping
According to him, many contemporary Brazilian col-
lectives emerged from the active urban intervention
scene which had become widespread across country.
Originating partly from performance art, Happenings
and body art, and sharing a certain reverence for icons
of Brazilian art from the 1960s and 1970s, such as Hlio
Oiticica, Lygia Clark, Artur Barrio or Cildo Meirelles,
this scene communicated, exchanged information and
organized itself via the Internet, by email and in spaces
and festivals including the Interferncias Urbanas
award, in Rio de Janeiro, and the Perdidos no Espao
events, in Porto Alegre.[] It is amidst this growing in-
terest for questioning the parameters that govern
urban life, as well as for introducing new aesthetic acts
in this space, that several collectives begin to form.
Among other examples, groups such as Formigueiro,
LosValderramas, the combination of artists, architects
and VJs from Bijari, or A Revoluo No Ser
Televisionada, from So Paulo, Movimento Terrorista
Andy Warhol, Cramen y Carmen, or Atrocidades
Maravilhosas, from Rio de Janeiro, Grupo Empreza,
from Goinia, GIA, from Salvador, Transio Listrada,
from Fortaleza, and Urucum, from Amap, or even
spaces for collective meetings, and exhibitions and de-
bates, such as the Rs-do-Cho, in Rio de Janeiro or
the Centro de Contracultura, in So Paulo. The later,
partly organized by the artist Graziela Kunsch, encom-
passed a number of sub-groups such as Urbnia or
After-ratos.The list is likely to be endless, but here we
are [speaking of] a fragment of the scene. (Cf.
ROSAS, Ricardo. Hibridismo coletivo no Brasil:
transversalidade ou cooptao?. Rio de Janeiro:
Canal Contemporneo, 2005. Available at: <http://goo.
gl/A4TeZa> Accessed: 01/08/2015).
290
Cf. ROSAS, Ricardo in CLINIO, Anne, 2013, p. 176.
One of the collectives created in 2002
in So Paulo as part of this movement
was A Revoluo No Ser Televisionada
-
gro, Daniel Lima, Daniela Labra and
Fernando Coster. The group came togeth-
er to produce an anti-program of eight
weekly episodes to be aired in the late
night to dawn slots291 on TV USP. Despite
being a small college-operated station
run by the Universidade de So Paulo,
with very low ratings, it occupied chan-
nel 15, sandwiched between SBT and
TV Cultura, the former one of the most
popular networks in the country and
the latter the educational channel most
captured by the strange program.292
Named after the homonymous song by
Gil Scott-Heron293, which superimposed
a discourse against the mainstream me-
dia and the entertainment industry over
a funky groove, ARNST was marked with
a similar rhythmic and discursive vigour.
-
ages of a television station going off the
air and giving way to the frenetic rolling
screen of computer program code, a deep,
distorted voice fades in, such as the ones
used in police news reports to protect
anonymous witnesses. Could it be that
291
The weekly programme ran between 31st August
and 3rd December 2002, with only one interruption (in
October). The episodes were aired on Tuesdays at
1:30am and rerun the next day, at the same time.
292
As recounted by Daniel Lima to Ana Maria Maia in
his studio, in Perdizes, So Paulo, in March 2015.
293
The song The Television Will Not Be Televised
was released in 1971 in the album Pieces of Man (Flying
Dutchman/RCA). The lyrics were based on a poem
composed by the musician against the standards of
behavior imposed by television series, by advertising,
by the news and by the film and entertainment indus-
tries. The track became an iconic symbol of the Black
Power movement in the 1970s.
 307

the program host, an omnipresent big Hakim Bey296, presented itself as a

be highjacking that mediatic space? the spectacle. The revolution will be no

Possibly all of that at the same time. The re-run brothers; The revolution will be
presenter went on to say: live carried on the voice-over narration,
highlighting the chasm between reality
Welcome! We are now inau- and its invariably partial and unfaithful
gurating a new space, free from representation on television.
urban guerilla. A temporary, The programs unfolded from multi-
autonomous zone attack and layered audiovisual experiences with a
retreat. Keep on moving. The cam- syncopated script, as in music videos.
eras are pointed at us and, hiding The 20-minute time slot was divided into
between the interwoven frames we three blocks, which were mainly created
are sure that the revolution will by way of external collaborations. There-
not be televised. 294 fore, ARNSTs discourse resulted from an
editing and post-production process297.
According to the call to arms, the The task was precisely one of interweav-
same cameras that monitor our moves ing frames from different origins and
in a society of control should be appro- perspectives, based on a repertoire of
priated as a means of self-representation images that included video art produced
for invisible minorities. The possibility of by Brazilian contemporary artists, such
breaking the hegemony of mediatic dis- as Lia Chaia, Tiago Judas and Marcelo
courses thus lies not just outside mass Cidade; visual documentation of urban
media vehicles but also in street mili- interventions and pixaes; photographs
tancy, on the Internet and in alternative of social struggles; and unlicensed clips
movements. It also exists in the strug-
gle to break into the space occupied by
mainstream media and bring pressure to 296 Hekim Bey is the pseudonymn adopted by the
bear on its agenda by making tactical use North American historian, writer and poet Peter
Lamborn, whose work greatly contributed to the anar-
chist thought of the 20th and 21st centuries. His main
In other words, a proposal that work is T.A.Z.: The Temporary Autonomous Zone,
reached the networks schedules format- Ontological Anarchy, Poetic Terrorism (1985). In the
book he coined the notion of pirate utopias, by way of
block, interval, block, etc.) and bringing which one can envisage tactics of resistance and for
new freshness and experimentalism was the divestment of power. The copyleft licensed work
was released in Portuguese by Conrad and Rizoma
planted there to problematize295 the role Editorial in 2001. (Cf. BEY, Hakim. T.A.Z: Zona
of television in the consolidation of an Autnoma Temporria: anarquismo ontolgico e terror-
exclusionary and alienating dynamic ismo potico. So Paulo: Conrad/Rizoma Editorial,
of social communication. This tempo- 2001.)
297
rary autonomous zone, as heralded by The program, however, also included scenes or in-
terventions created by the group itself. Daniel Lima
produced the lettering for Daniel na cova dos lees
[Daniel in the lions den], with comments and citations
294
Transcription of the voiceover text from The Revo- superimposed over the images that were being shown.
lution Will Not BeTelevised. At the invitation of ARNST, the artist Ricardo Ramalho
295
In the promotional newsletter for the seventh epi- played the part of the Artista federal [Federal
sode, ARNST mentioned the practice of the Italian Artist], a comic character who sold his work and him-
collective CandidaTV as a reference, whose objective self in the programs short intervals. The sketch filled
was to infiltrate pop culture as a necrotic tissue from the spot of a commercial break, but in reality was part
the inside. (Cf. Boletim 7. ARNST Collection). of the editorial content.
 308

from Hollywood movies, advertising and founded upon parameters of identity and
commercial television. of the consumerist values of the elite,
In the fourth episode, a segment cre- ultimately reinforced the stigmas of pov-
ated by Daniel Lima which comprised of
As in a perpetual motion machine
robbery and hijacking of bus 174298, of of temporary antagonisms, of attacks
vehicles burned down by urban militia and retreats, this and other episodes of
in Brazil such as the Primeiro Comando ARNST sowed the seeds of the decon-
da Capital (PCC)299 struction of television. From the signal
which occurred in the set of the chil-
drens program Xuxa Park300, as it was
being aired by TV Globo. The slow-mo- stage and put the paquitas (the shows
tion juxtaposition of images to the sound stage assistants and dancers) and the
of melancholic background music rela-
tivized the consensus view on the agents accentuate the fact that television is not
and on the effects of the aforementioned capable of generating an empowered so-
tragedies. If, on one hand, they defended ciability or of combating the mechanisms
the destigmatization of the social out-
cast, criminal outlaw, somehow making is important to assert that, if on the one
hand the group of writers behind ARNST
actions, on the other they transformed accepted the invasion of television302 as
the destruction of the dream scenario an operational logic, at the same time
of television into a symbol301, which, it never ceased operating outside of the
mass media, fomenting alternative spac-
298
es and mediactivist networks.
The bus 174 incident took place in June 2000, in the
neighbourhood of Jardim Botnico in Rio de Janeiro.
The group had been organising
All the passengers were made hostage and held at events to present its programs and cre-
gunpoint inside the bus for almost five hours by Sandro ating other forms of artistic intervention
Barbosa do Nascimento, a poor young man who had in the streets and in cultural institutions.
survived another emblematic case in the history of vio- In March 2003, after the end of their sea-
lence of the city, the Candelaria massacre which
occurred in 1993.
son on television, ARNST participated in
299
The Primeiro Comando da Capital [PCC, or First the Mdia Ttica Brasil festival, which, in
Command of the Capital] is the largest urban militia in addition to promoting workshops and
Brazil. Formed in 1993, primarily in So Paulo, though it lectures at the Fundao Japo and in
is also present in 22 of the 27 states of the country, as the Paulista and Vila Mariana units of the
well as in Bolivia and in Paraguai.
300
The fire occurred in January 2001, at studio F inTV
Sesc community centers, in So Paulo, it
Globos production complex on the outskirts of Rio de also presented works by 26 collectives in
Janeiro.The blaze spread in less than two minutes and an exhibition at the Casa das Rosas303.
injured 26 people. Between the 1980s and the early
2000s, Xuxa Meneghel was the most famous and
highest-paid presenter of children shows of Brazilian
302
television. She was called a rainha dos baixinhos In the newsletter promoting the seventh episode,
[queen of the little ones], had record ratings and a myr- the group affirmed that television is a weapon.The re-
iad of products licensed under her name. ality of the screen must be invaded. No names shall be
301
In green letters scrolling over the lower part of the changed to protect the innocent. We are all fucking
image, the program expressed their gratitude to Xuxa, guilty. (Cf. Boletim 7. Acervo ARNST.)
303
who kindly granted the rights to her image, which be- The Mdia Ttica Brasil festival included several
came the ultimate symbol of the show Xuxa in workshops, such as Seja um vietcongue miditico
flames. (Cf. A Revoluo No Ser Televisionada, [Be a mediaticViet Cong], held by Carlos Latuff; N5M
episode 4) desvendando a mdia ttica [N5M unveiling tactical
 309

The event would take place over the other than Globos304 would be visible, or
course of four days, from 13th to 16th even the approach of Formigueiros work,
March, with installations, videos and which was analogized by the reporter to a
performances. Bijari would present an Big Brother of the micro-universe of the
interactive room, where people could ants.305
leave their messages for buying and sell- Britto Jnior was annoyed, reminding
ing products and services. Formigueiro them of the importance of media cover-
proposed to create an installation about age for the festival. The participants, who
cutting-edge technological systems by in turn claimed they were defending the
drawing a parallel with the universe of integrity and the clear understanding of
ants. The group Rejeitados aimed to their works, made no concessions, and a
present the documentation of their col- heated discussion broke out among those
lective submission for that years edition who were present. On one side, Britto
of the Salo da Bahia. and his cameraman; on the other, one
However, even before the opening of of the mediactivists acted as interlocutor
the show an episode during the instal- (either Tati Wells, Giseli Vasconcelos or
lation process would turn out to be an Daniel Lima), also with a cameraman in
emblem of the combative attitude and tow. The result: a head-on confrontation
the lack of resilience of the participants.
As they met with the team of the SPTV lines of reasoning and systems of rep-
news show from TV Globos branch sta- resentation which, though ideologically
tion in So Paulo, which meant to cover and economically distinct, interacted in
the event, the artists and organizers who
were at the site refused to respond to The report was not aired in its entire-
ty by Globo. Priority was given to other
problematic, such as changes to the events of the festival so that at least the
way that the advertising totems in card- agreement between the network, the
board produced by ARNST were laid out,
so that no other brands and celebrities honoured. However a six-minute edited
version of the altercation with interviews
from both parties entitled O barraco do
media] by Derez Holzer; DJs e produo de msica
eletrnica [DJs and electronic music production] by
304
Interfusion; Teatro situacionista: dramatizao The installation Famosos em passeio
geogrfica [Situationist theatre: geographic dramati- [Celebrities out for a stroll] appropriated advertising
zation], by Manufastura Suspeita; and Rdio, displays with life-size poster boys.The public circulat-
comunidade e rede [Raio, community and the ed between celebrities such as the actor Reynaldo
network] by Rdio Muda. In addition, there were also Gianecchini and the television host from SBT, Gugu
conferences and lectures, with such names as Andr Liberato, seeing what they had to offer and their com-
Lemos, Rizoma, Artur Matuck, Jos Chrispiniano, mercial smiles. The work, however, was not
Peter Pl Pelbart, Giuseppe Cocco, Gilson Schwartz, interactive.
305
Hermano Viana, Hemerson Gasperin, Fbio Duarte Britto Jnior filmed the scene next to Formigueiros
Nomads and Suely Rolnik. The exhibition featured installation, and Tati Wells, who stood observing,
Works by A Revoluo No Ser Televisionada, Bijari, called the analogy ridiculous. In a later interview, she
Anomia, Nomads, CMI, OCAS, Latuff, Museu da stated that she recommended that he read the artists
Pessoa, Formigueiro, Rejeitados, Projeto Metfora, wall texts, but the reporter refused, claiming that no
Eca TV USP, Telecentros, A Cria, Bicicletadas, one ever understands anything in these [artists]
Batukao, Interfusion DJ Canyba, Entorno, Carro texts. (Cf. Centro de Mdia Independente +
Verde, Contra Fil, Nova Pasta, Brcolis VH26S, Videohackers, Mdia corporativa arma barraco no
ngela Nagai/Paisagens Rasgadas and Manufatura MdiaTtica, available at: <http://goo.gl/K1Qkk9> Ac-
Suspeita. cessed: 18/9/2015.
 310
Britto Jnior306 [Brito Jniors shindig],
however, circulated among the festival-
goers. The video, which was available for
download on the Internet, documented
the confrontation between the corporate
media and the tactical media, underscor-
ing the standpoint of the latter in support
of breaking the monopoly over informa-
tion held by the press conglomerates. In
parallel, it emphasized the connection
between representation and social ac-
tion.
The case became an allegory of
the need for public vigilance, for ex-
erting pressure and for proactivity,
ultimately supplanting the alert raised
by Scott-Heron, Bey and company. You
are being watched. Yes, you still are. But
at the same time, you are also watching.
The Mdia Ttica Brasil festival was
organized by the Independent Media
Centre (IMC), inspired by the Dutch
Next Five Minutes festival. The network
of content producers was established in
September 2009, as a Brazilian branch
of Indymedia307, to disseminate critical,
alternative information and to give
voice to those who dont have a voice,
in cooperation with social movements.308
The main platform for the IMCs work
has been a collaborative web portal,
which allows anyone to download texts,
videos, audio and images, establishing
itself as a democratic and decentralized
medium.309 By means of this platform,
the network of individuals and collectives
306
Idem.
307
Indymedia is an international network that uses
free software and publishes news and information pro-
vided by collaborators in close to 200 interconnected
centres in 30 countries.The organization articulates it-
self by way of discussion lists and chats on the
Internet, but also through other communication, such
as newsletters and free and/or community radios.
308
Independent Media Centre Editorial Policy of the
IMC Brasil. Available at: <http://goo.gl/QmDxim>
Acessed: 18/9/2015.
309
Idem.
has already orchestrated a number of
other actions and events such as de-
bates, performances and demonstrations
in different Brazilian cities, in addition to
the festival.
An example of these activities was the
Avenue, in So Paulo, as Vladimir Herzog
Avenue. Carried out anonymously, by
placing stickers over road signs, the inter-
vention stemmed from the desire to review
narratives and heroes of recent Brazilian
history. They substituted the name of the
avenue, which paid hommage to the media
tycoon Marinho founder of Rede Globo,
media conglomerate for Herzog, a jour-
nalist from TV Cultura who was tortured
and killed by the military government in
1975.
Somewhere between creating a met-
aphor for a retraction by the State and a
concrete action of urban intervention, even
if in small scale, the IMC and its network
of collaborators took up the problemat-
ics of representation as a starting point
to discuss reality. By making use of the
instruments found in critical theory, in
experimental artistic practices, cybercul-
ture, copyleft and open source activism,
they continue to pursue an ideal of medi-
atic space which, in representing and thus
conceiving the present reality, becomes
polyphonic and dissident in itself, an ex-
tension of the streets and of society.
S e m i o t i c
a r r a s t e s
[ d r a g n e t s ]
On the occasion of TV Globos 40th
anniversary, on 29th April 2005, the
IMC used the large open terrace below
the Museu de Arte de So Paulo (Masp)
to throw a protest party. While Globo

broadcast its celebration with special
guests and programme such as a
soccer match played by the Brazilian
national team, the organization of the
protest party came up with all sorts of
off-air counter-narratives. Social move-
ments criminalized by the police or by the
mass media, minorities that remained
unrepresented in the programming of the
large broadcasting networks, dissonant
voices that challenged the status quo,
advocates of the civil society eager to put
the democratization of the media back on
the agenda.
In that space designed by Lina Bo Bardi,
long used as a political arena, the IMC
presented a line-up of DJs, video projec-
tions310 and art interventions. One of them,
proposed by the collective Adbusters, was
called Desligue sua TV [Turn off your TV].
The public was invited via the Internet and
date and time. If a large number of people
participated in this mediatic , cultural institutions or redirecting their re-
Globos audience ratings would be affect-
ed, thus manifesting the power of decision
that a proportion of the population could
exercise by joining in this expression of
criticism.
310
Among the videos exhibited were O que o
Centro de Mdia Independente [What is the
Independent Media Centre] (CMI Global +
Videohackers, 2002), Cid Moreira X Avenida Paulista
[Cid Moreira X Paulista Avenue](Videohackers, 2003),
robertomarinhoestarealmentemorto.mov [or
Roberto Marinho is really dead.mov] (CMI So Paulo
and Sem Sizo, 2003), Muito alm do cidado Kane
[Beyond Citizen Kane] (Simon Hartog, 1993). Destru-
indo o monlito [Destroying the monolith] (Telephone
Colorido, 2001), Manifesto (Media Sana, 2003),
Ocupao da Anatel [Occupation of Anatel, the Na-
tional Telecommunications Agency](CMI So Paulo
and ARNST, 2003), Famosos em passeio [Celebri-
ties out on a stroll] and Xuxa em chamas [Xuxa in
flames] (ARNST, 2002). Cf. Ativistas protestam con-
tra os 40 anos da rede Globo, PSTUs online platform,
available at: <http://goo.gl/ndlHrJ> Accessed:
18/9/2015.
311
Through actions such as these, played
out on the streets and echoing initiatives
which in the past had unfolded in the
same place, in a free and participative way,
the protest party framed problematizations
of what connotation of the word public
would be left in the Brazilian corporate
media. If taken as a synonymn for the
spectator, thus imbued with convenient
passiveness, or if employed in reference to
the provision of government concessions
which, despite the law, permit the private
use of radio and television channels, the
term public was (and still is) emptied of
its meaning.
For this reason and partly moti-
vated by the leadership of Gilberto Gil in
the Ministry of Culture, who championed
causes such as the peripheries and the
free software movement311 , the discus-
sions about the public sphere and popular
participation mobilized artists and activ-
ists in the early 2000s. By negating the
sources and visibility to other areas, many
of them produced works that not only en-
compassed but also fomented exteriorities.
Bringing to the fore that which was usually
excluded from the agenda of the media and
of the cultural establishment, for the most
part located in the geographic and econom-
ic centres of the cities and of the country.
Taking responsibility for that which lies
outside and for the relations with alterity.
their social and political function as artists
and/or activists312.
311
The musician Gilberto Gil served as Minister of
Culture from January 2003 to July 2008, during the first
and part of the second term of the administration of
President Lus Incio Lula da Silva of the Workers
Party. As Minister of Culture he implemented pro-
grams such as Cultura Livre, which promoted digital
freedom, and Pontos de Cultura, aimed at the decen-
tralization of public resources and actions for the
sector.
312
Possibly this reading will culminate in the concept
of artivism (Cf. GROYS, Boris. On art activism.
 312
The Tactical Media generation sought
to bring the debate about the public
sphere and popular participation closer
to the community and to social move-
ments. This led them to concatenate
actions aimed at the occupation of urban
space and the appropriation of media
outlets and codes for uses that had not
yet been anticipated. Although they
stand at apparently opposite ends, street
and media were both concerned with
making visible313. This way, they took
314
,
which, by concatenating image, speech,
listening and dispute between inter-
locuters, constitute what Hannah Arendt
surmised as the public sphere.315
In these spaces, presentation draws
nearer to representation, often without
distinction. In a system of visibilities, if
something can be seen (image, repre-
sentation) it must exist (the thing itself,
presentation). If themes such as poverty
and racism are featured in artistic inter-
ventions, in newspapers, radios and on
television, possibly only then can they be
undertaken and overcome, despite the
false impression of social well-being.
One week before the protest party, six
collectives came together to carry out Cubo
[Cube]316, an audiovisual performance in
E-Flux Journal No. 56. June 2014), which integrates art and the ways in which collectivity
and activism into one same vocation. However, the
term could incur in the imprecision that the social and
political function of art is only fulfilled by means of ac-
tivism and engagement to social movements, which is
not true. According to Jacques Rancire, all art is po-
litical because it engenders dissensus, and thus
contributes to the (re)distribution of the sensible.
(Cf. RANCIERE, Jacques. O desentendimento. So
Paulo: Editora 34, 1996).
313
Cf. ARENDT, Hannah in DEUTSCHE, Rosalyn.
A arte de ser testemunha na esfera pblica em
tempos de guerra. Revista Concinnitas, year 10, vol-
ume 2, number 15, December 2009, p. 175).
314
Idem, ibidem.
315
Idem, ibidem.
316
The work was part of the Interaes eletrnicas
[Electronic interactions] project, promoted by the
public spaces in the centre of So Paulo
-
tions, the collectives ARNST, Bijari, Cia.
Perda Total projected their video art and
urban interventions on the surface of a
cubic structure resting on the sidewalk,
whose faces were seven metres high. The
box with pieces of the city317 alluded to a
huge television, but subverted its relation
to reality. Instead of a screen giving the
space. Instead of an apparatus providing
a vision of everyday life from the inside to
the outside, a daily routine which is itself
in search of mechanisms and narratives.
Based on the idea of myth, from
both a personal and historical318 perspec-
tive, each group created a video channel,
making use of a repertoire of previous
works and also new content and actions.
the citys inhabitants, temporarily re-
moving them from anonymity. Bijari, on
the other hand, included passers-by in a
street cleaning campaign through their
intervention Lave suas mos [Wash your
hands]. In these and other cases, the col-
lectives intentionally played with the idea
of disproportionality between the individ-
ual their domestic problems and the
triviality of their actions on a public scale
Centro Cultural Banco do Brasil (CCBB) in So Paulo,
in 2005. Although comissioned by an institution, it was
held only in public spaces. The presentations, which
took place between 6pm and 10pm, were held in
Patriarca Square (April 20th and 21st), the Vale do
Anhangaba (April 29th and 30th) and S Square (May
5th and 6th). In 2010, it was presented again in So
Paulo and Belo Horizonte.
317
Cf. LIMA, Isabelle Moreira. Coletivos montam
caixa urbana no centro, Folha de S.Paulo, 20/4/2005.
Available at: <http://goo.gl/bGSfQl>. Acessed:
18/9/2015.
318
As recounted by Daniel Lima to the reporter
Isabelle Moreira Lima.

establishes itself over the short and long
term.
Such a degree of disproportion led to
the idea that perhaps the main target of
an event of this nature would be to affect
and to empower, at the symbolic and mic-
ropolitical levels, those who are excluded
from the decision-making and discursive
processes of their time. Openly performed
as an exercise for the construction of mi-
nority, authorial voices, the endeavour
that of confrontating the mechanisms of
oppression and contending for a place in
the social agenda.
Naturally, this was not, nor will ever
be, an easy task. The mainstream me-
dia will not welcome with open arms
any approach that places its hegemo-
ny in jeopardy. Given this complexity,
the Tactical Media groups have sought
to employ alternatives such as the ar-
rasto meditico [mediatic arrasto or
dragnet]. According to Ricardo Rosas,
this movement
[] appropriates for itself
contemporary codes and signs,
reshaping meanings, inverting or
provoking interference with and
short circuits in the messages
[] Nor would the idea be so far
semiotic guerrilla, in alluding to
the reintroduction of the critical
dimension into the relation with
the media or the ambiguity of the
codes, in aesthetic or mass com-
munication, for example. 319
Occupation by the media was thus Estrela DAlva.
carried out without the due authorization 323 On 3rd February 2004, 28 year-old dentist Flvio
319
ROSAS, Ricardo. #21: entre o antiespetculo e o ficers thought he was a robber and killed him by
arrasto semitico. In ROSAS, Ricardo; shooting him twice.
VASCONCELOS, Giseli (Org.). Net 1.0: digitofagia. 324 Available at: <http://goo.gl/g6Gd8h> Accessed:
So Paulo: Radical Livros, 2006, p. 211.
313
of the interested parties. Although not
exactly illegally, as many times inserted
in gaps in the routine and institutional
mass media into host of virus ideas320,
which hitched a ride within the vehicles
regular content to provide more agility
and broader scope.
The metaphor of an arrasto 321 (lit-
erally dragnet), a strategy of collective
looting that begins on a small scale
and then becomes wider spread, using to
ones advantage the abundance of allies
and possible targets was conceived by
Rosas while analyzing the work of Frente
3 de Fevereiro322. The group arose from
an ARNST activity at the end of Mdia
Ttica Brasil in memory of the assassina-
tion of a young black man called Flvio
SantAna by the military police323, on 3rd
February 2004. Thereon the group began
to discuss and combat racism in Brazil.
There are many Flvios324, the Frente
asserted, pointing to a systemic problem.
To better face it, the group resorted to ap-
pearances in events with major television
coverage, in addition to strategies in which
Afro-Brazilian rites and an interdisciplinary
320
ROSAS, Ricardo; VASCONCELOS, Giseli (Org.).
Net 1.0: digitofagia. So Paulo: Radical Livros, 2006, p.
10.
321
Arrasto [or dragnet] is a strategy of collective
looting which began in the 1980s on Copacabana
Beach in Rio de Janeiro.
322
Members of the Frente 3 de Fevereiro include
Achiles Luciano, Andr Montenegro, Cssio Martins,
Cibele Lucena, Daniel Lima, Daniel Oliva, Eugnio
Lima, Felipe Texeira, Felipe Brait, Fernando Alab,
Fernando Coster, Fernando Sato, Joo Nascimento,
Julio Dojcsar, Maia Gongora, Marina Novaes,
Maurinete Lima, Pedro Guimares and Roberta
SantAna was murdered by an officer from the So
Paulos 5th Military Police Battalion. He was black and
driving a Volkswagen Gol that belonged to him.The of-
18/9/2015.
 314

Scolari, for example, gave an interview

- on the Roda Viva program, aired by TV
erators Cup in 2005, between So Paulo Cultura, alleging that he thought it was
all just absolutely asinine326.
was being watched by 75 thousand fans in The fragility of conventions on racial
the stadium along with millions of other democracy in the country made new
spectators on TV Globo and SporTV325 in interventions necessary. In August of
Brazil, besides other channels throughout 2005, in a game between Corinthians
the Americas.
Before this audience, members of Stadium, in Campinas, Frente 3 de
the collective positioned themselves in Fevereiro snuck in a banner reading
the midst of the So Paulo fans and, as Where are the blacks?. That same year,
soon as the team made a goal, unfurled on 2nd July 2005, the group participated
a large banner on which was written in an act against the repossession of the
Brasil negro salve [Hail Black Brazil]. Prestes Maia Building, which, abandoned
Having already studied the channels re- by its owners for over 20 years, was oc-
cording plans for broadcasting the game cupied by around 400 families coming
live, they knew that, by locating them- from the Movimento dos Sem Teto do
selves at strategic spots in the stadium, Centro [MSTC Downtown Homeless
they would inevitably be captured by the Movement]. We are all Zumbi327 was the
cameras. The image did manage to be
transmitted. The group was successful of the building. Its size allowed for it to
in breaking through the protocols of the -
event starting with the surveillance at the licopters, already gathering to cover the
stadiums entrance up to the televised
appearance. the police. After all, this was something
The salve used in their message that interested them: social struggles as
contained a double meaning. It was both seen in the perspective of public safety.
a very common greeting used on the In 2007, Zumbi somos ns [We Are All
outskirts of So Paulo (hail!) as well as Zumbi] was made into a video328 which
a call for help. We hail and save Brazils
black people. The proposal was in reply
to an event which occurred during that 326 Luiz Felipe Scolari, who had already coached the
very same championship game, when Brazilian All Star team was then running the
player Leandro Desbato, from the Portuguese national team and was interviewed on
- Roda
327
Viva, aired by TV Cultura on 11th May 2005.
In times of slavery, Zumbi was a black man born
ti, from the So Paulo team. In reprisal, free in the Palmares region of Brazil in the year 1655.
he was expelled from the game and sued He became the last of the military leaders of the
for racism. The ample feedback from Quilombo (Kimbundu word: kilombo, of the North
specialized press revealed just how much Mbundu Bantu language inAngola, meaning "warrior
village or settlement")of Palmares.The Quilombo dos
the theme was still taboo among soccer Palmares was a free society (free born,marrons, orref-
professionals. The coach, Luiz Felipe ugee slave), an old South American republic, which
included the present day Brazilian coastal state of
Alagoas, Brazil. Today,Zumbi is known as one of the
great historic leaders of the movement against racism
325
Holders of exhibition rights of all major football in Brazil. Available at: <http://goo.gl/qWndK8>
championships in Brazil, both broadcasting compa- Accessed 13/10/2015.
nies belong to Rede Globo and its subsidiary cableTV 328 The documentary film Zumbi somos ns was
company, Globo Sat. awarded at the 3rd DocTV. It was a collaborative

commingled registers of these media
appearances329 with statements given by
pundits on racism330 with excerpts from
a concert given by Frente 3 de Fevereiro.
The syncretism of orix, afox, samba,
soul and hip-hop, all Afro-Brazilian
rhythms, along with the verses and
the images of struggles against racism,
imbued that memory with a ritualistic
presence. The format resulted in a genre
designated by the collective as a live
documentary331, a processualization of
history, presented as a perpetual motion
between its telling and its production.
The same logic seems to have im-
group, which began in So Paulo prior
to the Frente, and, as it happens, with
whom they share some of their mem-
bers. After a couple of interventions,
which were, at one and the same time,
framed by corporate media discourses
around social movements and also set
their agenda on the theme, the collective
analyzed its achievements and drafted a
coproduction involving Frente 3 de Fevereiro, Gullane
Filmes, Padre Anchieta Foundation (TV Cultura) and
Abepec Brazilian Association of Public, Educational
and Cultural Broadcasting Companies.
329
Including the performance Know Go Area, pro-
duced in July 2006 in Berlin by the Frente in
collaboration with the Kanak Attak, La Plataforma,
Sagaz, Respeto and Todo Action Plus collectives. As
one of the results of a workshop, the group made a flag
on which this phrase was written, alluding to the differ-
ent processes used in Brazil and Germany for social
exclusion. Pretending to be tourists on a trip through
the country to watch the Football World Cup, those
participating were able to sneak by the Fan-Party body
check and open the banner in the middle of the fans
while being filmed by 2DF channel (Zweites Deutsches
Fernsehen), which was broadcasting the event to the
rest of the world.
330
The statements included in the documentary
Zumbi somos ns come from Frei David, Julita
Lemgruber, Lilia Schwarcz, Nicolau Sevcenko, Noel
Carvalho and Vera Malagutti.
331
The term live documentary was used on the
Frente 3 de Fevereiro site and its channel onYouTube.
315
situation and one transformed, the
scheme stipulated stages linked by con-
of an urgency, comes the inauguration
of an action that holds a future, along
with its enlistment in public life and the
proliferation of its vital power.
This Program for De-turnstiling Life
Systemization No. 4332 was drafted as a
part of the Monument for Free Turnstiles333,
-
ber 2004. By emphasizing a rusty bus
turnstile, the group intended to defend
on the problems of mobility faced daily
by those living on the outskirts of town.
It was, initially, a symbolic gesture. Its
it was, as postulated in the diagram, an
activity with a future334. After coming out
in the Cotidiano [Quotidian] supplement
of the Folha de S.Paulo newspaper335, the
332
The diagram was drafted in 2014 and shown at the
Zona de poesia rida exhibition, with curators Tlio
Tavares and Daniel Lima at the Rio de Janeiro Museum
of Art (MAR) between January and March 2015. The
event was held to mark the donation of around 50 piec-
es of art coming from collectives in So Paulo to the
museum with funding from the Funarte Marcantnio
Vilaa Award.
333
O Monumento catraca livre [Monument for Free
Turnstiles] was produced within the context of the
Zona de ao project, which, sponsored by Sesc (Social
Service of Commerce), united four collectives (be-
sides Contrafil, ARNST, Bijari and C.O.B.A.I.A. also
participated,) and three theorists (Peter Pl Pelbart,
Suely Rolnik and Brian Holmes) to discuss public life
through debates and interventions. Each group was re-
sponsible for one specific region in the city, and
Contrafil was allotted the East Side. Work began at
Sescs facilities in Itaquera, where a public assembly
of thought was held. But then, after embracing the
theme of public transportation, the group wound up
with activities downtown as well. Cf. GONALVES,
Felipe Teixeira. Anlise do Monumento Catraca
Invisvel. Text published in December 2006 in the blog
Ch com Bolachas. Available at: <https://goo.gl/
dcS2Q0> Accessed: 18/9/2015.
334
CONTRA FIL, Monumento catraca livre, 2014.
335
Cf. Invisible turnstile occupies pedestal in
 316
Monument for Free Turnstiles continued
causing waves in other media agencies
and society in general. It made its way
to the culture pages336 and became a
comic strip by cartoonist Laerte. Used as
a theme in the vestibular337, an entrance
exam for graduate programs in the state
of So Paulo, that year, it was revisit-
ed through opinion articles and ads in
newspapers.
Aspiring collegians, de-turnstile your
lives. Open an account in Ita Bank338.
While the motto was put into effect in the
printed ad to attract clients to one of the
most powerful companies in the country,
on the streets, other groups manifested
themselves by taking the symbol to heart
and burning turnstiles in protest.
Once it had been enlisted in public
life, in which media and reality com-
mingle, the proposition proliferated in a
spontaneous and uncontrolled manner,
sparking the social organism with all its
ambiguities. Between ideologically and
economically distant interlocutors, often
in outright opposition, artists become
mediators and their acts not limited to
themselves alone. Neither to appease
temperaments nor much less resolve
concrete issues, they endeavored to col-
laborate with societys agenda in which
they are inserted by displacing them-
selves and provoking displacements in
others.
called Mico, the group anonymously
inscribed the phrase no estamos em
Arouche Square, published 4th September 2004.
336
Cf. Group takes credit for invisible turnstile, S.Paulo, the factions HQ.
Folha de S.Paulo, 3/9/2004.
337
The vestibular is run by the University Foundation
for College Entrance Exams or FUVEST, in associa-
tion with USP-SP.
338
The announcement Aspiring collegians,
de-turnstile your lives. Open an account in Itu Bank
was published on different dates in the Urban Life sup-
plements of the citys major newspapers, such as the
Folha de S.Paulo and the Estado de S.Paulo .
paz [we are not in rebellion, we want
our rights, peace] on city walls and
overpasses which had previously been
covered with pixao by inmates from
the Public Prison in Pinheiros and later
published on the cover of the Folha de
S.Paulo on February 16th339. One week
later, along with an article on the return
of Marcola340, leader of the PCC, to a
prison in So Paulo, the same newspa-
per published Faction [spread] banners
throughout the city341. The news article
was illustrated by a photograph of Micos
station, which, without any explicit au-
thorship, was connected to the militia by
the press.
The fear that this was a warning of
new criminal attacks to be carried out in
So Paulo led to some of the pixaes be-
ing covered by black sheets the next day.
The authors and the terms of any direct
or indirect collaboration between the
parties in this story remained veiled in
doubt and speculation. The greater part
of the populace never learned of the true
unfolding of the facts. The Mico group,
-
uments and minor accounts to systemize
a narrative of the intervention342 leading
339
The image made first page of the Folha de S.Paulo
newspaper that day, under the headlines FHC and
Jader are the same, affirms ACM.
340
Nickname for MarcosWillians Herbas Camacho, at
the time an inmate in the Iju Penitentiary, Rio Grande
do Sul, and about to be transferred to the So Paulo
State Penitentiary, considered to be, by the Folha de
341
Cf. Folha de S.Paulo, 23/2/2001.
342
Documentation of No estamos em rebelio
sistematizao realizada pelo grupo Contrafil sobre
ao do grupo Mico [We are not in rebellion system-
atization realized by the group Contrafil] (2007) was
shown in the Zona de Poesia rida [Arid Poetry Zone]
exhibit at the Museu de Arte do Rio (MAR), between
January and March 2015. After the event, all material
joined the institutions collection.
 317

It is however important to emphasize computer. [] We gonna get down

that the episode did not create any effec- to the real thing. [] So, you guys
tive adherence between the collectives from the media, you artists, pis-
discourse and the PCC. Despite seeming sant activists, thinking youre
to be part of some sort of momentary and some tough shit. Assholes who
virtual collaboration as it came about talk a lot but dont do nothin,
directly in a public space, without any well teach you hows it done, bro.
previous dialogue between them , it You gotta have attitude, otherwise
theres no deal. We here dont
which, taking into consideration the bullshit, we do 344 .
origins and tactics used by those respon-
sible, would be unable to not show signs
was said was addressed directly at
A few years later, in August of 2006, -
in the wake of one of PCCs343 biggest at-
tack in the country, the militia kidnappedname any particular group, something
two of TV Globos employees in So Paulo which is perhaps irrelevant in face of the
and only freed them if they agreed to issues raised. When social wellbeing is
take a DVD holding a statement to be -
broadcast fully by the company to all of cumbs to objective attitudes. The legacy
Brazil. Globo agreed to their demands of political and epistemological autonomy
and around 12:30 a.m. a news program of art is reinserted into the discussion to
allege ineffectiveness, thus demanding,
shaken, interrupted his regular program other invariably tentative answers.
to air the content. In the video, lasting

hooded men demanded justice for the N e i t h e r

factions leaders who were in jail. If not
they threatened to carry out a new attack truth nor lie,
on the city. The threat, directed mainly at
the press and the police, but also intend- i n v e n t i o n
ed to frighten the populace as a whole,
Polarization jeopardizes debates on
comparison with media artists. arts social function precisely because

Were here with our camera,
[] weve got laptops, communi-
ty radios, all that shit. [] Were
going to show you who gives the
orders around here. [] Not like
some two-bit media artist who
spend their days with their ass
in some chair and their faces in a
attribute. Between setting ones mind at
ease and coming to a solution, there is a
margin allotted to artists in which to ex-
periment to further prolong hypotheses
in the form of conjectures still not per-
haps never to be deciphered. As alleged

343
The attempts began on May 12th in So Paulo. On 344 Transcribed excerpt from the video PCC na
the 14th, they had already spread to Esprito Santo, Globo published on YouTube. Available at: <https://
Paran, Mato Grosso do Sul, Minas Gerais and Bahia. goo.gl/tFp70s> Accessed: 18/9/2015.
 318

dissent345 is arts political duty. The po- istence of Japanese artist Souzousareta
lyphony of versions, misunderstandings Geijutsuka which means, in Japanese,
in face of learned norms and the portion Invented Artist and disseminated news
about his exhibition at MAC, entitled
its tools for taking action. Geijitsu Kakuu or, still in Japanese,
Premises such as these head in op- Art and Fiction.
posite directions to that practiced in Yuri had the support of the curator
corporative journalism. Objectivity and and museum director and began work-
impartiality, two of the main criteria in ing anonymously. Only on the opening
the texts of major press vehicles, are ac- day of the supposed exhibition (his own
companied by the promise of telling the and/or that of his pseudonym-work
Souzousareta), the plan would be re-
truth, which supposedly takes place vealed. Together with Ana Monteja, a
without impasse between gathering the -
facts and telling the story. ity Irina Theophilo, his girlfriend at the
An intervention carried out by Yuri time , the artist sent a press release to
Firmeza in 2006 proposed to test the columnists and cultural editors working
construction mechanisms and the legit- with the main local newspapers, Dirio
imacy of a public fact arising between an do Nordeste and O Povo
art museum and the press. To examine
facets of a social genesis in different In this his fourth participation
in events in Brazil, the Japanese
played in it, as determined by sociolo- artist unveils the world of flowers
gist Pierre Bourdieu346. Starting from and vegetables to the public by
the principle that truths do not exist347, means of carbonized objects. He
the artist cultivated what many would seeks the harmony to be found in
call lying, but which he assumed to be nature between that which is born
invention. and that which dies through the
After an invitation by curator Ricardo
Resende to participate in the Artista In this exhibition Souzousareta
invasor [Invading Artist] project aimed at discusses the fragility of life and
solo exhibitions by new artists348 at the its contradictions.

Fortaleza, Yuri proposed to invent an art- Souzousareta is considered as

ist. The work consisted in constructing
all the instruments attesting to the ex-
345
RANCIERE, Jacques, 1996, p. 15.
346
Cf. BOURDIEU, Pierre. O poder simblico. Lisbon:
Difel, 1989, p. 69.
347
In public interview given by Yuri Firmeza to Ana
Maria Maia, in the auditorium of the Porto Iracema das
Artes school, belonging to the Centro Cultural Drago
do Mar, on 17th November 2014.
348
Artists participating in the project were Walria
Amrico, Jred Domcio, Solon Ribeiro (CE) and
Marta Neves (MG). Exhibitions were held in the muse-
ums facilities along with other major shows by
renowned artists.
being one of the most important
names in the panorama of rela-
tions between art, science and
technology. His research encom-
and Telecommunications, seek-
ing associations with scientists
and engineers. He is thus able to
incorporate new concepts such
as real-time operations, simul-
taneity, space suppression and
immateriality in his work. []
Souzousareta also developed
 319

Shiitake photography, a Japanese And this isnt easy as it implies in

a certain amount of detachment
invisible phenomena occurring from that which appears to be
in the atmosphere. The artist has most relevant: power and money,
recently been developing work on fame, access etc. [] Are artists
robotic dominion, exploring the willing to do away with all this
possibilities of using an automaton
in a dialogue with sculpture and really inscribe a permanent revo-
environmental installations. His lution of values in our society????
work has been exhibited in Tokyo, Are we?? 352
New York, So Paulo and Berlin.349
Despite being aimed at newspapers,
who believed in the event and on the eve
innovations and a bit of conceptual mo- of opening night gave special emphasis to
tivation, set forth with pompous rhetoric the exhibition353, the work also aroused
full of adjectives, were used in drafting a
respectable biography for Souzousareta. Not unlike in the Happening da crtica
The following weeks, new content was [Happening of art criticism] in which
further shared with journalists, always Nelson Leirner tested the criteria of the
through the press agent as Souzousareta jury in the 4 Salo de Arte Moderna de
himself only spoke Japanese. To de- Braslia, in 1967, Geijitsu Kakuu opened
velop the project, Yuri based himself on to the public by unveiling the provoca-
the texts of Hakim Bay350 an invented tion. Without any real work much less
character as well and in interlocutions the presence of the Japanese artist, the
with Professor Tiago Seixas Themudo, exhibition consisted only of the textual
with whom the artists corresponded351 proof of what Yuri had done to construct
through email throughout the process
and with whom he exchanged references, names of those who lent the professional
thoughts and frank commentaries on his legitimacy attributed to third parties: the
still concealed activities. director and curator of the museum; the
In one of his messages, Tiago pro- president of the Centro Drago do Mar
voked Yuri into thinking about his
position as artist: the press agent; the university professor;
Lusa Duarte, the art critic who had writ-
To escape, to trace vanishing ten the text on the wall; and the cultural
lines whenever things get tough. journalists. All of them the artists accom-
plices, although in different manners,
349
Cf. Geijitsu Kakuu e a analogia da natureza.
Fictitious press release of exhibition. In: FIRMEZA,
352
Yuri (Org.). Souzousareta Geijutsuka. Fortaleza: THEMUDO, Tiago Seixas. A gesto da invaso.
Expresso Grfica e Editora, 2007, p. 31. In FIRMEZA, Yuri (Org.). Souzousareta Geijutsuka.
350
Cf. BEY, Hakim, 2001. Fortaleza: Expresso Grfica e Editora, 2007, p. 30.
351 353
The email exchange is made up of seventeen parts, On the first page of the Dirio do Nordeste dated
despite being written in one sitting, similar to that 11th January 2006, the opening day of the exhibition,
seen in the conversation between artists Hans Haacke the title ran Souzousareta exhibits his
and theoretician Pierre Bourdieu in the book Free Ex- info-engravings. On the previous day (1/10/2006) the
change (Redwood City, CA: Stanford University Press, newspaper had published Art, nature and technolo-
1995), whichYuri refers to as one of his main sources of gy along with the fictional interview Public and
reference for the project. non-conventional.
 320

some voluntary and others involuntary. true that, demagogically, he will

All of them engaged in the machinery garner the sympathy of a foolish
for generating events, products, careers artistic class which (with due
and simulacrums354 which nourish the exceptions) projects their frus-
- trations and creative boredom
cration355 in the museum. on the press. It is also true that
However, the wrath of local press many idiots will understand this
upon discovering the operation conduct- gesture as an opportune warning
ed by Yuri resulted in that all discussions on cultural press coverage in our
on the work revolved around a highly State. The press has its problems

journalists. Feeling that they had been -

ity concerning art and culture.
outcome of the Souzousareta case as a But what we saw in this episode
factoid which jeopardized the Drago do was merely one of the more evi-
Mar Institute356; a sorry provocation357; dent faces of mediocrity. 359 .
or still a contemporary practical joke358.
Felipe Arajo, from O Povo, called the As these and other texts were written
intervention poor, shallow and alien- they were added to MACs archives and
ated and defended the press for faulty made available for visitors to access the
Souzousareta story. Over the following
as a source. weeks the story gained even greater no-
toriety and vehicles from other parts of
Yuri endeavored to tarnish Brazil wrote articles on the exhibition,
the credibility and good reputa- now including the showdown brought
tion of various professionals. It is about with local papers. Notables such
as critic Affonso Romano de SantAna
(Estado de S.Paulo ), sociologist Hermano
354
In the interview that Souzousareta gave the Dirio Vianna (Overmundo), reporters Mauro
do Nordeste newspaper, he said that: in this exhibi- Maln (Observatrio da Imprensa),
tion, there are various facets, precisely to be able to
deal with different problems. Everything is connected
Suzana Velasco (O Globo) and Camila
to the exercise of creating simulacrum, the object of Molina (Estado de S.Paulo ), critic Ricardo
which is to extract habits from a state of evidence, in- Rosas (Rizoma) and artists from different
cluding aesthetic ones such as: why do we like art?You regions of Brazil, such as Maria Helena
have to see the exhibition. (Cf. MOURA, Dalwton. Bernartes (Rio Grande do Sul), Divino
Souzousareta: arte, natureza e tecnologia, article
published in the Dirio do Nordeste newspaper on 10th
Sobral (Gois), Ricardo Basbaum (Rio de
January, 2006. Words such as simulacrum, that ap- Janeiro) and Solon Ribeiro (Cear), were
pear in the artists discourse made up to qualify his but a few authors who wrote about the
work, refer to, in reality, the fiction constructed by Yuri, event.
to the simulacrum of constructing an artistic career Meanwhile, in Fortaleza, feeling even
which he, at the end of the project, revealed to the pub-
lic at MAC. more motivated to oppose Yuris work as
355
Word used by Yuri in an interview with Ana Maria well as the texts coming from the outside
Maia, alluding to the texts by Pierre Bourdieu in Free which were in their majority in support
Exchange.
356
Factoid exhibition jeapordizes the Instituto
Drago do Mar, Dirio do Nordeste, 1/11/2006.
357 359
Editorial in O Povo newspaper, 1/12/2006. ARAJO, Felipe. Arte e molecagem, opinion ar-
358
Contemporary practical joke by artist from ticle published in O Povo newspaper on 11th January
Ceara, O Povo newspaper, 1/11/2006. 2006.
 321

of it, local press published articles on

contemporary art like never before. Per- proceedings in the press kept a safe
haps this was one of the most positive
outcomes of the entire story. However, sought ways to extend his presence, or
the slant given to the articles persisted in that of the artist, as a destabilizing factor
polarization. of communication and exchange circuits
In the article Nem artistas x nem able to generate short circuits363.
jornalistas [Neither artists x nor journal- In 2008, with the Pampulha Grant
ists]360, Tiago Themudo alleged that the a program sponsored by the Museu da
object behind the project was not to crit- Pampulha for young artists living in Belo
icize the press from the point of view of an Horizonte for one year , Yuri once again
artistic institution. For him, it was not made headline news, now in the Estado
de Minas
from the presss corporate maxims. The to use an entire page each month for his
professor went further and stated that texts as well as those of his guests such
this dangerous opposition prevented the as artists Amanda Melo, Pablo Lobato364,
perception of the work. As it was, most Fabrcio Melo, Miguel Bezerra, Patrcia
of all, a mixture, a mixture of codes, a Greber and Uir dos Reis. He named his
mixture of forces. Up until that moment,
forces coming from art, philosophy and to the moulting of skin by reptiles. He
sociology361. wanted to pass through the city leaving
The pretension of mixture revolves his skin in the form of written texts. This
around a desire to augment artistic would be his presence and possibility of
human and territorial involvement.
agencies and public spaces, in which the From August to December, he was
issue of arts institutionalism would be
raised. Yuri accessed, in the writings of [Think] supplement. In July 2011, the
Suely Rolnik and Brian Holmes a few ar- project was executed once again, this
guments in defense of extra-disciplinary time in the Jornal do Commercio, in
and extra-territorial drift as strategies Recife, for the O efeito da frase [The effect
of the phrase] 365 exhibition. Over a mere

function in society. Starting in the 1990s,

corpo contamina museu. Available at: <http://goo.gl/
qR4I0Z> Accessed: 07/01/2015.
363
Yuri Firmeza in interview with Ana Maria Maia in
Fortaleza, 17th November 2014.
and goings [from the institution of art to 364
Amanda Melo (Pernambuco) and Pablo Lobato
other parts], which at each turn tends to (Minas Gerais) also participated in the Pampulha
inject doses of poetical power into its ago- Grant. Besides them and Yuri, other grantees were
nizing body that spark micro movements Ariel Ferreira (MG), Bruno Faria (PE), Daniel Escobar
(Rio Grande o Sul), Daniel Herthel (MG), Fabrcio
of critical de-territorialization362 could be Carvalho (MG), Mara das Neves (So Paulo) and
perceived. Sylvia Amlia (MG).
365
The collective exhibition was curated by Ana Maria
Maia for the Amplificadores program at the Museu
360
THEMUDO, Tiago. Nem artistas x Nem jornalis- Murillo La Greca, between 22nd July and 2nd Septem-
tas, O Povo, 1/12/2006. (Cf. THEMUDO, Thiago in ber 2012. Among the artists participating in the
FIRMEZA,Yuri (Org.), 2007, p. 108). exhibition, besides Yuri, were Cristiano Lenhardt,
361
Idem. Daniel Barroca, Deyson Gilbert and Roberto Winter,
362
Cf. HOLMES, Brian in ROLNIK, Suely. Memria do Fernando Peres, Glauber Rocha, Jimson Vilela, Marie
 322
three-year span of time which separated
both the initiatives, the corporate press
crisis met with its counterpart in the
consolidation of social networks as pro-
ducers and disseminators of content. The
vectors of social communication were
rearranged with supposedly horizontal
speech, listening and legitimization dy-
namics, albeit still (or always) controlled
- It might not be very obvious,
anisms in power.
Ecdise
on the two extremes of this short parable
point to a few paradigms and challenges
which Yuri and his colleagues embraced
while conjecturing on the role of artists
collectively and in public spheres. In
September, 2008, based on a metaphor
sculpture, Yuri compared artists to dif-
ferent instruments of mediation: For the
iridologist, a magnet. For the astrologist,
the moon, within a certain house, bring-
ing the planets closer. For the mother, an
agglutinin. For friends, an affectionate
face. For analysts, a porous person. For
Beuys, thinking is sculpting366.
In July 2012, in a collaborative text
written with Roberto Winter, he enveloped
the term in doubt as he began to assume
- artists.
clination of artists as romanticization.
Who are the artists? What are
artists? Where are the artists?
What do artists do? What are
artists good for? Where are the
artists?
Carangi and the Telephone Colorido collective. Living
in the city for a month, Yuri wrote five weekly columns
for the Caderno C in the Jornal do Commercio news-
paper. Whenever they were published, the texts were
exhibited on a table in the exhibition.
366
Thinking is sculpting, interview published on
3rd September 2008 with artists Miguel Bezerra,
Patrcia Gerber and Uir dos Reis.
Google programmers. Finan-
cial market speculators. Apple
designers. Participants in Kassels
-
crats. Dancers in Ax groups.
Biotechnology researchers. Pat-
ent authors. Owners of Facebook.
Mobile phone filmmakers.
but for a long time now the roles
attributed to artists have infiltrat-
ed in all of the other social roles
and, most of all, in the desire to
be included leitmotif that
guides part of society. And more,
who doesnt wish to ascend to
an artists status, this strange
and strategically romanticized
persona? The artist is, increas-
ingly more, a sort of prototype of
the ideal worker whatever he
or she works with. To all intents
and purposes, being an artist, be-
sides exploring ones own interior,
means adding value to whatever
you do independent of what
that might be. That which is im-
perative becomes inevitable. We
are all artists, we all should be
The authors took it upon themselves
and shared the problematic side of the
social sculpture ideal with their read-
ers. They asked themselves not only
where they are, but what are artists good
for, besides being employed to justify
the monetization strategies of cognitive
capitalism. And then as well, on an up-
dating of the debate begun by Beuys in
the 1960s, theoretician Boris Groys al-
leged that that which was understood at
the time as a right [of an artist] is now
presented as an obligation. During this

time, we were condemned to be designers
of ourselves, or self-designers367.
Artists were assaulted, on one side,
by their instrumentalized images and, on
the other, by the critical institutionality
they are able to generate in arts expand-
ed circuit. The passage of time has proven
that media supports, practices and lan-
guage were still subject to interventions.
To modify them in more than a rhetorical
manner however, it became necessary for
artists to create the availability in which
to adopt the tactic of reinventing them-
selves as authors, perhaps in the light of
abandoning their skins and be possessed
of the ideological falsehood of an invader.
367
Cf. GROYS, Boris. The obligation of self-design. ers and sparked antagonistic reactions
In Going Public. NewYork: Sternberg Press, 2010, p. 36. from those who defended counterculture
323
final
cons ide r a tions
Annotations
for going
f o r w a r d,
b e f o r e
speaking of
algorithms
From the middle of the 20th century
through to the turn of the 21st centu-
ry, drastic transformations have taken
place in that which we understand as
being mass media, of societys commu-
nicational dynamics and of the agents
who construct and plan them, as seen in
the artists who have taken part in this
process in different ways. Through re-
search for Arte-veculo, an isolated and,
as might be expected, incomplete set of
analyzed, with a view to prioritizing the
relations established within their artis-
tic and social contexts. These premises
have guided the drafting of a historical
narrative which for the time being can be
texts and images.
At times the editorial departments of
newspapers have been seen as a refuge
for modern vanguard thought in still
provincial towns, at others they have
-
 324

movements in face of conservative fac- this centrality. To verify, before all else,
tions inclined to censorship. At times this how local particularities create contours
resulted in bringing into play guerilla tac- and motivations for media interventions.
Another complication arose from the
structures of discourse, as seen in major still recent and unordered process of the
news vehicles, particularly newspapers legal regulation of copyrights relative to
with nationwide coverage and, starting in interventions of this nature, to be found
the 1950s, television. But then again, at residing between the dominions of artists,
times, precisely the contrary, through the professionals with whom they collaborate
parody of language used by mass media (documental photographers, camera-
disseminated in alternative circuits, the men, executive producers etc.) and the
motto the media is us as a belief and vehicles which disseminate them. Over
challenge, be it when independent video time, more complications arose around
producers were assimilated into large the mediation between the owners of the
broadcasting companies in the 1980s or archives and collections of the original
as seen in the present scenario, in which work and, eventually, of agencies con-
the advent of the Internet and social net- tracted to collect royalties. The networks
works has allowed everyone to become engendered by the media interventions
their own broadcasting company. studied would make therefore, any re-

and costly. This situation presented lim-

slot, Arte-veiculo resulted in an attempt itations to the development of Arte-veculo,
to contribute towards the structuring of because of the projects low budget, as
a problem imbued with a historigraph- well as bringing about the necessity of
ical and critical slant, cut through by establishing important partnerships with
discussions on the public vocation of art those convinced of the educational and
and the circuits in which it emerges and non-commercial character of the project.
gains legitimacy, always in a plural sense In face of what was able to be ac-
and as a dispute.
One cannot however, exhaust this of Arte-veculo were aimed at organiz-
theme from a theoretical point of view ing a historical repertoire which, while
documenting concrete activities, would
in the end limits it to the Rio-So Paulo allow to prospect possible relations, to-
axis, where a major part of the resourc- day, between artists and communication
es and visibility which reigns over the vehicles. Perhaps due to the increasing
cultural and communications economy professionalization of artistic venues,
are concentrated. Besides visiting the which could be one of the factors behind
two states, the project was limited to the more endogenous actions, or maybe
in loco the
scenario in Cear and Pernambuco, in
which were found, respectively, emblem- restricted operations in this sector over
atic cases such as that of the activities the last decade, the diminished space for
of the Bruscky & Santiago Team in the
1970s and Yuri Firmeza in the 2000s.
deviating from hegemonic agendas of
mainly into harder to reach regions, and major press vehicles has become a no-
more time to access archives and meet torious fact.
with artists to be able to confer doubt on
 325

Besides the rhetoric of consolidated networks such as Facebook takes place,

and periodically revisited genres, could
there presently be any reason for media
interventions? Within the context of dis-
cussions on Tactical Media in early 2000,
Sergio Basbaum convoked artists to plan
perceptive terrorism activities, to cul-
tivate a state of red alert, of affronting,
of confrontation and of awakening []
in an irreversible and rampant manner,
we see an automated agenda-setting
process arise as a model and a problem.
Instead of traditional editors with
the responsibility of making ideological
choices and be publicly credited and
held accountable for their duties ,
programming algorithms act today like

This gesture is what the theoretician en- in that which refers to their critics and
deavors to call art 368. possible instrumentalization, they de-
This call to arms would lead, conse- termine what each user is to access
everyday. And they do it, according to a
what we could presently consider as be- study372 as pointed out by lawyer Ronaldo
ing entropic forms. What driving forces Lemos, in such a way as to appease the
would now be circulating so as to reorga-
nize and disturb discursive systems and
social visibility, besides the abundance of way we think and reduce our exposure to
images, which between the latter part of that which we disagree with.373
1960 and early 1980s, was viewed by Guy The entropy in force today is that
369
-
cial communications, a contradiction
of the loss of verbal articulation leading inserted within a broader process of con-
to political apathy and the beginning of striction of public spheres. And because
post-history370? of this, as emphasized by Lemos, perhaps
As the irreversible and rampant it becomes truly necessary to talk of algo-
migration of data and activities both rithms from now on. After all, it is in this
from individuals as well as from large technology and language that the models
communication corporations371 to social and narratives of the present are being
produced. It is within it and based on it
therefore, that we should cultivate new
368 BASBAUM, Sergio. A era do rudo sem rudo. In and pertinent instruments for dissent.
ROSAS, Ricardo; VASCONCELOS, Giseli (Org.),
2006, P. 158.
369 The book was published in 1967 and translated into
Portuguese in 1997. (DEBORD, Guy. A sociedade do
espetculo. So Paulo: Contraponto Editora, 1997).
370 The concept first appears in the book A filosofia da
caixa preta, in 1983, but its formulation continued in
Ps-Histria Vinte instantneos e um modo de usar.
(FLUSSER, Vilm. Ps-Histria Vinte instantneos e
um modo de usar. So Paulo: Annablume, 2011).
371 In May 2015, nine of the largest communication 372 Exposure to ideologically diverse news and opin-
companies in the world, among which were New York ion on Facebook. Science Magazine, 05/07/2015.
Times and The Guardian andTV channels such as NBC Available at: <https://goo.gl/M8aFCn>. Accessed:
and BBC, adhered to the direct publication of news 01/09/2015.
program on Facebook. (Cf. The New York Times. 373 LEMOS, Ronaldo. Precisamos falar de algorit-
Facebook testing instant articles from news publish- mos. Article published in the Folha de S.Paulo
ers. Available at: <http://goo.gl/WwZMuj>. newspaper on 18/05/2015. Available at: <http://goo.gl/
Accessed: 08/23/2015). FzYHwl> Accessed: 01/09/2015.
 326

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3ns3
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Rafael Frana So Paulo,
19791982)
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Mrio Ramiro. 2. X-Galeria, julho de
1979 Ao na fachada de gale-
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Mrio Ramiro. 3. Interdio, setem-
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4. Interveno IV, julho de 1980 In-
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S.Paulo (15/06). Acervo Mrio
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So Paulo, 20023) Analvia Cordeiro e Fabiana (Santo Amaro, 1942. Vive e trabalha
1. A revoluo no ser televisiona- Cordeiro. Direo de TV: Antonio no Rio de Janeiro)
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nalmente entre 31/8 e 3/12 de 2002 Video-dana exibida naTV Cultura, Internacional da Cano, em feve-
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Apresentada no Festival MdiaTtica cinematogrfica: Pedro Farkas. Centro de Mdia Independente
Brasil. Fotografias: Daniel Lima (2000)
Acervo Analvia Cordeiro. 1. Mdia Ttica Brasil, 2003 Festi-
A revoluo no ser televisionada, Bi- Antonio Manuel val com programao de 13 a
jari, Cia. Cachorra, C.O.B.A.I.A, (Avels de Caminho, 1947. Vive e tra- 16/3/2003 na Fundao Japo, na
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em 2005 nas praas do Patriarca (20 Antonio Manuel. 2. Flans, 1968 pblico no vo livre do Museu de
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matizao realizada pelo Grupo pecial para o programa Globo cerca de 60 edies veiculadas aos
Contrafil sobre ao do grupo Reprter, da TV Globo. Durao: domingos na TV Tupi, entre feverei-
MICO, 2007 Interveno urbana e cerca de 30. Direo: Paulo Gil So- ro 1979 e julho de 1980. Direo:
desdobramento na mdia. ares. 3. Teodorico, o imperador do Fernando Barbosa Lima. Apresen-
Serto, 1978 Reportagem espe- tao: Luiz Jatob. Colaboraes
Daniel Santiago cial para o programa Globo de Walter Clark, Antonio Callado,
(Garanhuns, 1939. Vive e trabalha no Reprter, da TV Globo. Durao: Fausto Wolff, Fernando Sabino,
Recife) cerca de 30. Direo: Paulo Gil Ziraldo, Roberto DAvila, Vivi
1. Interessa a algum, que numa Soares. Nabuco, Sargentelli, Oliveira Bastos,
madrugada de chuva eu fique olhan- Norma Bengell, Glauber Rocha, entre
do os pingos grossos pela janela da Eduardo Kac e Mrio Ramiro outros. Acervo Cinemateca Brasi-
cozinha e que na janela havia uma (Rio de Janeiro, 1962. Vive e trabalha leira. 4. Xingu, a Terra mgica dos
tbua de carne, uma pedra de amo- em Chicago. Taubat, 1957. Vive e ndios, 1985 Srie com 11 epis-
lar e um frasco de planta e que eu trabalha em So Paulo) dios exibida na TV Manchete entre
estava com frio de cueca e p no 1. Retrato suposto, rosto roto, 1988 maro e junho de 1985. Direo:
cho, 1974 Arte-classificada pu- Ao entre o ateli de Kac e o Washington Novaes. Produo:
blicada no Dirio de Pernambuco. estdio do programa Eureka, TV Intervdeo. 5. Aventura, 1986. Pro-
2. Eu como poesia nhoc nhoc, 1977 Cultura, 8/10/1988. Acervo Mrio grama na TV Manchete, sem data.
Arte-classificada publicada no Ramiro. Direo: Fernando Barbosa Lima.
Dirio de Pernambuco em 10/07/1977. Produo: Intervdeo.
3. Se voc de Tabira, s/d Arte- Equipe Bruscky & Santiago
classificada. 4. Se voc tem mais de (Daniel Santiago e Paulo Bruscky. Flvio de Carvalho
60 anos, s/d Arte-classificada. Recife, 19701992) (Barra Mansa, 1899 Valinhos, 1973)
5. Verzuimd Braziel, 1995 Projeto 1. Composio aurorial, 1972 1. Casa, Homem, Paisagem, 19556
deTeleperformance. Arte-classificada publicada no Coluna de textos e ilustraes
Jornal do Brasil, sem data. Acervo publicada no Dirio de S.Paulo entre
Di Paulo Bruscky. 2. Uma vtima do 12/1955 e 2/1956. Hemeroteca Mrio
(Osasco, 19761997) bombardeio de informao, 1977 de Andrade. I Descongestiona-
1. Sem ttulo, 1990 Pixao no Ed- Arte-classificada publicada no mento das cidades Trnsito.
fcio Conjunto Nacional, Avenida Dirio de Pernambuco, sem data. 22/12/1955. II As cidades no ama-
Paulista e oferta annima da cober- Acervo Paulo Bruscky. 3. Ex-inte- nhecer do sculo e o novo homem.
tura do caso para a Folha de S.Paulo. lectual, especialista em brincadeiras 25/12/1955. III As linhas subterrne-
lbum S Pixo Acervo Rafael de salo e terrao, 1977 Arte-clas- as para So Paulo. 29/12/1955.
Pixobomb. sificada publicada no Dirio de IV O metr de So Paulo o grande
Pernambuco, sem data. Acervo centro. 1/1/1956. V O dever telrico
Ducha Paulo Bruscky. 4. A gente vive sor-
(Rio de Janeiro, 1977) do homem ainda o grande centro
rindo, mas paga caro, 1977 os jardins suspensos. 5/1/1956.
1. Cristo Vermelho, 2000 Interven- Arte-classificada publicada no
o urbana e oferta annima de Dirio de Pernambuco em 18/7/1977. Mudanas na velocidade do habi-
cobertura do evento para a impren- Acervo Paulo Bruscky. 5. Desclassi- tante a cinta terica e as estaes
sa carioca. Acervo Ducha. subterrneas. 11/1/1956. VII As li-
ficados Apropriao de clipping nhas subterrneas. 15/1/1956.
de matria publicada na revista
 332
I A paisagem sorridente. 19/1/1956.
II Ainda a paisagem sorridente.
22/1/1956. III De novo a paisagem
sorridente. 26/1/1956. IV A paisa-
gem sorridente e o poltico.
29/1/1956. V A paisagem sorridente
e os direitos do homem. 2/2/1956. VI
A paisagem sorridente e a floresta
a decida da rvore origens do di-
reito de propriedade. 5/2/1956.
VII A paisagem sorridente e a flo-
resta a rvore e o homem o
antepassado na rvore o grande
refgio. 9/2/1956. VIII A paisagem
sorridente a vegetao e o ser vivo
o suicdio e o ltimo recurso a
grande fome. 12/2/1956. IX A paisa-
gem sorridente e a consequncia do
homem a plancie e o homem do
cavalo o primeiro histrico.
16/2/1956. X A paisagem sorridente
e sua consequncia o homem a
montanha e o homem que no ri.
19/2/1956. XI A paisagem sorriden-
te e a consequncia o homem a
paisagem post-modern e o homem
em vo. 26/2/1956. A grande imagina-
o do limite vagando pela rua,
4/3/1956. 1. A moda e o novo homem,
1956 Coluna de textos e ilustra-
es publicada no Dirio de S.Paulo
2 e 11/1956. Hemeroteca Mrio de
Andrade. 1. Experincia N3 (apre-
sentao na sede dos Dirios
Associados), 1956 Fotografia de
performance publicada na Revista
Manchete em 30/6/1973.
Hemeroteca Mrio de Andrade.
1. Experincia N3 (demonstrao
no programa de Paulo Autran e
Tonia Carrero, TV Tupi), 1957 Still
de gravao publicado na Revista
Manchete em 30/6/1973. Hemerote-
ca Mrio de Andrade. 2. Experincia
N4 (casting Deusas Brancas), 1958
Anncio classificado. Arquivo
Centro de Documentao
Alexandre Eullio Universidade
de Campinas. 3. Flvio de Carvalho
veste os jogadores de futebol para a
TV a cores, 1972 Croqui de projeto
publicado na Folha de S.Paulo de
28/02/1971. Manchete principal:
Ontem foi o dia que mudou o mun-
do. CDOC Folha de S.Paulo.
Frederico Morais
(Belo Horizonte, 1936. Vive e trabalha
no Rio de Janeiro)
1. Agnus Dei Nova Crtica, 1970
Instalao de 15.000 garrafas de
Coca-cola, no cho da Petite
Galerie, Rio de Janeiro, dentre as
quais encontrava-se um exemplar
da srie Insero em circuito ideo- Abertura, TVTupi, fevereiro a junho
lgico Projeto Coca-cola, de Cildo
Meireles. Arquivo Museu de Arte
da Pampulha, Belo Horizonte.
2. Domingos da criao: Domingo,
terra-a-terra, 1971 Evento aberto
na esplanada do MAM RJ. Cober-
tura miditica nos cadernos de vida
urbana. Fotografia: autor no iden-
tificado. Acervo MAM RJ.
Frente 3 de fevereiro
(Achiles Luciano, Andr
Montenegro, Cssio Martins,
Cibele Lucena, Daniel Lima, Daniel
Oliva, Eugnio Lima, Felipe Texeira,
Felipe Brait, Fernando Alab,
Fernando Coster, Fernando Sato,
Joo Nascimento, Julio Dojcsar,
Maia Gongora, Marina Novaes,
Maurinete Lima, Pedro Guimares e
Roberta Estrela DAlva. So Paulo,
2004)
1. Brasil negro salve, 2005 Inter-
veno na cobertura ao vivo da final
da Taa Libertadores da Amrica,
na TV Globo e no Sport TV. Acervo
Daniel Lima. 2. Onde esto os
negros?, 2005 Interveno na co-
bertura ao vivo de jogo de futebol,
em 14/8/2005. 3. Zumbi somos ns,
2005 Ao no edifcio Prestes
Maia e apario na cobertura ao
vivo deTV Record, em 2/7/2005.
Geraldo Anhaia de Mello
(So Paulo, 19552010)
1. A situao, 1978 Performance
filmada em Super-8. Durao: 9.
Acervo Museu da Imagem e do
Som de So Paulo. 2. Lavagem s
ostras, 1994 Compilao das co-
lunas no Jornal da Tarde (Editora
Sniper, 1994). 3. Muito alm do cida-
do Kane, 19931994 Exibio do
documentrio Cidado Kane
(Simon Hartog, 1993) no MIS-SP
em 27/5/1993 e edio de livro ho-
mnimo (Scritta Editorial, 1994).
4. Vdeo-arte: a TV contra a TV, 1978
Publicado no Jornal do Brasil em
31/12/1978.Manchete principal: AI-5
acaba meia noite de hoje.
Glauber Rocha
(Vitria da Conquista, 1939 Rio de
Janeiro, 1981)
1. Quadro de entrevistas Programa
de 1979 Direo: Fernando
Barbosa Lima. Reprter: Glauber
Rocha. Entrevistados: Brizola,
Caetano Veloso, Luiz Carlos
Maciel, Severino, entre outros.
Acervo Cinemateca Brasileira.
Helio Oiticica
(Rio de Janeiro, 19371980)
1. PN3 Penetrvel imagtico, 1967
Aparelho de TV ligado. Parte in-
tegrante de Tropiclia.
Jac Leirner
(So Paulo, 1961)
1. Furos, 1989 Interveno grfica
publicada na srie Arte em jor-
nal, do Jornal da Tarde, em
27/5/1989. Acervo Jac Leirner.
Jaguar
(Rio de Janeiro, 1932)
1. Independncia ou morte ou O Gri-
to do Ipiranga, 1970 Charge
publicada em O Pasquim e censura-
da em 11/ 1970.
Jomard Muniz de Britto
(Recife, 1937)
1. Porque somos e no somos tropi-
calistas Manifesto publicado no
Jornal do Commercio, em 20/4/1969.
2. Inventrio do nosso feudalismo
cultural Texto de Jomard Muniz
de Britto, Aristides Guimares,
Celso Marconi, Marcus Vincius de
Andrade, Carlos Antnio Aranha,
Dailor Varela, Alexis Gurgel, Falves
Silva, Anchieta Fernandes, Moacy
Cirne, Caetano Veloso e Gilberto
Gil. Publicado no Jornal do
Commercio, 1968.
Lenora de Barros
(So Paulo, 1953)
1. ...umas, 19936 Coluna publi-
cada aos sbados no Caderno So
Paulo do Jornal da Tarde. Acervo
Lenora de Barros. Happy new car.
1/1/1993. Sem ttulo. 8/2/1993.
iiimAAAgens. 15/1/1993. Pes pelas

mos. Manobra. Mo dupla. Mo li-
vre. 22/1/1993. Caras metades. Perfil
por um fio. Depois daquele beijo. Au-
to-perfil. 29/1/1993. Umas
sommnimo. 5/2/1993. Engenho arte.
Esculturas extra-no-srias. Ini- nos de fogo. Fogo cruzado. Pelcula
magimquinas.. Formas vazias.
12/2/1993. Sem ttulo. 26/2/1993. Ima-
gens lquidas. Paradoxo lquido.
Equilquidos esfricos. 5/3/1993. No-
tas ss. God save the money.
12/3/1993. Sobre o cho. Memria
ch. Presente blgaro. 19/3/1993. Es-
pelhar-se. 26/3/1993. Artes pela arte.
No limite da palavra arte. 2/4/1993.
Incorporaes. Operao drstica. nho elefante. 3/12/1993. T na cara.
9/4/1993. Dar a luz. Babekuz eletrni-
ca. Na linha da luz. 16/4/1993.
Zoliga. Ch sensorial. Mquina.
Singe. Caldeira adotiva. 23/4/1993.
In+divid+dualidades. Dubl de anti-
corpo. Imagem rebatida. 30/4/1993.
Manobras. Here comes the sun. Ru-
dos silenciosos. 7/5/1993. Na
sequncia. Na medula do movimen-
to. 14/5/1993. O prazer de ver.
Brbara cruel. 21/5/1993. Formas
capilares. Tranas de tempo.
28/5/1993. Certas cadeiras. Teste
para resolver em p. Cadeira senta-
da. Curto-circuito. Cadeira
tripartida. 4/6/1993. Coraes e men-
tes. Perto dos olhos. 11/6/1993. Tratos
bola. Buraco negro. Metade intei-
ra. 18/6/1993. Ps pelas mos. Sem
p nem cabea. 25/6/1993. Lance de
pontas. Cena picante. 2/7/1993. Que-
bra cabea. 9/7/1993. Avesso do
avesso. Potica no espao. Dilogo
ortogonal. A novidade da novidade.
16/7/1993. Fly me to the moon
(again). Astronauta liberado. Poema
para Poe. Escrito nas estrelas.
23/7/1993. Texturas tcteis. Killing
me softly. 30/7/1993. Re-diagrama-
o. Re-forma social. Leitura
silenciosa. 6/8/1993. No limite. Ln-
gua no limite (Marie Smith). No
limiar da vida (a morte). 13/8/1993.
Dubl de corpo. Leva quanto pesa.
Fora da imagem. A arte imita a
vida. 20/8/1993. Comer com os olhos.
Cena picante. Ch de bolso. Sineste-
sia sinttica. 27/8/1993. Para colorir.
O corpo da cor. A cor des-construda.
Pintando pincis. 3/9/1993. In vitro.
Vidros dguas. Formas amorfas. As
bonecas da menina do pote.
333
10/9/1993. Um quarto s para ns. do problema. Punhal onrico.
17/9/1993. A cidade. cida. Asfixia. 25/12/1994. Arte com mscaras. De
24/9/1993. Encaixe dos corpos. Dueto Lenora de Barros, com o tema Ca-
silencioso. Equao de corpo. Um ras Ms, Cristina Ramanho.
mesmo em si mesmo. 1/10/1993. Sig- 30/10/1995. 2. X, dor!, 2000 Ca-
derno Mais!, Folha de S.Paulo e
digital. 8/10/1993. Favor tocar. Reter Folha Online, 16/4/2000. 3. Espelho,
tenso. 15/10/1993. Abaixo de zero. retrovisor, 2001 Caderno Folhe-
Iluso de tica. Frio oriental. tim, Folha de S.Paulo , sem data.
22/10/1993. Turismo. A cidade azul. 4. Procuro-me, 2001 Publicado no
Circuito de frias e letras. Comer e Caderno Mais!, da Folha de S.Pau-
beber como rei. 24/11/1993. Corpos lo, em 7/10/2001. Manchete
estranhos. Para Marcel Duchamp, principal: Pacote ameaa privaci-
por Etant Donnes. Alice revisitada. dade nos EUA
Mitos ps ps-modernos. Homenzi-
Luiz Paulo Baravelli
Para Munch, pelo O Grito. Em bus- (So Paulo, 1942)
ca de emoes perdidas. 10/12/1993. 1. L.P.Baravelli, 19856 coluna pu-
Deslimites do corpo. Nas entreli- blicada semanalmente na Folha de
nhas. Entre as fronteiras. Cabea S.Paulo. 18 (120?) x 1000 000.
dorsal. 17/12/1993. Um Natal espe- 26/4/1985. As onze mil virgens.
cial. Estado de Natal. 24/12/1993. 3/5/1985. Os pinguins procuram, afli-
O pequeno grande dirio de viagens. tos. 10/5/1985. Separatistas do
Passaporte, passo a passo. 29/12/1993. Brasil, uni-vos! 17/5/1985. De clan-
Na contramo. 31/12/1993. Visto, logo destinos a extremistas. 24/5/1985.
existo. Lenora de Barros interpreta Ps-art-nouveau? 31/5/1985. Mao
Barbara Kruger. Moda, por Barbara quase acertou. 7/6/1985. Acertando
Kruger. 2/6/1994. Primeira viso. Pin- as contas.14/6/1985. Dois ranhetas e
g-poem. Matrimnio italiana. o futuro. 21/6/1985. Um dia cheio.
24/7/1994. Primeira viso. Ping-poem. 28/6/1985. Sim (arf arf), quero sim!
Jogo de damas. 31/7/1994. Primeira 5/7/1985. Arma-zen (bleargh).
re-viso. 7/8/1994. Viva o Peter Po! 12/7/1985. Trs contos de inverno.
Gramtica poltica. 14/8/1994. Corpo 19/7/1985. Enfim SOS. 26/7/1985. Por
e mente so. Dubl de anticorpo. que no vou ao cinema. 2/8/1985. Por
Corpo implcito. 21/8/1994. The hor- que no vou ao cinema (2). 9/8/1985.
ror, the horror. A rvore da vida da Agora, como antes. 16/8/1985. Curtas
nao contaminada com o meu semicurtas. 23/8/1985. Curtas semi-
despreparo como homem primitivo. curtas 2. 30/8/1985. Dezessete
I need you. 28/8/1994. Um minuto de conselhos bestssimas. 6/9/1985. O
silncio. 4/9/1994. (entes) em conta- mdium das mdias. 13/9/1985. Uma
to com Arnaldo. 18/9/1994. Prolas adversidade na Universidade.
Negras. 25/9/1994. Ri chora. 20/9/1985. Meu cdigo penal.
2/10/1994. The dream is over US. Feliz 27/9/1985. Introduzindo o lemurismo.
aniversrio, John! Feliz aniversrio, 4/10/1985. Introduzindo o lemurismo
Sean. The woman. 9/10/1994. My gir- (2). 11/10/1985. Introduzindo o lemu-
lie show. Garotas, esses seres pop, rismo (3). 18/10/1985. Introduzindo o
as garotas. 16/10/1994. See me. lemurismo (final). 25/10/1985 Do so-
23/10/1994. Pontos luminosos para cialismo involuntrio. 1/11/1985.
Pound. 30/10/1994. Quarentas. Carta a um jovem artista. 8/11/1985.
6/11/1994. Listas xadrezes. Liberda- De artistas e no-artistas.
de punida. Stripe-tease mental. 15/11/1985. Sobre a densidade.
13/11/1994. Sem ttulo. 20/11/1994. 22/11/1985. Mim, jornalista, horror
Mato, logo existo. 27/11/1994. Qual- vacui, ugh. 29/11/1985. Deu na telha.
quer semelhana mera diferena. 6/12/1985. Do blush. 13/12/1985. A ca-
4/12/1994. Colunave. 11/12/1994. Sol tstrofe imvel. 20/12/1985. O ser e o
porque vero. Sol quadrado. nada (2). 127/12/1985. Fazer, mostrar,
18/12/1994. Voo no s com os ver, comprar (1). 3/1/1986. Fazer,
pssaros. O cu o limite. Gravidade mostrar, ver, comprar (2). 10/1/1986.
 334
Marcello Nitsche
(So Paulo, 1942)
1. Vamos colorir o Brasil, 1984
Interveno publicada no caderno
Ilustrada, da Folha de S.Paulo, em
23/8/1984, como parte do projeto
Os artistas brasileiros pelas dire-
tas. Arquivo Biblioteca Nacional.
Mrcia X
(Rio de Janeiro, 19592005)
1. TV Studios: a glria por um minu-
to, 1987 Piloto de programa de
TV. Acervo MAM RJ. 2. TV Studio: o
uso humano de temas humanos,
1987 Piloto de programa de TV.
Acervo MAM RJ. 3. TV Studios:
comprar 1 carn do Ba da Felicida-
de, 1987 Piloto de programa de
TV. Acervo MAM RJ.
Mrcia X e Alex Hamburguer
(Rio de Janeiro, 19592005. Belgrado,
1950. Vive e trabalha no Rio de
Janeiro)
1. Anthenas da raa, 1985 Foto-
grafia: Autor no identificado.
Acervo MAM RJ.
Mrio Ramiro
(Taubat, 1957. Vive e trabalha em
So Paulo)
1. Clones uma rede simultnea de
rdio, televiso e videotexto, 1983
Ao de convergncia miditica
realizada entre o MIS-SP, uma
emissora de rdio e o programa
Fbrica do Som, da TV Cultura.
Acervo Mrio Ramiro. 2. Altamira,
1986 Rede de Slow ScanTV entre
MAC-USP e Center for Advanced
Visual Studies do MIT. Acervo
Mrio Ramiro.
Nelson Leirner
(So Paulo, 1932. Vive e trabalha no
Rio de Janeiro)
1. Sem ttulo, 1989 Interveno
grfica publicada na srie Arte em
jornal, do Jornal da Tarde, em
16/7/1989. Arquivo Biblioteca
Nacional.
Olhar Eletrnico
(Drio Vizeu, Fernando Meirelles,
Jos Roberto Salatino, Marcelo
Machado, Marcelo Tas, Paulo
Morelli, Renato Barbieri e Toniko
Melo. So Paulo, 19811989)
1. 23 Hora, 19823 Programa na
TV Gazeta, de 10/1982 a 3/1983. Di-
reo geral: Goulart de Andrade.
Acervo 02 Filmes. 1. Invente um
nome para o programa (Antenas),
1983 Quadro no programa
Comando da madrugada, transmiti-
do pela TV Gazeta aos sbados a
partir de 22/8/1983. Direo geral:
Goulart de Andrade. Reprter:
Renato Barbieri. Cmera: Paulo
Morelli, Toniko Melo e Fernando
Meireles. Acervo 02 Filmes. 2. Varela
em Nova York Quadro no progra-
ma Olho Mgico, TV Gazeta, 1986.
Cmera: Henrique Goldman. Pro-
duo: Abril Vdeo. Acervo 02
Filmes. 3. Crig-R Programa exi-
bido na TV Gazeta, 1984. Durao:
1 hora semanal. Produo: Abril
Vdeo. Acervo 02 Filmes. 4. O mun-
do no ar, 19861987 Quadro com
quatro episdios dentro do progra-
ma Aventura, exibido na TV
Manchete. Apresentao: Marcelo
Tas (Ernesto Varela). Cmera:
Fernando Meirelles (Valdeci). Produ-
o: Olhar Eletrnico eTV Manchete.
Acervo 02 Filmes. 5. TV Mix, 1987
1989 Programa dirio na TV
Gazeta. Direo: Fernando Meirelles
e Marcelo Machado. Acervo TV
Edio Extra,TV Gazeta.
Paulo Bruscky
(Recife, 1949)
1. Arteaeronimbo, 197486
Arte-classificada originalmente no
Dirio de Pernambuco e depois em
outros veculos, como o Jornal do
Brasil, em 1977, o Village Voice, em
1982, e O Povo, em 1986. Acervo
Paulo Bruscky. 2. Arteaeronimbo
(carta resposta), 1982 Carta
manuscrita de Howard Smith.
Acervo Paulo Bruscky. 3. Arteaero-
nimbo (carta resposta), 1986
Carta manuscrita de Dodora.
Acervo Paulo Bruscky. 4. Hoje, a
arte esse classificado, 1976
Texto e carimbo. Acervo Paulo
Bruscky. 5. Mquina de filmar so-
nhos, 1977 Arte-classificada.
Acervo Paulo Bruscky. 6. Rudos
Adventcios da ausculta pulmonar,
1987 Arte-classificada no Jornal do
Commercio. Acervo Paulo Bruscky.
7. Rudos Adventcios da ausculta
pulmonar (gabarito), 1987
Arte-classificada no Jornal do
Commercio. Acervo Paulo Bruscky.
8. Vervendo, 2008 Arte-classifica-
da no jornal O Estado de Minas.
Acervo Paulo Bruscky. 9. Encefalo-
grama musicado, 1986/2002
Arte-classificada no Jornal do
Commercio. Acervo Paulo Bruscky.
10. Poesia paga, 1977 Arte-clas-
sificada no Dirio de Pernambuco.
Acervo Paulo Bruscky. Poesia de re-
petio, 1977 Arte-classificada
no Dirio de Pernambuco. Acervo
Paulo Bruscky. 11. AAAA! BABA!
CACA! TATA, 1977 Arte-classifica-
da no Dirio de Pernambuco. Acervo
Paulo Bruscky. 12. R(U)dio Arte
Show, 19789 Quadro de poesia
Sonora no Programa Paulo
Marques, na Rdio Clube de Per-
nambuco (Dirios Associados),
aos sbados, a partir das 10h30.
Participaes: Daniel Santiago,
Leonardo Duch, Roberto Sandoval,
Luiz Guardia Neto, Robin Crozier,
Art Players e Orson, Rod Summers,
Ulisses Carrin, entre outros.Acer-
vo Paulo Bruscky. 13. Coluna Urbis,
19781979 Coluna de textos e
imagens no Jornal da GBT. Edito-
res: Alberto da Cunha Melo, Celso
Marconi e Marco Polo. Acervo
Paulo Bruscky.
Reynaldo Jardim
(So Paulo, 1926 Braslia, 2011)
1. Suplemento Dominical do Jornal
do Brasil, 1954 Programa cultural
na Rdio Jornal do Brasil. CDOC
Jornal do Brasil. 2. Suplemento
Dominical, 195660 Edio do ca-
derno encartado no Jornal do Brasil,
entre 3 de junho de 1956 e junho de
1960. Colaboraes de Ferreira
Gullar, Oliveira Bastos, Mrio
Faustino, Mrio Pedrosa, Clarice
Lispector, Antnio Houaiss,
Haroldo e Augusto de Campos, en-
tre outros. CDOC Jornal do Brasil.
Ricardo Basbaum
(So Paulo, 1961. Vive e trabalha no
Rio de Janeiro)
1. Imagem, 1991 Interveno na
Revista UH, do jornal ltima Hora,
de 10/5/1991. Acervo Ricardo
Basbaum.

Rubens Gerchman
(Rio de Janeiro, 1942 So Paulo,
2008)
1. Juntos pelas Diretas, 1984 In-
terveno publicada no caderno
Ilustrada, da Folha de S.Paulo, em
19/2/1984, como parte do projeto
Os artistas brasileiros pelas Dire-
tas. Arquivo Biblioteca Nacional.
Sandra Kogut
(Rio de Janeiro, 1965)
1. Parabolic People, 1991 Inser-
es nos intervalos da programao
da MTV, sem data. Acervo Videobrasil.
2. Brasil Legal, 19948 Programa
transmitido pela TV Globo. Apre-
sentao: Regina Cas. Roteiro:
MarceloTas. Direo: Sandra Kogut
(Ncleo Guel Arraes)
Tadeu Jungle
(So Paulo, 1956)
1. Amaznia Niemeyer, 2008 TV
Cultura. Exibido no programa
Janela Brasil em 2/11/2008. Dura-
o: 4856. Acervo TV Cultura (BE
13682). 2. Zoom Homenagem a
Nam June Paik (intervenes de
Tadeu Jungle ISTO TEVE ROTEI-
RO? HP/ HOMAGE TO PAIK, Otavio
Donasci VIDEOTANGO, Wilson
Sukorski TOTEM TV, Jos Roberto
Aguilar PARFORMANCE) TV
Cultura. Exibido em 30/05/2006.
Durao: 4820. AcervoTV Cultura
(BD 3991).
TVDO
(Tadeu Jungle, Walter Silveira, Ney
Marcondes, Paulo Priolli e Pedro
Vieira. So Paulo, 19831989)
1. Mocidade independente TV
Bandeirantes, 8 edies entre junho
e agosto de 1981. Direo e edio:
TVDO e Nelson Motta. Participa-
es: Astrbal Trouxe o Trombone,
Itamar Assumpo, Raul Seixas
entre outros. Acervo Tadeu Jungle.
2. Avesso-Futebol (antigo Teleshow
de Bola), 1982 Programa exibido
na TV Cultura, sem data. Durao:
16. Acervo Tadeu Jungle. 3. Quem
Kiss TV, 1983 Vdeo. Durao:
2947. AcervoTadeu Jungle. 4. A f-
brica do som, 19834 Programa
de auditrio filmado no Sesc
Pompeia e no Campo de Marte e
exibido na TV Cultura. Durao:
335
cerca de 60. Direo: Pedro Vieira. Waltrcio Caldas
Apresentao: Tadeu Jungle. Acer- (Rio de Janeiro, 1946)
vo TV Cultura. 5. Avesso, 1984 1. Isto como sombra / aquilo como
Piloto de programa de TV com aqui, 1989 Interveno grfica
cinco episdios: Festa-baile, publicada na srie Arte em jornal,
Futebol, VTV, Circo e Punk. do Jornal da Tarde, em 29/4/1989.
O projeto foi comissionado pelaTV Arquivo Biblioteca Nacional.
Cultura, mas no chegou a ser exi-
bido. AcervoTadeu Jungle. Ziraldo
(Caratinga, 1932. Vive e trabalha no
TV Viva Rio de Janeiro)
(Amaro Filho, Cludio Barroso, 1. O dilogo dos dois, 1979
Cludio Ferrrio, Eduardo Homem, Quadro exibido no Programa Aber-
Ivan Vianna, Nilton Pereira, Valdir tura, da TV Tupi, sem data. Acervo
Afonso. Olinda, 1984) Cinemateca Brasileira.
1. TV Viva, 198493 Programa em
vdeo exibido mensalmente em es-
paos pblicos de 24 bairros da
periferia do Recife. Durao: cerca
de 1h cada. Direo: Eduardo
Homem e Cludio Barroso. Reali-
zao: Centro Luiz Freire. Acervo
TV Viva. 2. Som da nota, 1986
Programa semanal exibido na TV
Jornal, sem data. Acervo TV Viva.
3. TV Matraca, 2001 Programa
em vdeo exibido nos bairros do Re-
cife durante o segundo semestre de
2001. Apoio: Prefeitura do Recife.
AcervoTV Viva.
Yuri Firmeza
(Fortaleza, 1982)
1. Artista Invasor, 2006 Cobertu-
ra jornalstica de exposio fictcia
no Centro Drago do Mar,
Fortaleza. Acervo Banco do
Nordeste do Brasil. 2. Ecdise,
2008/2012 Colunas publicadas no
caderno Pensar, do Estado de
Minas (2008), e no Caderno C, do
Jornal do Commercio (2012). Que lu-
gar esse? 9/8/2008. Pensar
esculpir. 6/9/2008. Andana #1.
11/10/2008. Bordas para misturar.
8/11/2008. Bifurcao. 6/11/2008. Der-
rube uma rvore. 12/07/2012. O lente,
lente currite noctis equi (em colabo-
rao com Roberto Winter).
26/07/2012. Eu prometo. 4/8/2012.
Acervo Centro Cultural Banco do
Nordeste
 336

A ARTE-VECULO AGRADECIMENTOS Alex Hamburguer,

UM PROJETO DE
Alexandre Vogler, Aline Siqueira, Ana
Ana Maria Maia
Cludia Pereira Pinheiro, Andr Leandro
PROJETO GRFICO Silva, Andr Montenegro, Beatriz Lemos,
Priscila Gonzaga Bernardo Damasceno, Bia Medeiros, Bitu
ASSISTNCIA DE PESQUISA Cassund, Bob Silva, Brgida Campbell,
E PRODUO DE IMAGEM Cssio Martins, Clia Regina, Centro de
Ingrid Vieira Mdia Independente, Cesar Oiticica Filho,
Christine Mello, Cristiana Tejo, Cristiano
REVISO DE TEXTO
Lenhardt, Daniel Oliva, Daniel Trench , Daniela Arrais, Daniela Labra,
AlciaToffani Diego Matos, Domenico Lancelotti, Edouard Fraipont, Eduarda Ribeiro,
FOTOGRAFIA DE ORIGINAIS Elaina Daher, Elizabeth Gonalves, Elizabeth Varela, Emanuel Ferreira
PARA FLVIO DE CARVALHO
E JAC LEIRNER
Guedes, Eugnio Lima, Felipe Texeira, Fernanda Anhaia Mello, Fernanda
Jos de Holanda Lopes, Fernando Alab, Fernando Sato, Flvia Carneiro Leo, Flvio
Emanuel, Frederico Morais, Giseli Vasconcelos, Graziela Kunsch, Ins
FOTOGRAFIA DE ORIGINAIS
Katzenstein, Isabella Rjelle, Ivald Granato, Jaime Teixeira Acioli, Joo
PARA CILDO MEIRELES
Antnio Buhrer, Joo Nascimento, Jonathas de Andrade, Josu Mattos,
Pat Kilgore
Julia Rebouas, Julio Dojcsar, Lisette Lagnado, Lorena Vicini, Lydia
TRADUO DE TEXTO Barros, Magal Arriola, Marcelo Pereira, Mara del Carmen Carrin,
Dominique Makins Bennett Marina Novaes, Matheus Antunes, Natlia Quinder, Raiza Bruscky,
Stephen Rimmer Renato Rezende, Roberta Estrela DAlva, Roberto Traplev, Roberto
Charles Holmquist Winter, Rosa Antunes, Srgio Machado eTatiana Almeida.
Roberta Mahfuz
S INSTITUIES E AOS VECULOS DE IMPRENSA CONSULTADOS BBC, Coojornal,
PRODUTOR GRFICO Correio da Manh, De Fato, Dirio Carioca, Dirio da Noite, Dirio de
Jos Silva Moreira Pernambuco, Dirio de So Paulo, Dirio do Nordeste, EmTempo, Escola de
GRFICA Artes Visuais do Parque Lage, O Estado de Minas, Folha da Manh, Folha
Rotaplan Grfica de So Paulo, France Soir, Fundao Biblioteca Nacional, Fundao Bienal
de So Paulo, Hemeroteca Mrio de Andrade, Independent Curators
PARCERIA
International, Jornal da ABI, Jornal da Bahia, Jornal da Tarde, Jornal do
Editora Circuito
Brasil, Jornal do Commercio, Movimento, MTV, Museu da Imagem e do
PUBLICADO POR Som de So Paulo, Museu de Arte da Pampulha, Museu de Arte de So
Editora Aplicao Paulo, Museu de Arte Moderna do Rio de Janeiro, O Cruzeiro, O Dia,
O Globo, O Jornal, O Pasquim, O Povo, O2 Filmes, Porto Iracema das
Artes, Rdio Clube, rdio Cultura FM, rdio Jornal do Brasil, rdio
IMAGEM DA CAPA Universitria de So Paulo, Reprter, Revista Manchete, SBT Sistema
Mrcia X Brasileiro de Televiso, Select, SESC So Paulo, Time Life, Tribuna da
TV Studios: comprar 1 carn do Ba Imprensa, TV Bandeirantes, TV Cultura, TV Excelsior, TV Gazeta, TV
da Felicidade, 1987 Globo,TV Manchete,TV Rio,TVTupi,TV USP, ltima Hora, Videobrasil e
Acervo MAM RJ Village Voice.
IMAGEM DA CONTRACAPA AGRADECIMENTOS ESPECIAIS PARA Felipe Souza e Mirtes Marins Oliveira.
Mrcia X e Alex Hamburguer
Anthenas da raa, 1985
Fotografia: Autor no identificado TODOS OS ESFOROS FORAM FEITOS PARA RECONHECER OS DIREITOS AUTORAIS
Acervo MAM RJ DAS IMAGENS NESTE LIVRO. A EDITORA AGRADECE QUALQUER INFORMAO
RELATIVA AOS DIREITOS AUTORAIS DAS IMAGENS E/OU OUTROS DADOS QUE
IMAGEM NESTA PGINA
ESTEJAM INCOMPLETOS NESTA EDIO, E SE COMPROMETE A INCLU-LOS NAS
TVDO e Nelson Motta FUTURAS REIMPRESSES
Mocidade Independente, 1981
TV Bandeirantes

ISBN 9788566593-05-1

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