Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Wednesday, 8 February 2017

Popular Culture and Popular Art

The questioning about what is Art is a permanent questioning. Regardless of the approach in which the Art is questioned, in any case the purpose is to define what is, and what is not Art. In the same way, consequently what it is to be an Artist. I am frequently questioned in Bela Vista SP. My work and I am or not Artist. Regardless of the socio-economic, cultural and intellectual level, my work and person is questioned due to the actuality of my positioning and artistic production, which does not follow conventional parameters.Nor is academic conventions and rhetoric available. Evaluating Art under conventional and established parameters is a simple mission in the face of the uncertainties of the Present and possibilities of the Future.There is no doubt about the anguish of a reflection on the now, which tomorrow will be something else, and something else after tomorrow and so on. The truth of the Present may not be permanent. This can cause complex conflicts by defining a definitive concept about what becomes Art and Artist. Ha have to define an Artist through the academic formation. Others through psychological and psychic emotional deficiencies. Others through technical skill. Others for lack of knowledge. Also of economic, political and social relations.Still others through anonymity. Also through the accumulation of capital or absence of capital. Some for having theoretical knowledge while others for having complete ignorance. The certainty that I have is that to be an Artist is to develop a periodical, constant Artistic Production. This is Art, a State of Mind. Independent of language and established conventions. A State of Mind, free to manifest and materialize. The Power to determine what is Art and what is the Artist inflames the many pretentious. But if there is the thesis of Art, there is also its antithesis! Popular Art: any artistic production aimed at the interests of the very community that produces it is Popular Art.Culture is understood as intellectual artistic productions, but the social sciences define the concept as all human production with its regional characteristics. Artistic productions aimed at the interaction between communities and distinct societies, is not defined as Folk Art, a very well defined concept with research on Folklore. There is a distortion in the understanding of São Paulo's xylographic production compared to production in the northeast. The woodcut in São Paulo has its greatest production in academic context with a print run of defined number of prints or prints. In the northeast woodcut is used as popular art with prints or prints with no definite numbering. In São Paulo we recognize the origins of this technique as being of Chinese and Japanese origin. Woodcutting in the northeast is an exclusively Northeastern technique. In academic circles, the woodcut, besides representing recognizable forms, lends itself to conceptual themes. In the northeast woodcut preserves regional themes typical of the northeast. In São Paulo, the use of woodcuts suggests a priori knowledge of drawing. In the northeast, it is guarded by naivete in the representation of themes, equivalent to naive painting, as literary illustration in the language of Cordel. Finally, synthesizing: the woodcut in the northeast is absolutely popular. In São Paulo, it is of a conceptual character, like the production in other regions of the planet. Different is also the purpose of the xylographic matrix. In São Paulo, when it is not used, it is reused for other purposes that do not print or print. In the northeast it is used for prints with no defined number of prints. Concluding. Woodcutting, as a traditional technique, with a sophisticated craftsmanship, historically is in the public domain, independent of the culture or society that uses it in the Visual Arts. That is, in any region of the planet, anyone has the right to make woodcuts in their own interests. My production starts in woodcutting started at IMS Instituto Moreira Sales in Poços de Calda MG, then in the Graduate Program at Unicamp Campinas SP. Currently I maintain my independent production following academic and conceptual parameters, without the popular woodcut totally excluded from my purposes. My frequent themes are natural and urban landscapes. The current socio-cultural context is Bixiga Bela Vista SP. The Bixiga is an Afro-Italian neighborhood, with a strong investiture of Northeastern culture through music, gastronomy, and civil construction, but the Visual Arts does not establish itself, because otherwise it would be characterized as popular art in the northeast. It is understandable that through politics, the northeast promotes its artistic production by disqualifying other forms of production and generating social feuds as methods of cultural imposition, but this is due to lack of education and information by activists. However Brazil is of continental territorial extension, the northeast does not only represent the totality of the culture in Brazil, despite the prominence in the media today. It is followed on an equal footing with other regional styles. One artistic expression does not overlap with another through political cultural activism or imposition of taste by individuals or groups institutionalized or not. With the abstraction I intend a semantic reach of global sphere, without focusing on regional or bairristas interests, strengthening the connection with the web, the last unfolding of the woodcut until then. Woodcut is the first vehicle of information through repeated image through prints or prints. The first media as we know it, unfolding on the web today.Popular art does not satisfy my artistic longings, but the opposite distorts my intentions and mistakenly interprets the justification of my research and artistic development. My work implies philosophical and intellectual reflections a priori. This has no compliance with popular naivety. In doing a work, I am fully aware of what I am doing. I quote Pablo Picasso when reporting that he spends a year thinking about a work and does it in a few hours or minutes. Prejudice is a resource used as a means of disqualification in Brazilian society. The fact of being in a street situation, because I am outside the restricted market of Brazilian art, makes me feel as though I am incapable of professionals of the arts, but I maintain the exercise of my intellectuality and artistic production independent of institutional conventions. It is understandable that prejudice is a resource of socio-cultural exclusion due to the precarious primitive capitalism of exploitation and social status of Brazil and underdeveloped countries, or the third world. But the situation in which I find myself is my artistic motive. Imbeciles those who understand Art only as an expression of the Beautiful in its conventional configuration. Imbeciles uninformed, uneducated and even more educated people. Conventions of taste do not determine the manifold possibilities of building the Belo, which may not be so conformed to the conventions of common sense.Therefore, something Ugly in common sense is Beautiful in artistic context.

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