Artistic practice in Kaingang indian community
For a collaborative methodology
DOI:
https://doi.org/10.35699/2237-5864.2019.16119Keywords:
Contemporary Art, Collaborative Art, CommunityAbstract
The affective DNA artistic project kame and kanhru, a collaborative art practice in a kaingang indigenous community, is the benchmark for thinking about ways to make collaborative art. Thus, the purpose of this article is to investigate how these practices are constituted. For this, it is based on speeches by contemporary artists and art critics engaged in political and social artistic practices, such as Helguera (2011) Kester (2011) and Lacy (1995). Thus, we seek to answer the questions: what is the artist's place and performance? How to conceive the timing of these practices and who is your audience? How to talk about a collaborative authorship and how are these practices learned from the art system? As a result of such inquiries, methodological possibilities are presented in the field of collaborative art.
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Copyright (c) 2019 Kalinka Lorenci Mallmann, Andreia Machado Oliveira, Marcelo Eugenio Soares
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