Made available in DSpace on 2016-04-27T19:30:32Z (GMT). No. of bitstreams: 1 Fernanda Rorigues Galve.pdf: 920021 bytes, checksum: 7128fc7dae8c7d7e70c4fa0aa97ec0b6 (MD5) Previous issue date: 2012-05-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis is a navigation in the multiplicity of João Cabral de Melo Neto´s life and work. The anchorage of the research is in the visibility of the poetic work with the approach of its meanings and mediations in the sea of History. It attempts to reflect how the ability of artistic praxis holds itself a political and historical dimension. The thesis presents the story of a man that when experiences the literature´s fascinations and challenges, adds them to the reflexion in his dialog with several societies and friends. We have an anthology of great moments of the author (either as a diplomat, critic, historian, printer and man of words). A true nautical letter on art, literaly creation, societies, politics and, of course, life. This thesis elapses the life of a man who records and "dwells time" and learns which is lived in poetic words / Esta tese é uma navegação no multiverso da vida e obra de João Cabral de Melo Neto, cujo ancoramento está na visibilidade do trabalho poético com a aproximação de seus significados e mediações no mar da história. Busca-se refletir como a capacidade da práxis artística comportar em si uma dimensão política e histórica. A tese apresenta a história de um homem que, ao experimentar os fascínios e os desafios da literatura, soma-as à reflexão em seu diálogo com várias sociedades e amigos. Temos uma antologia de grandes momentos do autor (seja como diplomata, crítico, historiador, impressor e homem da palavra). Uma verdadeira carta náutica sobre arte, criação literária, sociedades, política e, claro, a vida. Esta tese transcorre a vida de um homem que registra e habita o tempo e apreende o que é vivido em palavras poéticas

This dissertation is a study of artistic projects that, in response to Spain’s transition into a neoliberal economy, renew the disruptive gesture of the avant-garde, from the country’s 1986 entry into the European Union, to the post-15M uprisings. To do so, I argue that Iberian artists revived strategies of sabotage typical of the 19th-century worker’s struggle, including power cuts, political infiltration, misappropriation of funds, and the destruction of property, to wield the art world’s contradictions against itself. Institutions sponsored these interventions precisely because in attempting to sabotage the art system, museums were able to marshal the idea of the artist’s freedom as a stand-in for Spain’s democratic identity, while also promoting art that fit the regime of spectacle driving the art market. Combining archival research and interviews with visual and cultural analyses of primarily conceptual art projects, each chapter focuses on a sociopolitical concern with Spain’s neoliberalization with which these artworks wrestle. The first chapter centers on imaginaries of technology given the country’s EU-imposed deindustrialization. One of the cases I examine is Catalan sound artist TRES Blackout (2000-16) concerts where he disconnected buildings from the grid, aestheticizing a pre- and post-industrial experience. The second chapter considers how the promotion of contemporary art was crucial for the State’s shift toward financialization, helping tourism and real estate markets’ development. These conditions, I argue, led to a new wave of institutional critique, questioning the museum’s social role. Among the works I analyze is Andalusian-Catalan visual artist Luz Broto’s architectural piece, Abrir un agujero permanente (2015), in which she bored a hole in the façade of the Museum of Contemporary Art of Barcelona and ran a workshop to change the museum’s bylaws for the hole to remain, without authorization, rendering institution making an artistic process in the vein of institutional critique. The third chapter addresses how artists found ways to counter the institution’s capture of cultural labor, such as Núria Güell’s manual, Cómo expropiar a los bancos (2013) —alongside others—on how to obtain bank loans and default on them. Through the lens of sabotage, we can see how artists pry open, in both symbolic and concrete ways, the increasingly nebulous relationship between labor and capital.