Public Notes


Recent Activity

  • Eduardo shared from Ai Weiwei Speaks: with Hans Ulrich Obrist (Penguin Special) by Hans Ulrich Obrist
    The blog* is like my drawing.
    Note: Ai Weiwei fala sobre desenho a Hans Ulrich Obrist.
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    ADH I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking. Art is all about looking—it may not be all about what you see on the surface, so it’s all the more important that you have to look deeper and as you look you are obviously thinking. I am not being, in Duchamp’s words, “only retinal,” I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert and George’s, “to be with art is all we ask.”
    Note: Anne de Harnoncourt sobre curadoria de arte.
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    The country was going through a long period of military dictatorship, which got worse from 1968.
    Note: @rebeccaraia Meu celular foi lacrado pra entrar no filme! Não consigo ver nem resposta! hahaha
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    But isn’t this one of the more important functions of museums, to kill things, to finish them off, to give them the authority, and thus distance them from people by taking them out of their real everyday context? Even over and above the will of the actors involved with any given museum, I think the structure of museums tend toward this kind of activity: historicization. It is sort of a cemetery for art—I think I must have heard this somewhere—the heaven for dead useless objects.
    Note: Seth Siegelaub sobre o papel dos museus: matar as coisas.
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    But isn’t this one of the more important functions of museums, to kill things, to finish them off, to give them the authority, and thus distance them from people by taking them out of their real everyday context? Even over and above the will of the actors involved with any given museum, I think the structure of museums tend toward this kind of activity: historicization. It is sort of a cemetery for art—I think I must have heard this somewhere—the heaven for dead useless objects.
    Note: Seth Siegelaub sobre o papel dos museus: matar as coisas.
  • Eduardo shared from Rua da Padaria (Portuguese Edition) by Bruna Beber
    romance em doze linhas quanto falta pra gente se ver hoje quanto falta pra gente se ver logo quanto falta pra gente se ver todo dia quanto falta pra gente se ver pra sempre quanto falta pra gente se ver dia sim dia não quanto falta pra gente se ver às vezes quanto falta pra gente se ver cada vez menos quanto falta pra gente não querer se ver quanto falta pra gente não querer se ver nunca mais quanto falta pra gente se ver e fingir que não se viu quanto falta pra gente se ver e não se reconhecer quanto falta pra gente se ver e nem lembrar que um dia se conheceu.
    Note: Bruna Beber: quanto falta?
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    As a result, I wanted a conservative museum, and I chose the term anti-museum, not because I understood “anti-art” to mean something that could never be art, but something rather that invites the permanent renewal of art. Not a negative, but a very positive phrase. A process of constant creation, so to speak.
    Note: Johannes Claddes fala sobre o anti-museu.
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    We finally have to stop defining art as only those objects that have been accepted as art by society. We have to concentrate on allowing art to evolve through how it is received. It did not help me to bring art closer to life simply by setting up a cafeteria or a playground or a workshop. This will not resolve the question of the museum. The museum question can only be resolved through mediation. On the one hand our responsibility is to make works into works of art and, on the other hand, to preserve works that are already works of art, and to keep them from becoming antiquated. This was my view.
    Note: O curador Johannes Claddes fala sobre o papel do museu.
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    There’s a curious sort of current that starts to flow—that’s the real reason for a collection. A collection isn’t a shelter into which to retreat, it’s a source of energy for the curator as much as the visitor.
    Note: O curador Pontus Hultén fala sobre a importância de uma coleção pra uma instituição de arte.
  • Eduardo shared from A Brief History of Curating (Documents) by Hans Ulrich Obrist
    PH A museum director’s first task is to create a public—not just to do great shows, but to create an audience that trusts the institution. People don’t come just because it’s Robert Rauschenberg, but because what’s in the museum is usually interesting.
    Note: Potus Hultén sobre a importância de um museu criar seu público.
(São Paulo, SP, Brazil)
Eduardo Nasi