This publication accompanies the exhibition Networks, Collaboration and Resistance in/between Portugal and Brazil, 1962-1982. The exhibition was organized in collaboration with the John Young Museum of Art/University of Hawai’i at Mãnoa and was on view at Galeria da Avenida da Índia between 26 June and 5 September 2021. Edited by Maika Pollack, this volume contains photographic documentation of the exhibited works, introductory texts by Tobi Maier and Maika Pollack, and an essay by Rui Torres.
“The topics are loosely grouped around #resistance && #method as well as #collaboration && #appropriation and #network && #research. Following this narrative, the exhibition visitor and readers of this publication are given the opportunity to enter the rich universe of vanguard art, visual, concrete and process poetry and its manifold signifiers that continue to resonate into contemporary life and its visual languages.”
-Tobi Maier
“In this exhibition there is political resistance in the work of Haroldo de Campos, Augusto de Campos, Ana Hatherly, and E. M. de Melo e Castro against oppressive governments and colonial policies of Brazil and Portugal during the 1960s and 1970s from the Carnation Revolution to the Leaden Years. (…) We ultimately encounter a model for imagining the work through a new framework: not through the teleological lens of history, or the framework of national origin, but through a conceptual set of categories which guides us to see new relationships among the publications.”
-Maika Pollack
“#appropriation refers to intersemiotic forms that explore and problematize the normative performativity of instruments and materials. Reproduction and remediation, connected in these multidisciplinary actions, extended poems to mingle writing, music, and image. Different sign systems were appropriated and their materiality was disrupted, dissolving boundaries between genres. This thus suggests hybridization and intermediality. It also incorporated translation, dialogue, and adaptation. Bureaucratic forms, images from mainstream media, and structures that emanated from regulatory mechanisms were appropriated and diverted.”
-Rui Torres
