Why does everyone has to cry in the olympics?
Morro da Formiga, na maquete do Projeto Morrinho.
O Morrinho é uma maquete de pequena escala que mede 350 metros quadrados, construída dentro da favela Pereira da Silva do Rio de Janeiro. É feita de tijolos e outros materiais reciclados. Tudo começou como uma simples brincadeira de criança em 1997 por jovens do local que queriam escapar da realidade de violência e corrupção que impregnava eles e a sua comunidade. Dentro deste pequeno mundo urbano do Morrinho, eles brincavam de atuar com vários bonecos de blocos LEGO que moram na maquete, revivendo a vida diária das favelas do Rio de Janeiro.
Analogía I, 1970 / 1971
“…and that the artist is perhaps the least intellectual of all intellectuals.
Why then does the artist feel the need to justify himself as a “worker,” as an “intellectual,” as a “professional,” as a disciplined and organized man, like any other individual who performs a productive task? Why does he feel the need to exaggerate the importance of his activity? Why does he feel the need to have critics (mediators) to justify him, to defend him, to interpret him? Why does he speak proudly of “my critics”? Why does he find it necessary to make transcendental declarations, as if he were the true interpreter of society and of mankind? Why does he pretend to consider himself critic and conscience of society when (although these objectives can be implicit or even explicit in certain circumstances) in a truly revolutionary society all of us — that is to say, the people as a whole — should exercise those functions? And why, on the other hand, does the artist see himself forced to limit these objectives, these attitudes, these characteristics? Why does he at the same time set up these limitations as necessary to prevent his work from being transformed into a tract or a sociological essay? What is behind such pharisee-ism? Why protect oneself and seek recognition as a (revolutionary, it must be understood) political and scientific worker, yet not be prepared to run the same risks.”
from For an imperfect cinema
by: Julio García Espinosa
In Harry Potter the Imperio Curse is one of the three Unforgivable Curses. When cast successfully, it places the victim completely under the control of the colonial economy, making it pick cotton and work in the fields for minimum payment.
Nas quebradas (Penetrable), 1979
Collage, wood, brick and gravel