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| Author(s): |
Juliana Closel Miraldi
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | Campinas, SP. |
| Institution: | Universidade Estadual de Campinas (UNICAMP). Instituto de Filosofia e Ciências Humanas |
| Defense date: | 2020-09-25 |
| Examining board members: |
Renato Ortiz;
Vinicius Pontes Spricigo;
Michel Nicolau Netto;
Elizabeth Bortolaia Silva;
Maria Lucia Bueno Ramos
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| Advisor: | Renato Ortiz |
| Abstract | |
This research analyzes how the conditions of production of the São Paulo Biennial were established throughout its history and its current configuration. Understood as a periodic, constant event, we propose that the Biennial appears as an objective effect of the power struggle between agents from several different social fields, and from the State. It produces, in the order of discourse, the legitimacy of what is selected by those agents involved in the struggle as good contemporary art in each historical moment. In order to identify how the Biennial can accumulate such power, we articulate in this dissertation an investigation about the history of the institution with an analysis of the development of the field of visual arts in Brazil, taking note of the various positions occupied by Brazilian art in the global landscape. This allows us to unveil the power relations and modes of operation that shape the dominant artistic taste as a capital of social distinction, and to present the São Paulo Biennial as its producer (AU) | |
| FAPESP's process: | 15/11112-0 - Art disputes São Paulo's Bienal: a study on the differential dynamics of fields |
| Grantee: | Juliana Closel Miraldi |
| Support Opportunities: | Scholarships in Brazil - Doctorate |