Methodology of the history of non-european art: which art? which history? which methodology? (1st part)
If the Euro-Western project of technical, scientific, political and economic modernity produced the belief in the inexorable march of history, and if such progress was drenched by the constitution of the Enlightenment reason with not a few paradoxes present in intercultural relations, the 20th centu...
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Universidade Estadual de Campinas
2021
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| Online Access: | https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/16009 |
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| author | Souza, José Afonso Medeiros Souza, José Afonso Medeiros Souza, José Afonso Medeiros |
| author_facet | Souza, José Afonso Medeiros Souza, José Afonso Medeiros Souza, José Afonso Medeiros |
| author_sort | Souza, José Afonso Medeiros |
| collection | Portal da Incubadora de Periódicos Científicos, Acadêmicos e Educacionais |
| container_reference | Revista Visuais; Vol. 7 No. 2 (2021): Temporalities and bifurcations; 173-192 |
| description | If the Euro-Western project of technical, scientific, political and economic modernity produced the belief in the inexorable march of history, and if such progress was drenched by the constitution of the Enlightenment reason with not a few paradoxes present in intercultural relations, the 20th century exposed the contradictions of this same ideal of modernity, starting with the review of the harmful effects of an asymmetric globalization, whose roots are established in humanism, mercantilism and European colonialism promoted since the end of the 15th century. Starting from this premise and considering that History of Art is constituted as a more or less autonomous field of knowledge precisely in the midst of this journey of modernity in collusion with coloniality, this research project proposes to discuss the aesthetic confrontations present in intercultural frictions arising from globalization, in order to understand how art, with its theories and methodologies, has become a privileged field of aestheticization of racism and ethnocentrism since the beginning of colonialism, permeating the genesis of modern art as "oriental exoticism" or as “African-American primitivism”, until reaching the absorption of these artifacts by contemporary art systems and markets. What has changed meantime? Which value systems served as triggers for this “passage” to the multicultural context? Which aesthetic confrontations were assumed and which were subsumed by the modern-contemporary historiography of art? In an attempt to highlight the texture of these issues, the research has a historical-iconographic character installed in an interdisciplinary dialogue that involves History, Anthropology and Sociology, a dialogue that comes through authors such as Aby Warburg, Sally Price, Adolfo Colombres, Estela Ocampo, Aníbal Quijano, Walter Mignolo, Philippe Dagen, Éric Michaud, Alfred Gell, Simon Gikandi, Achille Mbembe, Frank Willet, Inaga Shigemi, Hamid Dabashi, James Clifford and Edward Said, among others. |
| first_indexed | 2025-10-08T14:40:20Z |
| format | Online |
| id | ojs-article-16009 |
| institution | Universidade Estadual de Campinas |
| issn | 2447-1313 |
| language | por |
| last_indexed | 2025-10-08T14:40:20Z |
| publishDate | 2021 |
| publisher | Universidade Estadual de Campinas |
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| spelling | ojs-article-160092022-06-13T17:02:55Z Methodology of the history of non-european art: which art? which history? which methodology? (1st part) Metodología de la historia del arte no europeo: ¿qué arte? ¿qué historia? ¿qué metodología? (1ª parte) Metodologia da história da arte não europeia : qual arte? qual história? qual metodologia? (1ª parte) Souza, José Afonso Medeiros Souza, José Afonso Medeiros Souza, José Afonso Medeiros Art historiography African art Art history methodology Historiografia da arte Arte africana Metodologia da história da arte Historiografia da arte Arte africana Metodologia da história da arte If the Euro-Western project of technical, scientific, political and economic modernity produced the belief in the inexorable march of history, and if such progress was drenched by the constitution of the Enlightenment reason with not a few paradoxes present in intercultural relations, the 20th century exposed the contradictions of this same ideal of modernity, starting with the review of the harmful effects of an asymmetric globalization, whose roots are established in humanism, mercantilism and European colonialism promoted since the end of the 15th century. Starting from this premise and considering that History of Art is constituted as a more or less autonomous field of knowledge precisely in the midst of this journey of modernity in collusion with coloniality, this research project proposes to discuss the aesthetic confrontations present in intercultural frictions arising from globalization, in order to understand how art, with its theories and methodologies, has become a privileged field of aestheticization of racism and ethnocentrism since the beginning of colonialism, permeating the genesis of modern art as "oriental exoticism" or as “African-American primitivism”, until reaching the absorption of these artifacts by contemporary art systems and markets. What has changed meantime? Which value systems served as triggers for this “passage” to the multicultural context? Which aesthetic confrontations were assumed and which were subsumed by the modern-contemporary historiography of art? In an attempt to highlight the texture of these issues, the research has a historical-iconographic character installed in an interdisciplinary dialogue that involves History, Anthropology and Sociology, a dialogue that comes through authors such as Aby Warburg, Sally Price, Adolfo Colombres, Estela Ocampo, Aníbal Quijano, Walter Mignolo, Philippe Dagen, Éric Michaud, Alfred Gell, Simon Gikandi, Achille Mbembe, Frank Willet, Inaga Shigemi, Hamid Dabashi, James Clifford and Edward Said, among others. Si el proyecto euro-occidental de modernidad técnica, científica, política y económica produjo la fe en la marcha inexorable de la historia, y si tal progreso estuvo empapado por la constitución de la razón ilustrada con no pocas paradojas presentes en las relaciones interculturales, el siglo XX expuso las contradicciones de este mismo ideal de modernidad, partiendo de la revisión de los efectos nocivos de una globalización asimétrica cuyas raíces tienen sus raíces en el humanismo, mercantilismo y colonialismo europeo promovido desde finales del siglo XV. Partiendo de esta premisa y considerando que la Historia del Arte se constituye como un campo de conocimiento más o menos autónomo precisamente en medio de este recorrido de la modernidad en colusión con la colonialidad, este proyecto de investigación se propone discutir los enfrentamientos estéticos presentes en las fricciones interculturales que surgen. de la globalización, para comprender cómo el arte, con sus teorías y metodologías, se ha convertido en un campo privilegiado para la estetización del racismo y el etnocentrismo desde los inicios del colonialismo, permeando la génesis del arte moderno como "exotismo oriental" o como "afro- Primitivismo americano ”, hasta llegar a la absorción de estos artefactos por los sistemas y mercados del arte contemporáneo. ¿Qué ha cambiado mientras tanto? ¿Qué sistemas de valores sirvieron como detonantes de este “pasaje” a lo multicultural? ¿Qué confrontaciones estéticas se asumieron y cuáles fueron subsumidas por la historiografía moderno-contemporánea del arte? En un intento por resaltar la textura de estos temas, la investigación tiene un carácter histórico-iconográfico instalado en un diálogo interdisciplinario que involucra Historia, Antropología y Sociología a través de autores como Aby Warburg, Sally Price, Adolfo Colombres, Estela Ocampo, Aníbal Quijano, Walter Mignolo, Philippe Dagen, Éric Michaud, Alfred Gell, Simon Gikandi, Achille Mbembe, Frank Willet, Inaga Shigemi, Hamid Dabashi, James Clifford y Edward Said, entre otros. Se o projeto euro-ocidental de modernidade técnica, científica, política e econômica produziu a crença na marcha inexorável da história, e se tal progresso foi encharcado pela constituição da razão iluminista com não poucos paradoxos presentes nas relações interculturais, o século XX expôs as contradições desse mesmo ideal de modernidade, a começar pela revisão dos efeitos deletérios de uma globalização assimétrica cujas raízes encontram-se fincadas no humanismo, no mercantilismo e no colonialismo europeu promovidos desde o final do século XV. Partindo desta premissa e considerando que a História da Arte se constitui como campo de conhecimento mais ou menos autônomo justamente no bojo desse percurso da modernidade em conluio com a colonialidade, o presente projeto de pesquisa propõe-se a discutir os confrontos estéticos presentes nas fricções interculturais oriundas da globalização, de modo a perceber como a arte, com suas teorias e metodologias, tornou-se um campo privilegiado de estetização de racismos e etnocentrismos desde o início do colonialismo, perpassando a gênese da arte moderna como “exotismo oriental” ou como “primitivismo afro-americano”, até chegar à absorção desses artefatos pelos sistemas e pelos mercados de arte contemporâneos. O que mudou nesse ínterim? Que sistemas de valores serviram de gatilho para essa “passagem” ao multicultural? Quais confrontos estéticos foram assumidos e quais foram subsumidos pela historiografia moderno-contemporânea da arte? Para tentar evidenciar a tessitura destas questões, a pesquisa tem caráter histórico-iconográfico instalado num diálogo interdisciplinar que envolve a História, a Antropologia e a Sociologia através de autores como Aby Warburg, Sally Price, Adolfo Colombres, Estela Ocampo, Aníbal Quijano, Walter Mignolo, Philippe Dagen, Éric Michaud, Alfred Gell, Simon Gikandi, Achille Mbembe, Frank Willet, Inaga Shigemi, Hamid Dabashi, James Clifford e Edward Said, dentre outros. Universidade Estadual de Campinas 2021-12-16 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Text Texto Texto application/pdf https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/16009 10.20396/visuais.v7i2.16009 Revista Visuais; Vol. 7 No. 2 (2021): Temporalities and bifurcations; 173-192 Revista Visuais; Vol. 7 Núm. 2 (2021): Temporalidades y bifurcaciones; 173-192 Revista Visuais; v. 7 n. 2 (2021): Temporalidades e bifurcações; 173-192 2447-1313 por https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/16009/10795 Latin American; Contemporary America Latina; Contemporáneo América Latina; Contemporâneo Copyright (c) 2021 Revista Visuais https://creativecommons.org/licenses/by-nc-nd/4.0 |
| spellingShingle | Souza, José Afonso Medeiros Souza, José Afonso Medeiros Souza, José Afonso Medeiros Art historiography African art Art history methodology Historiografia da arte Arte africana Metodologia da história da arte Historiografia da arte Arte africana Metodologia da história da arte Methodology of the history of non-european art: which art? which history? which methodology? (1st part) |
| title | Methodology of the history of non-european art: which art? which history? which methodology? (1st part) |
| title_full | Methodology of the history of non-european art: which art? which history? which methodology? (1st part) |
| title_fullStr | Methodology of the history of non-european art: which art? which history? which methodology? (1st part) |
| title_full_unstemmed | Methodology of the history of non-european art: which art? which history? which methodology? (1st part) |
| title_short | Methodology of the history of non-european art: which art? which history? which methodology? (1st part) |
| title_sort | methodology of the history of non-european art: which art? which history? which methodology? (1st part) |
| topic | Art historiography African art Art history methodology Historiografia da arte Arte africana Metodologia da história da arte Historiografia da arte Arte africana Metodologia da história da arte |
| url | https://econtents.sbu.unicamp.br/inpec/index.php/visuais/article/view/16009 |
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