Looking into Kiluanji Kia Henda and Bruno Moraes Cabral 'Terra (In)Submissa' : poetical narratives as political means
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Data
2024-06-11
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Lusofona University
Resumo
Neste artigo abordamos algumas questões que permeiam a não tão clara relação entre arte contemporânea e Sociomuseologia. A cultura de massas e as instituições comercialmente orientadas podem ter criado um imenso vale entre estas duas disciplinas que se tornou difícil de ultrapassar numa perspectiva social – abafando memórias conflitantes e afastando narrativas locais dos debates centrais. A identificação de premissas partilhadas entre os museus socialmente engajados e os artistas politicamente posicionados é uma tentativa de situá-los no âmbito Sociomuseológico. Ao analisarmos o curta-metragem Terra(In)Submissa, de Kiluanji Kia Henda e Bruno Moraes Cabral, fundamentamos nosso argumento em como a abordagem poética e política de tensões e traumas sociais – como o passado colonial – são manifestações artísticas que podem ser alvo de futuras investigações. Palavras -Chave: Filme; Arte; Colonialismo; Museologia
In this article we address a few questions that pervade the unclear relation between contemporary art and Sociomuseology. Mass culture and commercially oriented institutions may have created a distant gap between these two disciplines that became challenging to overcome in a social perspective – muffling conflictive memories and taking local narratives away from central debates. The identification of shared premisses between the socially engaged museums and politically positioned artists is attempt to place them under the Sociomuseological scope. By Analysing the short film Terra(In)Submissa by Kiluanji Kia Henda and Bruno Moraes Cabral, we base our argument on how poetical and political addressing of social tensions and traumas – such as the colonial past – are artistic manifestations that can be target of further research. Keywords English: Film; Art; Colonialism; Museology
In this article we address a few questions that pervade the unclear relation between contemporary art and Sociomuseology. Mass culture and commercially oriented institutions may have created a distant gap between these two disciplines that became challenging to overcome in a social perspective – muffling conflictive memories and taking local narratives away from central debates. The identification of shared premisses between the socially engaged museums and politically positioned artists is attempt to place them under the Sociomuseological scope. By Analysing the short film Terra(In)Submissa by Kiluanji Kia Henda and Bruno Moraes Cabral, we base our argument on how poetical and political addressing of social tensions and traumas – such as the colonial past – are artistic manifestations that can be target of further research. Keywords English: Film; Art; Colonialism; Museology
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MUSEOLOGY, SOCIOMUSEOLOGY, ART, FILMS, COLONIALISM, CONTEMPORARY ART, MUSEOLOGIA, SOCIOMUSEOLOGIA, ARTE, FILMES, COLONIALISMO, ARTE CONTEMPORÂNEA
Citação
Godoy, H 2024, 'Looking into Kiluanji Kia Henda and Bruno Moraes Cabral 'Terra (In)Submissa': poetical narratives as political means', Cadernos de Sociomuseologia, vol. 67, no. 23, pp. 143-152. https://doi.org/10.60543/csm.v67i23.9489