Bispo e Adéagbo

This research had its initial motivation the theoretical debate on ready-made, pop art and conceptual art, which comes up from criticism of intellectual and aesthetic closure present in the canons required by the school curriculum in Brazil.The implications of these concepts are discussed in parallel with a critical view of the European and American statements of these matrices for understanding the creation of Arthur Bispo do Rosário, Brazil (1919-1988) and Georges Adéagbo, Benin (1942).In addition, the path of the researcher-artist himself, participates on the understanding and analysis proposed.The focus lies on the one hand, in the everyday objects materials used in the work of Arthur Bispo do Rosário and in the routes of Georges Adéagbo, who is a selftaught artist that exposes his ideas and narratives shaped objects "sculptural" and public spaces interventions.They still have in common, their methodology that mirror their own concepts and archaeologies of knowledge linked to their own cultures and societies as well as constant construction of their identities.These thought processes involve mental action (concept or mental project) and implementation of the ideals reflected in his works of art.Both have as their main concern the everyday life presented by fused endogenous and exogenous objects that generate different materiality, narrative and even the deconstruction of the object itself as phenomenology of its metamorphosis, once it was removed from its place of original of meaning, reframed in space-being for Bishop, or in reverse self-archeology for Adéagbo

Aesthetics · Art · Deconstruction (building · Epistemology · Everyday life · Humanities · Literature · Materiality · Narrative · Sociology · Brazilian cultural history and politics · History of Education Research in Brazil · History, Culture, and Society · Philosophy

• Itinerários de Willie Bester nos cenários da África do Sul e de expografia mundializada

  Open Access•Carolina De Campos Tornich•2019

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