Minimal Differences exhibition at White Box, NYC, September 15 to October 23, 2010, curated by Denise Carvalho.
My work encompasses art practices, art criticism, curating, and writing scholarly and creatively. My scholarly research has been shaped around global perspectives of art, particularly on Brazilian contemporary art, and on international interdisciplinary art and new media. My career as an artist expanded to a wider field of cultural production, pushing its boundaries by embracing challenges and obstacles, allowing constant shifting situations to provide the next step. I found this to be a constructive deconstruction of my own life. Lately, my interest in curating and scholarly writing has taken precedence, but my visual perception and creative intuition continues to nurture my method of work and the concepts that come of it. This is what I call my work. As a curator, I am often tempted to further my own views about theory and aesthetics by orchestrating the work of other artists through an intertextual set of relationships and dialogues. In my writing, I use the concept of the translator/transformer, since I am aware that nothing is absolutely original and nothing stays the same. I am interested in a form of writing that allows poetics to interfere with aesthetic theory and philosophy, reading and writing from the perspective of how I am affected, hoping that my reaction will lead to a more gratifying and insightful result. Of course, I am interested, perhaps naively, in searching for breakthroughs, but those are easier in thought than in writing, since the text seems always conditioned by other more constructed and constrictive principles, which are hard to avoid when one writes in a second language. The result is often felt between the desire to transcend translation with hybridity and a self-conscious skepticism against any form of spontaneity.
Finally, my work as a scholar deals with merging my own experience in the arts with critical theory and research. Among some of my recent research in art theory are the examination of artworks drawing from mechanisms and strategies of media cultures (e.g., dissolution, diffusion, persuasion, articulation, etc.); intersectionist aesthetic theory as a peripheral dynamics within those of dialogical practices; my work on recent shifts in perception and interactivity; and recent writings on new discursive methods in teaching.
Dr. Denise Carvalho