Christine Greiner, Ph.D. in Communication and Semiotics from Pontifícia Universidade Católica de São Paulo, post-doctorates from the University of Tokyo, the International Research Center for Japanese Studies, and NYU. She is Assistant Doctor at PUC-SP and member of the editorial staff at Sala Preta, among others. She has experience in Communication Theory, practicing in art and culture fields.
Pablo Assumpção Costa, Assistant professor of Performance at Instituto de Cultura e Arte, Universidade Federal do Ceará. He holds a Ph.D. in Performance Studies from NYU. He has experience in gender and sexuality performance and performativity, city and corporality, eroticism, popular culture and experimental ethnography. He is a professor at the post-graduate Arts program at UFC.
7/18 – 7/20: H303, Tecnoaulas FEN
7/22: G11 FAU
The ongoing advances in art research aimed at understanding artistic creation as a specific way of organizing thought processes continuously question theories of knowledge and scientific epistemologies. If the body learns and explores the social through performance, if bodily movement and experience organize signifying processes that cannot be confined to restrictive notions of language that cannot be reduced to traditional notions of scientific methodology, then we are then forced to question the very nature of knowledge and research, and to suggest artistic practice and invention as central operators in the so-called theoretical activity. In light of this, we propose a work group with a twofold objective: (1) to advance the concept of performance as episteme, i.e., the idea that performance as embodied knowledge constitutes a specific realm of language and reason; and (2) to create a space for artistic experimentation as a method/cartography of theoretical research. We intend to convene a group of people with a desire to investigate the ways we relate to and represent the social and who have a particular interest in conducting their research through plastic, poetic, and performative forms. We particularly encourage participants to approach aesthetic research as an opening to the political – i.e. to political resistance and political intervention within the very vexed, fraught, and interdependent relations between power and knowledge.