{"id":358,"date":"2005-01-17T00:00:00","date_gmt":"2005-01-17T00:00:00","guid":{"rendered":"http:\/\/beta.idanca.net\/2005\/01\/17\/live-art-%e2%80%93-uma-questao\/"},"modified":"2008-07-17T15:34:27","modified_gmt":"2008-07-17T18:34:27","slug":"live-art-uma-questao","status":"publish","type":"post","link":"https:\/\/idanca.net\/live-art-uma-questao\/","title":{"rendered":"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question"},"content":{"rendered":"

Este texto \u00e9 oferecido em portugu\u00eas pelo British Council.<\/strong><\/p>\n

Traduzido por Renato Mayer.<\/p>\n

uma quest\u00e3o de forma<\/strong><\/p>\n

Surge uma luz e algo acontece<\/em><\/strong>. Franko B<\/p>\n

A Live Art \u00e9 hoje reconhecida como um dos espa\u00e7os criativos mais vitais e influentes no Reino Unido. A Live Art funciona como uma m\u00e1quina de pesquisa, conduzida por artistas que trabalham atrav\u00e9s de formas, contextos e espa\u00e7os no sentido de criar e inaugurar novos modelos art\u00edsticos, novas linguagens para a representa\u00e7\u00e3o de id\u00e9ias e novas estrat\u00e9gias de interven\u00e7\u00e3o no dom\u00ednio do p\u00fablico.<\/p>\n

Desenvolvendo-se, no s\u00e9culo 20, a partir das experi\u00eancias com pr\u00e1ticas ao vivo de v\u00e1rios artistas e, em especial, das metodologias de Arte Perform\u00e1tica de artistas visuais, a Live Art, neste s\u00e9culo 21, \u00e9 um campo continuamente em expans\u00e3o, o qual abrange desde instala\u00e7\u00f5es com base no tempo, em uma ponta, aos limites do que \u00e9 teatro, na outra. Entre uma fronteira e outra, trata de dan\u00e7a, cinema e v\u00eddeo, escritos perform\u00e1ticos, ativismo s\u00f3cio-pol\u00edtico e das linguagens emergentes da era digital.<\/p>\n

Das esculturas de base corporal de Franko B \u00e0s pesquisas em teatro do Forced Entertainment, \u00e0s experimenta\u00e7\u00f5es coreogr\u00e1ficas de La Ribot, \u00e0s intera\u00e7\u00f5es virtuais do Blast Theory, \u00e0s jornadas sensoriais de motiroti, \u00e0s interven\u00e7\u00f5es geo-pol\u00edticas do Mad For Real, \u00e0s performances em loca\u00e7\u00f5es espec\u00edficas da Curious International, emergem as mais variadas quest\u00f5es acerca da natureza, fun\u00e7\u00e3o e experi\u00eancia dessa arte que \u00e9 “viva”, formuladas das maneiras mais excitantes, urgentes e desafiadoras por uma ampla gama de praticantes.<\/p>\n

O termo Live Art n\u00e3o descreve uma forma particular de express\u00e3o ou campo art\u00edstico, mas, sim, uma estrat\u00e9gia cultural de inclus\u00e3o de processos e pr\u00e1ticas experimentais que, de outro modo, poderiam vir a ser exclu\u00eddos das estruturas estabelecidas na cultura, cr\u00edtica e curadoria. A Live Art \u00e9, pois, uma estrat\u00e9gia tra\u00e7ada para abranger formas de trabalho que n\u00e3o se enquadram facilmente dentro dos sistemas e fronteiras normalmente reconhecidos e para patrocinar artistas que optam por trabalharem atrav\u00e9s das, nos interst\u00edcios ou, ainda, nos limites das formas art\u00edsticas mais tradicionais.<\/p>\n

Falar de Live Art \u00e9 falar de uma arte que est\u00e1 viva e ativa, de uma arte que se interessa pelo potencial do corpo e por quest\u00f5es de espa\u00e7o e tempo; de uma arte que investe em id\u00e9ias de processos, presen\u00e7as e experimenta\u00e7\u00f5es, tanto quanto na produ\u00e7\u00e3o de objetos ou coisas; de uma arte que busca testar os limites do poss\u00edvel e do permiss\u00edvel; de uma arte que procura estar alerta e responder aos seus contextos, locais e p\u00fablicos.<\/p>\n

A Live Art sugere que os valores e expectativas culturais que atribu\u00edmos \u00e0s pr\u00e1ticas contempor\u00e2neas n\u00e3o devam ser determinadas pela rever\u00eancia \u00e0 forma, mas pela busca de novas id\u00e9ias e novas experi\u00eancias.<\/p>\n

uma quest\u00e3o de artistas<\/strong><\/p>\n

A Live Art oferece um abrigo aos artistas cujo trabalho n\u00e3o se ajusta aos marcos estreitos das designa\u00e7\u00f5es tradicionais.<\/em><\/strong> Joshua Sofaer<\/p>\n

Influenciado pelas metodologias iniciais da Arte Perform\u00e1tica, nas quais os artistas visuais, em sua rejei\u00e7\u00e3o dos objetos e da mercantiliza\u00e7\u00e3o da arte, voltavam-se para o corpo como seu espa\u00e7o e material de trabalho, um numeroso grupo de praticantes tem mantido seu entusiasmo com as possibilidades do artista ser visto como sujeito e objeto e da for\u00e7a derivada do evento “vivo”.<\/p>\n

O conceito e a pr\u00e1tica da Live Art s\u00e3o empregados por artistas cujo trabalho tem ra\u00edzes num vasto conjunto de \u00e1reas de express\u00e3o. S\u00e3o escultores e pintores, criadores teatrais, core\u00f3grafos e artistas do v\u00eddeo, um pool de artistas que vem testando os limites de suas pr\u00e1ticas, cruzando-as com outros caminhos, obscurecendo as fronteiras de uns e de outros e, nesse processo, t\u00eam produzido novos modelos culturais e novas formas de mobilizar plat\u00e9ias.<\/p>\n

Live Art \u00e9, portanto, o mecanismo de enquadramento de uma s\u00e9rie de tratamentos art\u00edsticos das quest\u00f5es do “lidar com o vivo”, levantadas por artistas que n\u00e3o desejam ficar contidos numa fronteira ou compartimento cultural.<\/p>\n

Fazendo teatro para plat\u00e9ias que “cresceram com a televis\u00e3o sempre ligada”, o Forced Entertainment surgiu de uma gera\u00e7\u00e3o de artistas que v\u00eam reescrevendo as regras do teatro para que reflitam as condi\u00e7\u00f5es do contempor\u00e2neo. Influenciado pela arte visual e pela cultura popular como qualquer c\u00e2none liter\u00e1rio, o grupo desconstr\u00f3i o que o teatro pretende figurar, acaba com suas linguagens e c\u00f3digos de representa\u00e7\u00e3o e recria as hist\u00f3rias que conta. Levando o seu trabalho a teatros, galerias, locais espec\u00edficos, como tamb\u00e9m \u00e0 web e \u00e0s telas dos computadores, o Forced Entertainment rompeu com todas as tradi\u00e7\u00f5es de local, circunst\u00e2ncia, est\u00e9tica e expectativas de uma apresenta\u00e7\u00e3o teatral.<\/p>\n

Como tantos core\u00f3grafos de sua gera\u00e7\u00e3o, La Ribot se dedicou a investigar a natureza do corpo em performance, estendendo os limites das conven\u00e7\u00f5es formais e testando as tens\u00f5es e fronteiras entre a arte visual, a performance e a dan\u00e7a. Colocando-se a si mesma no centro dessa “superf\u00edcie escorregadia” composta de \u00e1reas de express\u00e3o art\u00edstica, imagens e significados, sua pr\u00e1tica ocupa um espa\u00e7o em algum lugar entre a dan\u00e7a, a arte perform\u00e1tica, a arte visual e o discurso feminista, recorrendo ao corpo da artista, seja como “uma mulher”, “uma tela”, “um objeto” e “um conceito”.<\/p>\n

Ao empregarem o corpo como um espa\u00e7o ativo e, freq\u00fcentemente, transgressor, as pr\u00e1ticas da Live Art tornaram-se centrais aos discursos contempor\u00e2neos acerca da pol\u00edtica do corpo. O pintor, escultor e artista perform\u00e1tico Franko B situa-se na vanguarda dos artistas que testam n\u00e3o somente os limites do permiss\u00edvel em termos de representa\u00e7\u00f5es do corpo, mas os limites do pr\u00f3prio corpo material. No trabalho ao vivo de Franko B, seu corpo nu, monocrom\u00e1tico, sanguinolento, abjeto, transforma-se no pr\u00f3prio local de express\u00e3o do sagrado, do profano e do indiz\u00edvel, assim como em um convite ao testemunho da condi\u00e7\u00e3o humana no que h\u00e1 de mais carnal e exposto. Numa \u00e9poca em que imagens de viol\u00eancia e de manifesta\u00e7\u00f5es extremas passaram a entretenimento di\u00e1rio no Reino Unido, Franko B usa seu corpo ensang\u00fcentado como uma afirma\u00e7\u00e3o de vida e beleza.<\/p>\n

A Live Art oferece um espa\u00e7o no qual os artistas podem assumir riscos formais e conceituais, criar um contexto de escolha de diferentes meios de express\u00e3o, explorar id\u00e9ias de processo e presen\u00e7a e ainda investigar as rela\u00e7\u00f5es com o p\u00fablico.<\/p>\n

Para in\u00fameros artistas, a Live Art se afigura uma for\u00e7a geradora no sentido de destruir aquilo que \u00e9 apar\u00eancia, de dar oportunidade a uma imers\u00e3o sensorial, de chocar, romper com as tradi\u00e7\u00f5es de representa\u00e7\u00e3o, criar diferentes tipos de envolvimento com significado.<\/p>\n

As pr\u00e1ticas da Live Art v\u00eam pavimentando o caminho de novas estrat\u00e9gias de express\u00e3o de identidades que ultrapassam as velhas distin\u00e7\u00f5es de etnicidade, g\u00eanero e sexualidade. Para artistas que v\u00e3o al\u00e9m da representa\u00e7\u00e3o da identidade e da diversidade, a Live Art oferece novas linguagens para reescrever as narrativas culturais dominantes e espa\u00e7os onde incorporar as realidades vividas da diferen\u00e7a cultural. Artistas como motiroti ou Stacy Makishi tratam a Live Art como um espa\u00e7o de ruptura com g\u00eaneros, identidades, culturas e pol\u00edticas, um espa\u00e7o onde se incorporam as complexidades da identidade e se problematizam os significantes da diferen\u00e7a; um espa\u00e7o para o p\u00fablico contemplar sua pr\u00f3pria rela\u00e7\u00e3o com “o Outro”.<\/p>\n

Artistas como Matt Fraser, cuja pr\u00e1tica \u00e9 informada por sua condi\u00e7\u00e3o de deficiente devido \u00e0 Talidomida, rem\u00e9dio tomado durante sua gesta\u00e7\u00e3o, com freq\u00fc\u00eancia confrontam sua diferen\u00e7a f\u00edsica numa performance que desafia as percep\u00e7\u00f5es da sociedade, suas expectativas e leituras do corpo. A mulher\/m\u00e3e\/artista Bobby Baker utiliza a realiza\u00e7\u00e3o de tarefas dom\u00e9sticas di\u00e1rias como cozinhar e ir \u00e0s compras para revelar as profundezas ocultas sob o aparentemente mundano e prosaico e produz uma arte que fala de vidas reais e experi\u00eancias vivenciadas, todas quase sempre negadas ou desprezadas.<\/p>\n

Para muitos artistas mulheres, gays, de outra cultura ou deficientes, cujas vidas e experi\u00eancias t\u00eam sido marginalizadas no \u00e2mbito da cultura dominante no Reino Unido, a Live Art tem-se mostrado um espa\u00e7o poderoso, no qual os destitu\u00eddos e desencarnados tornam-se vis\u00edveis, no qual se contestam as pol\u00edticas da diferen\u00e7a, no qual se confronta a complexidade e se ressaltam diferentes modos de estar no mundo.<\/p>\n

A Live Art rompe com as regras de quem, de como e para quem se faz arte.<\/p>\n

uma quest\u00e3o de plat\u00e9ias<\/strong>Numa \u00e9poca em que somos diminu\u00eddos pelas grandes empresas, celebridades e pol\u00edticos, n\u00e3o surpreende que haja um crescente apetite por experi\u00eancias \u00edntimas, interativas. <\/strong><\/em> Kate Stratton, Revista Time Out<\/p>\n

Ao cruzar formas e espa\u00e7os, as pr\u00e1ticas da Live Art t\u00eam-se mostrado particularmente bem sortidas para enfrentar a complexidade e a sofistica\u00e7\u00e3o dos valores, identidades e expectativas das plat\u00e9ias contempor\u00e2neas. A Live Art questiona pressupostos e desafia expectativas acerca de quem pode constituir uma plat\u00e9ia, no que esta poderia estar interessada e de quais os meios para se dirigir a ela.<\/p>\n

O p\u00fablico da Live Art n\u00e3o \u00e9 apenas um, mas muitos. Pode-se vivenciar a Live Art enquanto um ato numa galeria, uma performance em um teatro, um acontecimento em algum local incomum, um evento num clube noturno ou um processo no qual uma pessoa se v\u00ea envolvida. Alguns podem nem se dar conta de que se trata de Arte com a mai\u00fasculo e que eles s\u00e3o a plat\u00e9ia, qualquer que seja o sentido convencional do termo. As pr\u00e1ticas da Live Art englobam todos os tipos de interven\u00e7\u00f5es no dom\u00ednio do p\u00fablico e todos os tipos de encontros com a plat\u00e9ia.<\/p>\n

A plat\u00e9ia da mais nova obra midi\u00e1tica “Can You See Me Now”, do Blast Theory, inclu\u00eda muitos jovens jogadores online engajados numa obra de arte desse seu jeito usual e n\u00e3o por meio de visita a uma galeria de arte ou de ingresso em um teatro.<\/p>\n

As economias da Live Art abrangem uma infinidade de escalas: desde a intimidade de um encontro artista-plat\u00e9ia, um a um, em obras como “Say Cheese”, de Oreet Ashery, na qual voc\u00ea \u00e9 convidado a passar algum tempo no quarto de dormir com Oreet na figura do seu alter ego chass\u00eddico Marcus Fisher, at\u00e9 um espet\u00e1culo de performance em larga escala, como “The Bastille Dances”, da Station House Opera, em que, ao longo de v\u00e1rias horas, um pequeno ex\u00e9rcito de perform\u00e1ticos constroem e desconstroem monumentos c\u00edvicos utilizando milhares de blocos de cimento misturado com cinzas.<\/p>\n

N\u00e3o h\u00e1 assunto que seja t\u00e3o vasto ou t\u00e3o menor ou quest\u00e3o t\u00e3o inc\u00f4moda que n\u00e3o possa ser abordada pela Live Art. Dos limites do corpo material nas performances de Franko B \u00e0s min\u00facias das vidas cotidianas das mulheres, com Bobby Baker, a Live Art se constitui num contexto no qual todo tipo de id\u00e9ias sobre o mundo que nos cerca pode ser n\u00e3o apenas imaginado, como at\u00e9 mesmo materializado e transformado em algo ativo.<\/p>\n

A Live Art pode provocar, entreter, perturbar, seduzir, enfurecer, desafiar, incomodar, contestar, confundir, rejeitar ou contentar suas plat\u00e9ias, tudo isso muitas vezes ao mesmo tempo. Para alguns, a Live Art poderia ser um local para refletir sobre sua pr\u00f3prias atitudes, medos e desejos. Para outros, um processo no qual suas pr\u00f3prias vidas se tornam mais vis\u00edveis, com freq\u00fc\u00eancia, pela primeira vez.<\/p>\n

A Live Art oferece \u00e0s plat\u00e9ias experi\u00eancias cruas, de intimidade e imers\u00e3o, que freq\u00fcentemente rompem com a distin\u00e7\u00e3o entre espectador e participante. Ela nos indaga o que significa estar aqui e agora. Na simultaneidade e interatividade de uma sociedade saturada de m\u00eddia, a Live Art trabalha e investe nos conceitos de imedia\u00e7\u00e3o e realidade, criando espa\u00e7os para explorar a experi\u00eancia das coisas, as ambig\u00fcidades do significado e as responsabilidades do agente individual.<\/p>\n

A Live Art est\u00e1 atenta ao seu p\u00fablico e \u00e0s condi\u00e7\u00f5es do contempor\u00e2neo. Como resposta, as pr\u00e1ticas e abordagens buscadas s\u00e3o as que envolvem risco, diferen\u00e7a e d\u00favida: seus artistas querem que sua arte seja provocativa e n\u00e3o decorativa, imediata e n\u00e3o mediada e questionadora, mais do que afirmativa.<\/p>\n

uma quest\u00e3o de pol\u00edtica<\/strong> Uma das fun\u00e7\u00f5es da arte \u00e9 a de derrubar as fronteiras entre as diferentes formas, estilos e modos de express\u00e3o.<\/em><\/strong> Peter Hewitt, Conselho de Artes da Inglaterra<\/p>\n

A Live Art n\u00e3o pode ser situada dentro de uma hist\u00f3ria particular, nem vista atrav\u00e9s da lente de uma determinada disciplina ou, ainda, enquadrada nos marcos de alguma fronteira ou espa\u00e7o. Como tal, se apresenta como um desafio \u00e0s quest\u00f5es de pol\u00edtica cultural e de suas medidas. No entanto, \u00e9 um desafio essencial a uma cultura saud\u00e1vel e a uma pol\u00edtica cultural sintonizada e vibrante.<\/p>\n

A Live Art corr\u00f3i as fronteiras estabelecidas da arte e rompe com modelos culturais. Um corpo err\u00e1tico, desajeitado, imposs\u00edvel de definir e dif\u00edcil de acomodar, a Live Art torna-se, de muitas maneiras, uma anomalia incontrol\u00e1vel que n\u00e3o se enquadra nas estruturas e padr\u00f5es culturais reconhecidos.<\/p>\n

Ao mesmo tempo, \u00e9 sin\u00f4nimo de inova\u00e7\u00e3o, risco e de “cruzamento de fronteiras”, ao mapear os territ\u00f3rios nos quais se forjam novas id\u00e9ias e se concebem novas maneiras de se estar no mundo. Mant\u00e9m-nos alertas quanto a nossas expectativas e responsabilidades nas quest\u00f5es de forma, local, plat\u00e9ia e valores culturais.<\/p>\n

A Live Art est\u00e1 na linha de frente das investiga\u00e7\u00f5es do que \u00e9 a cultura e onde ela se acha, de quem s\u00e3o os artistas, de como estes se formam, do que seja uma plat\u00e9ia e de como pode ser atingida. A quest\u00e3o de como as pol\u00edticas culturais podem demarcar e investir em pr\u00e1ticas t\u00e3o itinerantes e vol\u00e1teis como as da Live Art nunca foi t\u00e3o essencial como agora.<\/p>\n

uma quest\u00e3o de internacionalismo<\/strong>Com o nosso programa de eventos ao vivo, estamos tentando confrontar vis\u00f5es negativas residuais do Reino Unido como limitado e retr\u00f3grado…as plat\u00e9ias est\u00e3o sedentas e abertas ao produto cultural inovador.<\/strong><\/em>Grainne Brunsdon, British Council, Austr\u00e1lia<\/p>\n

O conceito e a pr\u00e1tica da Live Art no Reino Unido parecem atrair interesse crescente de artistas, acad\u00eamicos, produtores culturais e plat\u00e9ias em todo o mundo.<\/p>\n

A Live Art vem sendo encarada no mundo inteiro como um modelo poss\u00edvel, para muitos artistas e divulgadores, de tratamento, apoio e promo\u00e7\u00e3o de pr\u00e1ticas “vivas” experimentais, que cobrem v\u00e1rios campos art\u00edsticos mais tradicionais ou se situam em seus limites ou mesmo nos espa\u00e7os entre eles. Debates como este, em torno da id\u00e9ia da Live Art enquanto estrat\u00e9gia cultural e discurso cr\u00edtico, v\u00eam tendo lugar n\u00e3o apenas aqui no Brasil, mas em todas as partes, de Beijing a Sidney e \u00e0 Sib\u00e9ria.<\/p>\n

S\u00e3o pr\u00e1ticas que respondem a uma diversidade de contextos culturais, de locais e plat\u00e9ias, estas desejosas de romper com as tradi\u00e7\u00f5es de representa\u00e7\u00e3o e que empregam uma diversidade de vocabul\u00e1rios, em tudo contribuindo para que a Live Art atravesse e transcenda as fronteiras culturais e geopol\u00edticas.<\/p>\n

A Live Art rompe tamb\u00e9m com freq\u00fc\u00eancia com os modelos aceitos de interc\u00e2mbio cultural. Pois apresenta pr\u00e1ticas n\u00e3o previamente estabelecidas, mas geralmente apoiadas em processos fundados na especificidade daquele lugar e espa\u00e7o, pr\u00e1ticas que tornam indistintas as diferen\u00e7as entre espectador e participante, geram intera\u00e7\u00e3o e estimulam o di\u00e1logo. Nesses processos, as pr\u00e1ticas da Live Art conseguem p\u00f4r abaixo todos os tipos de fronteiras e ampliar nossa compreens\u00e3o do outro. Nos \u00faltimos anos, o interc\u00e2mbio internacional em Live Art variou de trabalhos em conjunto de Robert Pacitti, com artistas no Brasil e no interior remoto da Austr\u00e1lia, a projetos como o “Fragrant”, de Jyll Bradley, feito com habitantes de Bogot\u00e1.<\/p>\n

A Live Art se apresenta como uma proposta vibrante de desenvolvimento do di\u00e1logo internacional e, em muitos aspectos, dos tipos de vis\u00e3o inter-cultural e de entendimento, t\u00e3o necess\u00e1rios neste s\u00e9culo 21.<\/p>\n

uma quest\u00e3o de apresenta\u00e7\u00e3o<\/strong>Os pr\u00e9dios onde, tradicionalmente, as artes s\u00e3o exibidas ter\u00e3o que se adaptar \u00e0s demandas, tanto dos artistas como do p\u00fablico, no sentido de redesenhar seus espa\u00e7os.<\/strong><\/em>Robert Hewison, “Towards 2010: New Times, New Challenges For The Arts”<\/p>\n

A natureza diversificada, itinerante e vol\u00e1til das pr\u00e1ticas e tratamentos da Live Art levanta uma s\u00e9rie de quest\u00f5es quanto \u00e0 apresenta\u00e7\u00e3o.<\/p>\n

A Live Art acaba ocupando n\u00e3o apenas um espa\u00e7o ou circunst\u00e2ncia, mas v\u00e1rios: desde o institucional at\u00e9 as interven\u00e7\u00f5es conduzidas pelo artista; das a\u00e7\u00f5es em galerias e performances em teatros a artistas que trabalham fora das restri\u00e7\u00f5es da cultura oficial, em espa\u00e7os c\u00edvicos ou sociais, em locais inesperados e surpreendentes, ou em pontos nos quais convergem as culturas viva e a mediada.<\/p>\n

As novas pr\u00e1ticas com base na m\u00eddia, como as do Blast Theory e a obra de loca\u00e7\u00f5es espec\u00edficas da Curious International, e o ativismo pol\u00edtico do Mad For Real contribuem todas para expandir os padr\u00f5es formais e culturais de como a arte \u00e9 entendida, de modo a ocupar e colocar desafios estimulantes quanto a como enquadrar e promover tais pr\u00e1ticas.<\/p>\n

Muitas das apresenta\u00e7\u00f5es e pr\u00e1ticas da Live Art, pelo seu formato e espa\u00e7o de desenvolvimento, acabam por transformar em problema a apresenta\u00e7\u00e3o e representa\u00e7\u00e3o, por romper com conven\u00e7\u00f5es, resistir \u00e0 institucionaliza\u00e7\u00e3o ou deixar para as entidades organizadoras contornarem as condi\u00e7\u00f5es de ocupa\u00e7\u00e3o de um teatro por 24 horas ou de uma performance dentro de uma galeria, de um evento com loca\u00e7\u00e3o espec\u00edfica, de um encontro teatral cara a cara, ou, ainda, de uma obra que s\u00f3 existe armazenada em m\u00eddia.<\/p>\n

A Live Art sugere alternativas que tanto os artistas como os apresentadores possam explorar, em termos de representa\u00e7\u00e3o da arte e de id\u00e9ias e de novos meios de alcance e envolvimento de plat\u00e9ias.<\/p>\n

O espectro de artistas e tratamentos que se encontram na Live Art, assim como as expectativas e experi\u00eancias cambiantes dos pr\u00f3prios artistas no desenvolvimento do seu trabalho, demandam uma infra-estrutura que possa oferecer diferentes n\u00edveis de investimento no conceito e pr\u00e1tica da Live Art e graus variados de riscos a serem assumidos: desde os programadores, redes e entidades da Live Art, voltadas para a constitui\u00e7\u00e3o de estruturas de apoio art\u00edstico, at\u00e9 a rede mais ampla e complexa de apresentadores da Live Art ou a vasta programa\u00e7\u00e3o de galerias, teatros, festivais ou espa\u00e7os comunit\u00e1rios.<\/p>\n

Numa ponta do espectro, a Live Art mobilizou e abriu novas possibilidades no \u00e2mbito de algumas das principais institui\u00e7\u00f5es do Reino Unido, mediante iniciativas como o evento Live Culture, promovido pela Live Art Development Agency na Tate Modern, em 2003 (todos os videoclips s\u00e3o do Live Culture). No outro, a natureza experimental e emp\u00edrica da Live Art requer contextos seguros, nos quais novos artistas e novas id\u00e9ias possam ser incubados, em condi\u00e7\u00f5es de risco muito elevado.<\/p>\n

A Live Art Development Agency foi implantada como o espa\u00e7o seguro de resposta \u00e0s variadas necessidades dos artistas e como entidade de apoio ao desenvolvimento de locais especializados e garantidos para a Live Art. No Reino Unido, a Live Art Development Agency \u00e9 a principal organiza\u00e7\u00e3o dedicada ao desenvolvimento da Live Art. Opera em parceria com os artistas praticantes, organiza\u00e7\u00f5es e entidades em iniciativas de curadoria, desenvolve estrat\u00e9gias de incentivo do gosto popular e da cr\u00edtica, fornece assessoria e informa\u00e7\u00f5es de car\u00e1ter pr\u00e1tico e abre oportunidades de di\u00e1logo, debate, pesquisa e treinamento.<\/p>\n

*Lois Keidan \u00e9 a criadora da Ag\u00eancia de Desenvolvimento da Live Art, em Londres.
\nEste texto \u00e9 a base da palestra dada por ela no Rio e em S\u00e3o Paulo, dentro da programa\u00e7\u00e3o do \u00faltimo Panorama Rioarte de Dan\u00e7a. Para maiores informa\u00e7\u00f5es sobre as atividades da Live Art Development Agency, visite o site da ag\u00eancia <\/a>.<\/span>A light comes on and something happens. Franko B <\/p>\n

Live Art is now recognised as one of the most vital and influential of creative spaces in the UK. Live Art is a research engine, driven by artists who are working across forms, contexts and spaces to open up new artistic models, new languages for the representation of ideas and new strategies for intervening in the public realm. <\/p>\n

Evolving from experiments within \u2018live\u2019 practices by a range of artists in the 20th century, and particularly the Performance Art methodologies of visual artists, Live Art in the 21st century is an ever expanding field that spans time based installation at one extreme and the limits of the theatrical at the other. In between, it touches upon the edges of dance, film and video, performance writing, socio-political activism and the emerging languages of the digital age. <\/p>\n

From body based sculptures by Franko B to theatrical enquiries by Forced Entertainment, choreographic experiments by La Ribot, virtual interactions by Blast Theory sensory journeys by motiroti, geo political interventions by Mad For Real and location specific performances by Curious International, questions about the nature, role and experience of art that is \u2018live\u2019 are being asked by a wide range of practitioners in exciting, urgent and challenging ways. <\/p>\n

The term Live Art is not a description of a singular artform or discipline, but a cultural strategy to include experimental processes and practices that might otherwise be excluded from established curatorial, cultural and critical frameworks. Live Art is a strategy to embrace ways of working that do not sit easily within received structures and boundaries, and to empower artists who chose to operate across, in between and at the edges of more traditional artistic forms. <\/p>\n

To talk about Live Art is to talk about art that is alive and active, art that is interested in the potential of the body and questions of space and of time; art that invests in ideas of process, presence and experience as much as the production of objects or things; art that wants to test the limits of the possible and the permissible; and art that seeks to be alert and responsive to its contexts, sites and audiences. <\/p>\n

Live Art suggests that the cultural values and expectations we place on contemporary practices should not be determined by a reverence to form but by the pursuit of new ideas and new experiences. <\/p>\n

Live Art \u2013 a question of artists <\/b><\/p>\n

Live Art offers a haven to artists whose work does not comply with the strictures of traditional designations. Joshua Sofaer.<\/p>\n

Influenced by early Performance Artist methodologies where visual artists, in a rejection of objects and the commodifiction of art, turned to the body as their site and material, a diverse range of practitioners continue to be excited by the possibilities of the artist as subject and object and the potency of the \u2018live\u2019 event. .<\/p>\n

The concept and practice of Live Art is employed by artists whose work is rooted in a broad church of disciplines. .<\/p>\n

From sculptors and painters, to theatre makers, choreographers and video artists, a gene pool of artists are testing the limits of their practices, crossing each others paths, blurring each others edges and, in the process, opening up new cultural models and new ways of activating audiences. .<\/p>\n

Live Art is a framing device for a catalogue of approaches to questions of \u2018liveness\u2019 being asked by artists who do want to be held in any cultural boundary or place. .<\/p>\n

Setting out to make theatre for audiences \u2018who grew up with the televisionalways on\u2019, Forced Entertainment come from a generation of artists who have rewritten the rules of theatre to reflect the conditions of thecontemporary. As influenced by visual art and popular culture as anyliterary canon, they have destroyed the pretence of theatre, smashed thelanguages and codes of its performance and reimagined the stories it cantell. Working in theatres, galleries, site specific locations and on thepage, screen and web Forced Entertainment have broken with all of thetraditions of the site, circumstance, aesthetics and expectations oftheatrical performance. <\/p>\n

Like many choreographers of her generation, La Ribot is committed to investigating the nature of the body in performance, extending the boundaries of formal conventions and testing the tensions and borders between visual art, performance and dance. Placing herself at the centre of a \u2018slippery surface\u2019 of disciplines, images and meanings, her practice occupies a space somewhere between dance, performance art, visual art and feminist discourse, employing the artist\u2019s body as \u2018a woman\u2019, \u2018a canvas\u2019, \u2018an object\u2019 and \u2018a concept\u2019. <\/p>\n

In their employment of the body as an active and, often transgressive site Live Art practices are central to contemporary discourses around thepolitics of the body. Painter, sculptor and performance artist Franko B is at the forefront of artists testing not only the limits of the permissible in representations of the body, but the limits of the material body itself. In Franko B\u2019s live work his abject, naked, monochromatic, bloodied body is a site to express the sacred, the profane and the unspeakable and an invitation to witness the human condition at its most carnal and exposed. In a time when images of violence and extremity have become daily entertainment in the UK, Franko B uses his bleeding body as an affirmation of life and beauty. <\/p>\n

Live Art offers a space in which artists can take formal and conceptual risks, create a context to look at different mediums of expression, explore ideas of process and presence, and investigate relationships with an audience.<\/p>\n

For many artists Live Art is a generative force: to destroy pretence, to create sensory immersion, to shock, to break apart traditions of representation, to open different kinds of engagement with meaning. <\/p>\n

Live Art practices have constructed new strategies for the expression of identities beyond the old distinctions of ethnicity, gender and sexuality. For artists negotiating the representation of identity and diversity, Live Art has offered new languages to rewrite dominant cultural narratives and sites to embody the lived realities of cultural difference. Artists such as motiroti or Stacy Makishi approach Live Art as a space to break apart genres, identities cultures and politics; a space to embody the complexities of identity and problematise signifiers of difference; and a space for audiences to contemplate their own relationship with \u2018the Other\u2019. <\/p>\n

Artists like Matt Fraser, whose practice is informed by his disability as a result of the pregnancy drug Thalidomide, often confront their physical difference in performance to challenge society\u2019s perceptions, expectations and readings of the body. The woman\/mother\/artist Bobby Baker employs the performance of the everyday domestic tasks like cooking and shopping, to reveal the hidden depths beneath the seemingly mundane and prosaic and make art that speaks of real lives and lived experiences that are all too often negated and neglected. <\/p>\n

For many women, gay, culturally diverse and disabled artists whose lives and experiences have been marginalised within the dominant culture in the UK, Live Art has proved to be a potent site, where the disenfranchised and disembodied become visible, where the politics of difference are contested, where complexity is confronted and different ways of being in the world are illuminated. <\/p>\n

Live Art breaks the rules about who is making art, how they are making it and who they are making it for. <\/p>\n

Live Art \u2013 a question of audiences<\/b> <\/p>\n

At a time when we\u2019re dwarfed by corporations, celebrities and politicians, its no surprise there\u2019s an increasing appetite for intimate, interactive experiences. Kate Stratton, Time Out Magazine <\/p>\n

By crossing forms and sites Live Art practices have proved to be especially equipped to meet the complexity and sophistication of contemporary audiences\u2019 values, identities and expectations. <\/p>\n

Live Art questions assumptions and defies expectations about who an audience can be, what they might be interested in, and the means by which they can be addressed. <\/p>\n

Live Art has not one audience, but many. Some may experience Live Art as an action in a gallery, others as a performance in a theatre, an occurrence in some unusual location, an event in a club or a process in which they are involved. There are others who may not be aware that this is Art with a capital A or that they are an audience in any conventional sense of the word. Live Art practices are concerned with all kinds of interventions in the public realm and all kinds of encounters with an audience. <\/p>\n

The audience for Blast Theory\u2019s new media work Can You See Me Now? included many young online gamers who were engaging with a work of art as they knew how and not by visiting art galleries or sitting in theatres. <\/p>\n

The economies of Live Art span an extremities of scales: from the intimacy of a one to one artist-audience encounter in works such as Oreet Ashery\u2019s Say Cheese in which you are invited to share some time in a bedroom with Oreet as her Hassidic male alter ego Marcus Fisher, to the spectacle of large scale performance events like Station House Opera\u2019s The Bastille Dances in which over the course of several hours a small army of performers construct and deconstruct civic monuments using thousands of breeze blocks. <\/p>\n

There is no subject too great or small, or question too awkward for Live Art to address. From the limits of the material body in performances by Franko B to the minutiae of women\u2019s daily lives in the work of Bobby Baker Live Art is a context in which all manner of ideas about the world around us are not only imagined but embodied and activated. <\/p>\n

Live Art can provoke, entertain, disturb, seduce, enrage, challenge, unsettle, confront, confuse, repulse, or enrich its audiences, sometimes all at the same time. For some Live Art might be a place to reflect on their own attitudes, fears and desires. For others it might be a process in which their own lives are made visible, often for the first time. <\/p>\n

Live Art offers audiences raw, intimate and immersive experiences, often disrupting distinctions between spectator and participant. Live Art asks us what it means to be here, now. In the simultaneity and interactivity of a media saturated society, Live Art invests in ideas of immediacy and reality: creating spaces to explore the experience of things, the ambiguities of meaning and the responsibilities of individual agency. <\/p>\n

Live Art is alert to its audiences and to the conditions of the contemporary. In response Live Art practices and approaches are keenly pursued by those who embrace risk, difference and doubt and want their art to be provocative not decorative, immediate not mediated and questioning rather than authoritative. <\/p>\n

Live Art \u2013 a question of policy<\/b> <\/p>\n

One of the roles of art is to break down borders between different forms, styles and modes of expression. Peter Hewitt, Arts Council England. <\/p>\n

Live Art cannot be placed within any singular history, be seen through a disciplinary lens, or be held in any cultural boundary or place. As such Live Art presents a challenge to questions of cultural policy and provision. But it is a challenge that is essential for a healthy culture, and a vibrant cultural policy, to address. <\/p>\n

Live Art erodes artform borders and disrupts cultural models. An erratic and ungainly body that is impossible to define and difficult to accommodate, Live Art is, in many ways, an unruly anomaly that does not fit within received cultural structures and strictures. <\/p>\n

But Live Art is synonymous with questions of innovation, of risk and of \u2018boundary breaking\u2019: in charting the territories where new ideas are forged and new ways of being in the world are imagined. <\/p>\n

Live Art keeps us alert to our expectations and responsibilities to questions of form, of place, of audience and of cultural value. <\/p>\n

Live Art is on the frontline of enquiries into what culture is and where it is located, who artists can be and how they are nurtured, what an audience can be and how they can be addressed. The question of how cultural policies locate and invest in the itinerant and volatile practices signified by Live Art has never been more vital. <\/p>\n

Live Art \u2013 a question of internationalism<\/b>Through our programme of live events, we are trying to challenge residual negative perceptions of the UK as staid and retro\u2026.audiences are hungry for and open to innovative cultural product. Grainne Brunsdon, British Council, Australia <\/p>\n

The concept and practice of Live Art in the UK seems to be attracting increasing interest from artists, scholars, promoters and audiences around the world. <\/p>\n

The concept of Live Art is being looked at as a possible model for many international artists and organisers as an approach to the framing, support and promotion of experimental \u2018live\u2019 practices that operate across, in between and at the edges of more traditional artistic structures. Debates such as these around the idea of Live Art as a cultural strategy and critical discourse are taking place not only here in Brazil but everywhere from Beijing to Siberia and Sydney. <\/p>\n

Practices that respond to a diversity of cultural contexts, sites and audiences, that want to break apart traditions of representation, and that employ a diversity of vocabularies, all contribute to Live Art\u2019s ability to traverse and transcend cultural and geo-political borders. <\/p>\n

Live Art often breaks received models of cultural exchange. Live Art represents not given, but process based practices that are often grounded in the specificity of their place and space: practices that blur distinctions between spectator and participant, generate interaction and stimulate dialogue. In the process Live Art practices can break down all kinds of borders and enrich our understandings of each other. In recent years Live Art\u2019s international exchanges have ranged from Robert Pacitti\u2019s collaborations with artists in Brazil and in the Australian Outback, to projects such as Jyll Bradley\u2019s Fragrant made with the residents of Bogota. <\/p>\n

Live Art is a vibrant approach to the development of international dialogues and, in many ways, to the the kinds of inter-cultural awareness and understanding we need in the 21st century. <\/p>\n

Live Art \u2013 a question of presentation <\/b> <\/p>\n

Traditional buildings that present the arts will have to adapt to demands both from artists and audiences to rewrite their spaces. Robert Hewison, Towards 2010: New Times, New Challenges For The Arts. <\/p>\n

The diverse, itinerant and volatile nature of Live Art practices and approaches raises a number of issues in relation to questions of presentation. <\/p>\n

Live Art occupies not one site or circumstance but many: from the institutional to artist led interventions; from actions in galleries and performances in theatres, to artists working outside of the constraints of official culture, within civic or social spheres, in challenging and unexpected sites, or at the points where live and mediated cultures converge. <\/p>\n

The new media based practices of artists such as Blast Theory and the location-specific work of Curious International, and the political activism of Mad For Real all expand the formal and cultural frameworks art is understood to occupy and pose exciting challenges as to how such practices are framed and promoted. <\/p>\n

Many Live Art practices and approaches set out to problematise issues of presentation and representation in their form or siting; often disrupting convention, resisting institutionalisation or inviting institutions to consider how to negotiate the circumstances of a 24 hour theatre piece, a gallery based performance, a location specific event, a one on one encounter, or a work that only exists in media streams. <\/p>\n

Live Art suggests ways that artists and presenters alike can explore new approaches to the representation of art and ideas and new ways of engaging audiences. <\/p>\n

The spectrum of Live Art artists and approaches, and the changing expectations and experiences of artists throughout the development of their practice, asks for a infrastructure that can offer different levels of investment in the concept and practice of Live Art and different degrees of engagement with risk: from Live Art programmers, networks and agencies specialising in the development of artistic support structures, to a wider, complex web of presenters for whom Live Art contributes to a broader gallery, theatre, festival or community programme. <\/p>\n

At one end of the spectrum Live Art has energised, and opened up new possibilities within, some of the UK\u2019s major institutions through initiatives such as the Live Art Development Agency\u2019s Live Culture event at Tate Modern in 2003 (all video clips from Live Culture programme). At the other the experimental and experiential nature of Live Art needs safe contexts where new artists and new ideas can be incubated and where notions of risk are paramount. <\/p>\n

The Live Art Development Agency was set up as a safe space to respond to the different needs of artists and contribute to the development of specialised and safe contexts for Live Art. The Live Art Development Agency is the leading development organisation for Live Art in the UK. The Agency works in partnership with practitioners, organisations and institutions on curatorial initiatives; develops strategies for increasing popular and critical awareness; provides practical information and advice; and offers opportunities for dialogue, debate, research and training. <\/p>\n

*Lois Keidan is the director of the Live art Development Agency, in London. This text is the basis for the lecture she gave in Rio and S\u00e3o Paulo in the last edition of Panorama RioArte de Dan\u00e7a.
For more information on the work of the Live Art Development Agency visit the agency website <\/a>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Uma das definidoras do termo, a inglesa Lois Keidan desmistifica as fronteiras da linguagem<\/span>One of the first to define the field, Lois Keidan demistifies the borders of artistic languages<\/span><\/p>\n","protected":false},"author":60,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_mi_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[2],"tags":[121,1278,1524,1248,1525,1458,833,612,1409],"yoast_head":"\nLive Art \u2013 uma quest\u00e3o | Live Art \u2013 a question -<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/idanca.net\/live-art-uma-questao\/\" \/>\n<meta property=\"og:locale\" content=\"pt_BR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question -\" \/>\n<meta property=\"og:description\" content=\"Uma das definidoras do termo, a inglesa Lois Keidan desmistifica as fronteiras da linguagemOne of the first to define the field, Lois Keidan demistifies the borders of artistic languages\" \/>\n<meta property=\"og:url\" content=\"https:\/\/idanca.net\/live-art-uma-questao\/\" \/>\n<meta property=\"article:publisher\" content=\"http:\/\/www.facebook.com\/idanca.net\" \/>\n<meta property=\"article:published_time\" content=\"2005-01-17T00:00:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2008-07-17T18:34:27+00:00\" \/>\n<meta name=\"author\" content=\"Lois Keidan\" \/>\n<meta name=\"twitter:label1\" content=\"Escrito por\" \/>\n\t<meta name=\"twitter:data1\" content=\"Lois Keidan\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. tempo de leitura\" \/>\n\t<meta name=\"twitter:data2\" content=\"32 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/idanca.net\/live-art-uma-questao\/\",\"url\":\"https:\/\/idanca.net\/live-art-uma-questao\/\",\"name\":\"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question -\",\"isPartOf\":{\"@id\":\"https:\/\/idanca.net\/#website\"},\"datePublished\":\"2005-01-17T00:00:00+00:00\",\"dateModified\":\"2008-07-17T18:34:27+00:00\",\"author\":{\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/744434f585349cec896a0eeb89ac5b48\"},\"breadcrumb\":{\"@id\":\"https:\/\/idanca.net\/live-art-uma-questao\/#breadcrumb\"},\"inLanguage\":\"pt-BR\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\/\/idanca.net\/live-art-uma-questao\/\"]}]},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\/\/idanca.net\/live-art-uma-questao\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\/\/idanca.net\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\/\/idanca.net\/#website\",\"url\":\"https:\/\/idanca.net\/\",\"name\":\"\",\"description\":\"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\/\/idanca.net\/?s={search_term_string}\"},\"query-input\":\"required name=search_term_string\"}],\"inLanguage\":\"pt-BR\"},{\"@type\":\"Person\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/744434f585349cec896a0eeb89ac5b48\",\"name\":\"Lois Keidan\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"pt-BR\",\"@id\":\"https:\/\/idanca.net\/#\/schema\/person\/image\/\",\"url\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"contentUrl\":\"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g\",\"caption\":\"Lois Keidan\"},\"url\":\"https:\/\/idanca.net\/author\/loiskeidan\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question -","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/idanca.net\/live-art-uma-questao\/","og_locale":"pt_BR","og_type":"article","og_title":"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question -","og_description":"Uma das definidoras do termo, a inglesa Lois Keidan desmistifica as fronteiras da linguagemOne of the first to define the field, Lois Keidan demistifies the borders of artistic languages","og_url":"https:\/\/idanca.net\/live-art-uma-questao\/","article_publisher":"http:\/\/www.facebook.com\/idanca.net","article_published_time":"2005-01-17T00:00:00+00:00","article_modified_time":"2008-07-17T18:34:27+00:00","author":"Lois Keidan","twitter_misc":{"Escrito por":"Lois Keidan","Est. tempo de leitura":"32 minutos"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/idanca.net\/live-art-uma-questao\/","url":"https:\/\/idanca.net\/live-art-uma-questao\/","name":"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question -","isPartOf":{"@id":"https:\/\/idanca.net\/#website"},"datePublished":"2005-01-17T00:00:00+00:00","dateModified":"2008-07-17T18:34:27+00:00","author":{"@id":"https:\/\/idanca.net\/#\/schema\/person\/744434f585349cec896a0eeb89ac5b48"},"breadcrumb":{"@id":"https:\/\/idanca.net\/live-art-uma-questao\/#breadcrumb"},"inLanguage":"pt-BR","potentialAction":[{"@type":"ReadAction","target":["https:\/\/idanca.net\/live-art-uma-questao\/"]}]},{"@type":"BreadcrumbList","@id":"https:\/\/idanca.net\/live-art-uma-questao\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/idanca.net\/"},{"@type":"ListItem","position":2,"name":"Live Art \u2013 uma quest\u00e3o | Live Art \u2013 a question"}]},{"@type":"WebSite","@id":"https:\/\/idanca.net\/#website","url":"https:\/\/idanca.net\/","name":"","description":"portal de not\u00edcias sobre dan\u00e7a brasileira e internacional","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/idanca.net\/?s={search_term_string}"},"query-input":"required name=search_term_string"}],"inLanguage":"pt-BR"},{"@type":"Person","@id":"https:\/\/idanca.net\/#\/schema\/person\/744434f585349cec896a0eeb89ac5b48","name":"Lois Keidan","image":{"@type":"ImageObject","inLanguage":"pt-BR","@id":"https:\/\/idanca.net\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/?s=96&d=mm&r=g","caption":"Lois Keidan"},"url":"https:\/\/idanca.net\/author\/loiskeidan\/"}]}},"_links":{"self":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/358"}],"collection":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/users\/60"}],"replies":[{"embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/comments?post=358"}],"version-history":[{"count":0,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/posts\/358\/revisions"}],"wp:attachment":[{"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/media?parent=358"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/categories?post=358"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/idanca.net\/wp-json\/wp\/v2\/tags?post=358"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}