Basing her discussion on the performativity of a photograph by artist Paulo Nazareth, which bears the phrase “blacks in the pool,” Lima invites us to consider the multiplicity of meaning that the term “pool” offers in regards to regimes of visibility, practices of refusal, institutional violence, and production of value. Proposing a reading that considers the implications of global racial capital in the financialized system of art, Lima draws upon examples of curatorial projects to provide an overview of how these debates are a throughline within contemporary Brazilian art, and are intrinsic to curatorial work and education.
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Benson Latin American Collection, Sid Richardson Hall, 2nd Floor, Benson Conference Room