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Jonathas de Andrade characterizes three of his artworks—Tropical Hangover (2009), 40 black candies for R$ 1.00 (2013), and The Uprising (2012–13)—in relation to notions of the document and the archive, and to the permeable boundary between fact and fiction, the real and the staged. The artist also talks about the framing of “historical” narrative and the negotiation with class-based legal and other bureaucratic systems in Brazil that the production and presentation of his projects often require.

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