ABSTRACT
This text reflects on experimental proposals produced in the 1970s and early 1980s by the artist Paulo Herkenhoff (194913. ARTE CIRCUNSTANCIAL VENCE COM 10 FOTOS E UMA TENDA SALÃO UNIVERSITÁRIO DA PUC. Jornal do Brasil. Rio de Janeiro, 19 mai. 1971, Primeiro Caderno, n.p.), who turned to newspapers to create ephemeral and performative actions with a socio-political connotation in which he recodes photographic images and headlines found in these periodicals through interference on such material. From texts published in the press, the article also discusses the position of art criticism in the face of these propositions, that reveal the artist’s creative boldness and critical sense, by mocking, in a defiant and good-humored way, the lack of freedom, military repression and the interference of censorship in the media and the arts, often acting in the presence of the public, positioned in front of the videotape camera.
KEYWORDS:
Experimental Art; Conceptualisms; Dematerialization; Performance; Political Art; Paulo Herkenhoff