Spheres of Insurrection: Notes on Decolonizing the Unconscious (Critical South)

As the globalized regime of neoliberal capitalism consolidates its grip on the world, it refines the micropolitics proper to the capitalist system and makes it more perverse. This micropolitics involves the appropriation - what Suely Rolnik calls the "pimping" - of life, as it turns the life drive itself away from creation and cooperation and towards the deadening, destructive practice necessary for capital accumulation. This dynamic is the engine of what Rolnik calls the colonial-capitalistic unconscious regime. She also identifies the conditions necessary to fight against this regime - namely, a reappropriation of the life drive, the energetic basis at the heart of all life forms, human life included, and the principal source of extraction for capitalism. Drawing on examples from across the Americas, including Brazil and the United States, Rolnik examines the circumstances that have given rise to regressive, reactionary governments throughout the world. These circumstances include, at the macro level, an alliance between neoliberalism and extreme conservatism and, at the micro level, a crisis of the hegemonic subject in the face of the emergent empowerment of marginalized communities that practice other modes of subjectivation.&nbsp; &nbsp; This crucial book by one of the most prominent intellectuals in Latin America today will be of great value to anyone interested in contemporary politics and social struggles.

Politics & Social Sciences

Rolnik, Suely

Philosophy

Polity

The post-'68 psychoanalyst and philosopher visits a newly democratic Brazil in 1982 and meets future President Luis Ignacia Lula da Silva: a guide to the radical thought and optimism at the root of today's Brazil.
Yes, I believe that there is a multiple people, a people of mutants, a people of potentialities that appears and disappears, that is embodied in social, literary, and musical events.... I think that we're in a period of productivity, proliferation, creation, utterly fabulous revolutions from the viewpoint of this emergence of a people. That's molecular revolution: it isn't a slogan or a program, it's something that I feel, that I live....―from Molecular Revolution in Brazil
Following Brazil's first democratic election after two decades of military dictatorship, French philosopher Félix Guattari traveled through Brazil in 1982 with Brazilian psychoanalyst Suely Rolnik and discovered an exciting, new political vitality. In the infancy of its new republic, Brazil was moving against traditional hierarchies of control and totalitarian regimes and founding a revolution of ideas and politics. Molecular Revolution in Brazil documents the conversations, discussions, and debates that arose during the trip, including a dialogue between Guattari and Brazil's future President Luis Ignacia Lula da Silva, then a young gubernatorial candidate. Through these exchanges, Guattari cuts through to the shadowy practices of globalization gone awry and boldly charts a revolution in practice. 
Assembled and edited by Rolnik, Molecular Revolution in Brazil is organized thematically; aphoristic at times, it presents a lesser-known, more overtly political aspect of Guattari's work. Originally published in Brazil in 1986 as Micropolitica: Cartografias do desejo, the book became a crucial reference for political movements in Brazil in the 1980s and 1990s. It now provides English-speaking readers with an invaluable picture of the radical thought and optimism that lies at the root of Lula's Brazil.

Molecular Revolution in Brazil (Semiotext(e) / Foreign Agents)

History

Guattari, Fèlix

Americas

Semiotext[e]

This book presents the very best in modern and contemporary Latin American art. It features not only the work of artists from Mexico, Central and South America and the Caribbean, but also works by American and European artists working in Latin America and Latin American artists based in North America and Europe. Illuminating essays consider some of the region’s leading practitioners and examine such prominent issues as introspection and identity, theatricality and performance in the visual arts, and the rise of multiculturalism and globalism in contemporary art. Lavishly illustrated throughout, this book is the perfect introduction to one of the finest private collections in the United States of modern and contemporary Latin American art.

Constructing a Poetic Universe: The Diane and Bruce Halle Collection of Latin American Art

Arts & Photography

Adams, Beverly

Ledezma, Juan

Ramirez, Mari Caremen

Salzstein, Sonia

History & Criticism

Merrell Publishers

Brazilian artist Cildo Meireles, born in 1948, has made some of the most politically telling and aesthetically seductive works in recent art. An important theme in the Brazilian postwar avant-garde, from which Meireles emerged at the end of the 1960s, was the relationship between the sensual and the cerebral, the body and the mind. Meireles, now acknowledged as a key instigator of international Conceptual art, has remained true to these concerns--and to a political and ethical viewpoint formed outside the cultures of plenty. At the same time, he has become a global artist, making work that deals with issues and experiences that affect us all--whatever our country of origin. Under the repressive military regime of the late 1960s and early 1970s, which controlled the Brazilian media, Meireles found different ways of reaching the public--stamping bank notes with seditious slogans and returning them into circulation, or stenciling Coke bottles with slogans before sending them back to the bottling plant. Other works play with the sense of space or scale, varying in size from that of a finger ring to an installation covering almost 750 square feet. His installations are always designed to heighten the awareness of his audience, sometimes by inducing fear, as in "Volatile" (1980/94), which includes the presence of a naked candle and the smell of natural gas. "Babel" (2001) is a contemporary take on the myth of the tower that confounded the world's languages. Lavishly illustrated, this volume includes 10 short thematic essays by leading scholars--including Moacir dos Anjos, Guy Brett, Okwui Enwezor, Maaretta Jaukkuri, Bartomeu Mar', Lu Menezes, Suely Rolnik, Sônia Salzstein and Lynn Zelevansky--as well as previously unpublished commentaries on each work by the artist.

Cildo Meireles

Brett, Guy

ENWEZOR, Okwui

Zelevansky, Lynn

Dos Anjos, Moacir

Jaukkuri, Maaretta

Marí, Bartomeu

Menezes, Lu

Tate/D.A.P.

Brazilian artist Antonio Dias (born 1944) began making multimedia works in the mid-1960s, inspired in part by the prosaic subject matter and brash visual style of Pop art, and the wave of Neoconcrete art that exploded in Brazil contemporaneously with Pop. In his earliest paintings, Dias developed a fascinating amalgam of cartoonish brashness, occasional assemblage modifications and a distinctly Brazilian color palette, while his sculptures and installations simultaneously explored more austere, Malevichian realms, drawing in part on New York Minimalism. During Brazil's military dictatorship in the late 1960s, Dias left the country and moved to Europe, where he developed a style of conceptually oriented painting using words. Tracking Dias' five decades of production through works on paper, sculpture, painting, film and installation, this first English-language monograph on Dias reveals a hidden strain in Brazilian art to a wider public.

Antonio Dias: Anywhere Is My Land

Herzog, Hans-Michael

Reference

Hatje Cantz

Antropofagia zumbi (Portuguese Edition)

Azougue Press

Micropolítica : cartografías del deseo

Traficantes de Sueños

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