The most recent issue of OEI magazine takes its starting point in Ernesto de Sousa’s explosive activities as filmmaker, photographer, curator, critic, writer, folk art researcher, multimedia artist etc. in the Portuguese 1960s onwards. Being active in almost everything that belongs to the domain of the arts in the broadest sense of the word, Ernesto de Sousa (1921-1988) adopted the term “aesthetic operator” to be used instead of the word “artist” – “for the simple reason that ‘artist’ designates a kind of sociological position and not a philosophical attitude towards the world” (José Miranda Justo). As a “source of enthusiasm, dynamism and motivation” (Isabel Alves), Ernesto de Sousa created new connections between all sorts of disciplines, forms, materials and social contexts.
In its 640 page long textual and visual montage, including a series of new essays and translations of key essays, as well as a lot of archival material, OEI #80-81 also looks at the practices of a number of De Sousa’s fellow “aesthetic operators” (Alberto Carneiro, Túlia Saldanha, Álvaro Lapa, Fernando Calhau, Lourdes Castro, Ana Vieira, Ana Hatherly, E.M. de Melo e Castro, António Barros…). At the same time, OEI #80-81 encompasses texts on magazines such as Poesia Experimental, Operação, Nova, A Urtiga, and Alternativa; and works by artists from younger generations such as Isabel Carvalho, Paulo Mendes and Mariana Silva.
OEI #80–81: The zero alternative: Ernesto de Sousa and some other aesthetic operators in Portuguese art and poetry from the 1960s onwards
640 pages, 2018
Ed. Jonas (J) Magnusson & Cecilia Grönberg (in collaboration with Hugo Caniolas and Tobi Maier)
Innehåll
1–3
Your body is my body is your body
(some notes for a preface)
7–12
Guincho meeting
13–19
From the void to pro vocation
Ernesto de Sousa
20–22
Projects–Ideas
Ernesto de Sousa
23–76
Alternativa Zero (preparatory sketches for the catalogue, documentations, floorplan, posters…)
25–31
[Introduction to Alternativa Zero: Polemical
tendencies in Portuguese contemporary art, 1977]
Ernesto de Sousa
77–84
A conscious creation of situations
Ernesto de Sousa
85–94
A meditative flow on Ernesto de Sousa’s conception
of modernity […]
José Miranda Justo
95–100
Graphic arts, vehicle of intimacy
Ernesto de Sousa
101–102
About the Ernesto de Sousa poster collection
Isabel Alves
103–116
Posters
117–118
An exercise of poetical communication
Ernesto de Sousa
119–126
Nós não estamos algures
127–128
Almada – a name of war
Ernesto de Sousa
129–130
Almada, a multi-media name of war
Ernesto de Sousa
131–150
Almada, um nome de guerra (notebook, posters, slides)
Ernesto de Sousa
151–166
Luiz Vaz 73
153
Luiz Vaz 73 – visual structure
Ernesto de Sousa
155
The music of Luiz Vaz 73
Jorge Peixinho
167–176
Graphic arts, language and total aesthetics
Emília Tavares
177–178
The mural of June 10th or the passage à l’acte
Ernesto de Sousa
179
The most beautiful aesthetic operation
Ernesto de Sousa
180–182
Contact sheets
Ernesto de Sousa
183
Revolução, Corpo, Tempo (Revolution, Body, Time)
Ernesto de Sousa
184–188
Revolution my body #2
Ernesto de Sousa
189–191
Revolution my body number three
Ernesto de Sousa
192–193
Revolution my body #1
Ernesto de Sousa
194–199
This is my body #3&4, Proper names and improper
names, Tradition as adventure
Ernesto de Sousa
200–202
The “new” photography
Ernesto de Sousa
203–214
The promised land
Ernesto de Sousa
205–218
Discourse / Nonsense / Display (Notes and appropriations on Ernesto de Sousa’s research into
naïve art)
Nuno Faria
219–222
Clay-modellers and icon makers – four folk artists
from the north of Portugal
Ernesto de Sousa
223–228
Ernesto de Sousa: "The right hand does not know
what the left hand is doing…"
Paula Pinto
229–240
Photographs and report from folk art reseach
Ernesto de Sousa
241–242
1.000.011th anniversary of art. CAPC, Coimbra
243–245
The vanguard is in Coimbra, the vanguard is in you
Ernesto de Sousa
246
Art in the street
Ernesto de Sousa
247–252
Semana da arte na rua and GICAP
253–254
Túlia Saldanha
Liliana Coutinho and Rita Fabiana
255–264
Túlia Saldanha
265–267
Ana Vieira
Liliana Coutinho
271–274
Desire to overtake: a project. Art, being an artist and the idea of culture in the late 70s in Portugal, a case: Fernando Calhau via Ernesto de Sousa
Maria do Mar
275–286
Fernando Calhau
287–288
Helena Almeida. From nothing to exorcism
Ernesto de Sousa
289–290
Un autre livre rouge
Paulo Pires do Vale
302–322
Un autre livre rouge
Lourdes Castro and Manuel Zimbro
317–318
The critic’s choice: Irene Buarque
Ernesto de Sousa
319–330
Irene Buarque
331–343
Field work as the work field. Alberto Carneiro and interventions in the landscape in the 1970s
Catarina Rosendo
345–346
Notes towards a manifesto of ecological art
Alberto Carneiro
347–349
Culture/ Counter/ Culture
Alberto Carneiro
350–387
Os sete rituais estéticos sobre um feixe de vimes na paisagem / Operação estética em Vilar do Paraíso / Operação estética no Alto de S.João (Aregos)
Alberto Carneiro
389–390
Ana Hatherly’s Rotura
Isabel Carlos
393–396
Conversation between Ana Hatherly and Isabel
Carlos on Rotura
399–401
Ana Hatherly and the difficult responsibility of disorder
Ernesto de Sousa
403–407
Mello E Castro. From sight to touch and gathering
Ernesto de Sousa
408–417
One can write with this
E.M. de Melo e Castro
419–421
Experimental poetry
E.M. de Melo e Castro
422–431
Concepto incerto (Concept uncertain)
E.M. de Melo e Castro
432–436
Visão segunda
E.M. de Melo e Castro
437–442
The critical experience of poetry
Ana Hatherly
443–446
The new presence of the past in the present: critical rereading of tradition
Ana Hatherly
447–454
Dialogue and openness in Portuguese experimental
poetry
Rui Torres
455–471
Poesia Experimental 1 and 2, Operação 1, Hidra 2
472–475
António Aragão
476–478
Ana Hatherly
479–478
Abílio-José Santos
481–483
António Barros
484
Words – Other Words
António Barros
485
Portuguese Visual Poetry
António Barros
486–496
Fernando Aguiar
497–499
Notes about some Portuguese experimental poets
Bruno Ministro
501–504
The body as text in Ernesto de Sousa
Sandra Guerreiro Dias
513–519
Álvaro Lapa
520–522
The prophecies of Abdul Varetti – failed writer
Álvaro Lapa
523–524
A programme called Arquipélago for an archipelago called the Algarve
Nuno Faria
525–528
The ecological and alternative movement in Portugal from the perspective of two small journals. A talk between Isabel Carvalho and José Carlos
Costa Marques
529–538
A Urtiga and Alternativa
539–544
Isabel Carvalho
545–570
O Peregrino Blindado [The Armoured Pilgrim] (The Blind Penguin) […]
Eduardo Batarda
571–572
The best way to contemplate nature is from a bicycle
Susana Lourenço Marques
573–576
Nova magazine
577
Who has taught you? — Nobody (on Elvira Leite)
Susana Lourenço Marques
579–581
Excerpts from an interview with Elvira Leite
Elvira Leite and Sofia Victorino
582–587
Elvira Leite
588
The proletarian “island” as a basic element of the urban tissue
Álvaro Siza Vieira / São Victor brigade
589
The SAAL experiment and the expanded role of the architect
590–608
Serviço Ambulatório de Apoio Local (some images and publications)
609–617
Heliografias
Mariana Silva
618–624
S de Saudade
Paulo Mendes
625–632
Visiting Ana Jotta
633–639
Supergood – dialogues with Ernesto de Sousa
Hugo Canoilas
640
Colophon