{"id":9319,"date":"2015-11-05T15:27:40","date_gmt":"2015-11-05T14:27:40","guid":{"rendered":"https:\/\/euroalter.local\/?p=9319"},"modified":"2015-11-05T15:27:40","modified_gmt":"2015-11-05T14:27:40","slug":"a-democratic-rupture","status":"publish","type":"post","link":"https:\/\/euroalter.com\/fr\/a-democratic-rupture\/","title":{"rendered":"A Democratic Rupture"},"content":{"rendered":"

\"brecha\"<\/a><\/p>\n

\u201cIt is so much that does not fit here\u201d (\u201c\u00c9 tanta coisa que nem cabe aqui\u201d). That is the sentence written in one of a multitude of posters that were occupying the streets during the mass protests of June 2013 in Brazil.<\/p>\n

The demonstrations of June 2013 unfolded in a powerful aesthetic experiment. Artists joined activists, countless collectives took shape in their own manifestations, and all this production was itself poetically and politically recorded. Those actions, many of them performative, opened the political imaginary to other forms and contents of the struggle. At the same time that this aesthetic was being formed in the immediate clash of the streets and the networks, the June 2013 movement actualized and activated aesthetics that were less linked to the events, but that were keeping with them indirect relations, forms of politics proposed through the art, within and without the institutions. The aesthetic of politics and the politics of aesthetic also exchange points of view.<\/p>\n