Alex Ungprateeb Flynn

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	<title>Alex Ungprateeb Flynn</title>
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		<title>home 2</title>
				
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		<pubDate>Mon, 14 Dec 2020 13:57:40 +0000</pubDate>

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	Anthropology

ART
 Alex Ungprateeb&#38;nbsp; &#38;nbsp;&#38;nbsp;Flynn


 RESEARCH  &#38;nbsp; CURATORIAL &#38;nbsp; &#38;nbsp;&#38;nbsp; TEXTS &#38;nbsp;&#38;nbsp; UPCOMING


	📌️ SELECTED WORKS

	
&#60;img width="2268" height="4032" width_o="2268" height_o="4032" data-src="https://freight.cargo.site/t/original/i/57acbd693e1abb9a901fbae99420abfb3d3c2a4cfa8fae3087a32ee4795375d8/IMG_8461.jpeg" data-mid="237202276" border="0"  src="https://freight.cargo.site/w/1000/i/57acbd693e1abb9a901fbae99420abfb3d3c2a4cfa8fae3087a32ee4795375d8/IMG_8461.jpeg" /&#62;GHOST ARCHIVES AND&#38;nbsp; DIASPORAS OF THAILAND

RESEARCH

	
&#60;img width="1772" height="3150" width_o="1772" height_o="3150" data-src="https://freight.cargo.site/t/original/i/eae8f41f0da6efdd9236d9b7a581d95417956405ed08001484822659e4157efb/IMG_1855-2-2.jpg" data-mid="237202653" border="0"  src="https://freight.cargo.site/w/1000/i/eae8f41f0da6efdd9236d9b7a581d95417956405ed08001484822659e4157efb/IMG_1855-2-2.jpg" /&#62;THE LANDLESS WORKERS MOVEMENT OF BRAZILRESEARCH

	
&#60;img width="1012" height="1800" width_o="1012" height_o="1800" data-src="https://freight.cargo.site/t/original/i/04e446f142ca58ce241b19b15133046a7090375557bcf7f842687fb0950ba268/F6128867-68A2-42CB-9E68-3F79BD6295A6-2.jpg" data-mid="237202645" border="0"  src="https://freight.cargo.site/w/1000/i/04e446f142ca58ce241b19b15133046a7090375557bcf7f842687fb0950ba268/F6128867-68A2-42CB-9E68-3F79BD6295A6-2.jpg" /&#62;
CONTEMPORARY ART IN SÃO PAULORESEARCH
	&#60;img width="900" height="1600" width_o="900" height_o="1600" data-src="https://freight.cargo.site/t/original/i/596c8be7676089e88b4fcf164267f91a27691a34c8563aa9acc61ac7834510a9/Untitled-37.png" data-mid="237207077" border="0"  src="https://freight.cargo.site/w/900/i/596c8be7676089e88b4fcf164267f91a27691a34c8563aa9acc61ac7834510a9/Untitled-37.png" /&#62;

CARTONERA PUBLISHING PROJECT
RESEARCH


&#60;img width="2100" height="3733" width_o="2100" height_o="3733" data-src="https://freight.cargo.site/t/original/i/7a7272d1426ce20ec54ffe128d9981a3a2e56d4ea11551c84e2a2fa1ff3f9063/Untitled-42-copy.jpg" data-mid="237444457" border="0"  src="https://freight.cargo.site/w/1000/i/7a7272d1426ce20ec54ffe128d9981a3a2e56d4ea11551c84e2a2fa1ff3f9063/Untitled-42-copy.jpg" /&#62;

EXHIBITION: CONCRETE MIRRORCURATORIAL

	
&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/dabb4a0e91c358cc9657b103847ccdec6333d64c2f761eb098a85f8bc4285712/Untitled-31.png" data-mid="237203346" border="0"  src="https://freight.cargo.site/w/1000/i/dabb4a0e91c358cc9657b103847ccdec6333d64c2f761eb098a85f8bc4285712/Untitled-31.png" /&#62;EXHIBITION: CONSTRUCTION, OCCUPATION
CURATORIAL

	
&#60;img width="551" height="980" width_o="551" height_o="980" data-src="https://freight.cargo.site/t/original/i/9515b063cebd9c3194ce6b19bd921fa9d084be0a1218ded43073609eeb9de6e7/5B66C9B5-70B1-413F-AE85-0C949D90E511_1_201_a.jpeg" data-mid="93350368" border="0"  src="https://freight.cargo.site/w/551/i/9515b063cebd9c3194ce6b19bd921fa9d084be0a1218ded43073609eeb9de6e7/5B66C9B5-70B1-413F-AE85-0C949D90E511_1_201_a.jpeg" /&#62;
EXHIBITION: CARTONERAS: RELEITURAS LATINO-AMERICANAS&#38;nbsp;
CURATORIAL
	&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/03daedcdef782f5722497f18a3b5a41a1b68c7cb6a04cab4d90b4194e91a276a/Untitled-40.png" data-mid="237439928" border="0"  src="https://freight.cargo.site/w/1000/i/03daedcdef782f5722497f18a3b5a41a1b68c7cb6a04cab4d90b4194e91a276a/Untitled-40.png" /&#62;

CAMBRIDGE ARTISTIC RESIDENCYCURATORIAL


	&#60;img width="1973" height="3508" width_o="1973" height_o="3508" data-src="https://freight.cargo.site/t/original/i/515f372d2b87af07ed30d075c5ad8114c5b6db9c7e594ede2b2ccd2fc895f736/Taking-Form-book-cover.jpg" data-mid="223368269" border="0"  src="https://freight.cargo.site/w/1000/i/515f372d2b87af07ed30d075c5ad8114c5b6db9c7e594ede2b2ccd2fc895f736/Taking-Form-book-cover.jpg" /&#62;

TAKING FORM, MAKING WORLDS: CARTONERA PUBLISHERS IN LATIN AMERICATEXTS


	&#60;img width="1973" height="3508" width_o="1973" height_o="3508" data-src="https://freight.cargo.site/t/original/i/e21d35c1611625ba61341c51c4e7e8d6b9bc5420dcfe42215fe1f70e1cd57216/40-years-cover.jpg" data-mid="223368082" border="0"  src="https://freight.cargo.site/w/1000/i/e21d35c1611625ba61341c51c4e7e8d6b9bc5420dcfe42215fe1f70e1cd57216/40-years-cover.jpg" /&#62;
 FORTY YEARS OF THE LANDLESS WORKERS MOVEMENT:&#38;nbsp;LANDLESS PERSPECTIVESTEXTS
	&#60;img width="900" height="1600" width_o="900" height_o="1600" data-src="https://freight.cargo.site/t/original/i/aa8aa35e1c40f7a8480b3a8bcafe2be40e635be90fcd6744efc0ba744ecc96bb/Untitled-33.png" data-mid="237203376" border="0"  src="https://freight.cargo.site/w/900/i/aa8aa35e1c40f7a8480b3a8bcafe2be40e635be90fcd6744efc0ba744ecc96bb/Untitled-33.png" /&#62;

PATHWAYS TO UTOPIA: TIME AND TRANSFORMATION IN THE LANDLESS WORKERS MOVEMENT OF BRAZIL

TEXTS

	&#60;img width="1080" height="1920" width_o="1080" height_o="1920" data-src="https://freight.cargo.site/t/original/i/b9da22b4db47b18f1232b76f12384afbdc1fafd08d8d2d5cc76024bb705c9312/Untitled-39.png" data-mid="237354065" border="0"  src="https://freight.cargo.site/w/1000/i/b9da22b4db47b18f1232b76f12384afbdc1fafd08d8d2d5cc76024bb705c9312/Untitled-39.png" /&#62;
CONSTRUCTION, OCCUPATION CURATORIAL INTERVIEW IN ARTS OF THE WORKING CLASS&#38;nbsp;
TEXTS


	&#60;img width="900" height="1600" width_o="900" height_o="1600" data-src="https://freight.cargo.site/t/original/i/2708f5a7d3e65f32ebc06fafffeb6b0434c2931366a940545c8451b3422651a4/Untitled-35.png" data-mid="237203933" border="0"  src="https://freight.cargo.site/w/900/i/2708f5a7d3e65f32ebc06fafffeb6b0434c2931366a940545c8451b3422651a4/Untitled-35.png" /&#62;

FUTURES UNINSCRIBED: CONTEMPORARY INDIGENOUS ARTISTIC PRACTICEUPCOMING

	&#60;img width="900" height="1600" width_o="900" height_o="1600" data-src="https://freight.cargo.site/t/original/i/330bb7f21814f51d700a2a68ff57b335db7f9d44e55f9ff6bd2f863311de2a64/UFSC-2025-talk-2.jpeg" data-mid="237207599" border="0"  src="https://freight.cargo.site/w/900/i/330bb7f21814f51d700a2a68ff57b335db7f9d44e55f9ff6bd2f863311de2a64/UFSC-2025-talk-2.jpeg" /&#62;
CAMINHOS PARA UTOPIA: PALESTRA NA UFSC AGOSTO 2025UPCOMING

	&#60;img width="1063" height="1890" width_o="1063" height_o="1890" data-src="https://freight.cargo.site/t/original/i/07a99ef1ffe0bd528adf5ad5e3443f3df8cd7e9453986cf44cfd9f98a602239b/Untitled-53.png" data-mid="242386242" border="0"  src="https://freight.cargo.site/w/1000/i/07a99ef1ffe0bd528adf5ad5e3443f3df8cd7e9453986cf44cfd9f98a602239b/Untitled-53.png" /&#62;
UNMAKING TO MAKE: ART AS DECOLONISING PRACTICE IN LATIN AMERICA’S FUTURE, PAST, AND PRESENTUPCOMING
	&#60;img width="1063" height="1890" width_o="1063" height_o="1890" data-src="https://freight.cargo.site/t/original/i/9b30a407f8293786d64b46ac2f863c8ed9a35a56c060c9c79bc0cbb6b471609a/CO-catalogue-2.png" data-mid="242386204" border="0"  src="https://freight.cargo.site/w/1000/i/9b30a407f8293786d64b46ac2f863c8ed9a35a56c060c9c79bc0cbb6b471609a/CO-catalogue-2.png" /&#62;

CONSTRUCTION, OCCUPATION CLOSING EVENT
UPCOMING


	auflynn [at] arts.ucla.edu
	
 BIO EDUCATION PUBLICATIONS


Alex Ungprateeb Flynn is Associate Professor and Graduate Vice Chair at the Department of World Arts and Cultures/Dance, UCLA. Researching collaboratively with activists, curators and artists, Alex explores the prefigurative potential of art in community contexts, prompting the theorization of fields such as the production of knowledge, notions of utopia, and&#38;nbsp; social and aesthetic dimensions of form. 
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		<title>landless workers movement</title>
				
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		<pubDate>Thu, 17 Dec 2020 13:30:37 +0000</pubDate>

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	LANDLESS WORKERS’ MOVEMENT - MST
	

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	I began research with the Landless Workers’ Movement (MST) of Brazil in April 2007. The MST is a grassroots social movement formed by rural workers that fights for land reform in a country characterised by sharp injustice and social inequality. As part of a colonial legacy, land is concentrated in the hands of the few: 2012 data highlights how 1% of Brazil’s farms hold almost 50% of all available land; it is as if “just 35,083 people possessed an area equal to the combined area of France, Germany, Spain, Switzerland, and Austria” (Almeida and Sánchez 2000: 29). I lived with members of the movement from October 2007 to April 2009 and since then I have continued to visit for periods in 2012, 2015, 2017 and 2021.


Working with the MST, the largest social movement in Latin America, was my doctoral research project, and I have been privileged to be able to accompany changes in the movement through longstanding friendships. From the times of Lula’s government to the present political situation, the movement, its culture sector, and its performative mode of expression, mística, have endured. Since 1984, the movement’s direct action tactics have resulted in 370,000 families settling 7.5 million hectares of land won as a result of movement-organised occupations.


My research, which culminates in the book Pathways to Utopia (Indiana University Press, 2025), explores how, against all odds, the MST has endured for forty years as one of the world’s largest social movements, in part through the productive tensions between established utopian ideals and emerging counter-utopian practices. 
Drawing on ethnographic data, I illustrate how members of the MST are engaging in processes of meaning making that call into question how the movement moves between ideal and material worlds. I focus on the land that settlers win and what they do with it, the family structures that they build, and the cultural life of the movement: the performances of mística through which complex temporalities find points of encounter. 
Through an analysis of these spheres, my research demonstrates that movement members are elaborating diverse subjectivities through contested processes and, in this manner, regenerating the radical politics of the movement from within. At the heart of Pathways to Utopia is the realisation that activism is not a momentary act but an ongoing, relational practice—one where even the smallest community actions reverberate, reshaping the very structures through which people seek to change the world.
	

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		<title>Ghost archives</title>
				
		<link>https://alexungprateebflynn.com/Ghost-archives</link>

		<pubDate>Tue, 19 Aug 2025 22:18:49 +0000</pubDate>

		<dc:creator>Alex Ungprateeb Flynn</dc:creator>

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	GHOST ARCHIVES AND DIASPORAS OF THAILAND
	

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	This project addresses contemporary art in Thailand, a nation-state characterized by military dictatorship, a Buddhist body politic, and an enduring belief in ghosts and village spirits. Taking seriously community lore that such entities are non-human actors, the project focuses on traces of materiality, haunting as colonial legacy, and how a burgeoning arts scene both in and beyond Thailand engages with such questions. 
	

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		<title>contemporary art in sao paulo</title>
				
		<link>https://alexungprateebflynn.com/contemporary-art-in-sao-paulo</link>

		<pubDate>Thu, 17 Dec 2020 16:23:26 +0000</pubDate>

		<dc:creator>Alex Ungprateeb Flynn</dc:creator>

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	CONTEMPORARY ART IN SÃO PAULO
	

&#60;img width="1616" height="1080" width_o="1616" height_o="1080" data-src="https://freight.cargo.site/t/original/i/1175af4e912af38284ce37184471b92c2e80e31265ea6b1e412039596339311b/IMG_7787.jpeg" data-mid="93071276" border="0" alt="Sobre solo emulado [On emulated soil] , 2018, Noara Quintana" data-caption="Sobre solo emulado [On emulated soil] , 2018, Noara Quintana" src="https://freight.cargo.site/w/1000/i/1175af4e912af38284ce37184471b92c2e80e31265ea6b1e412039596339311b/IMG_7787.jpeg" /&#62;
&#60;img width="3264" height="2448" width_o="3264" height_o="2448" data-src="https://freight.cargo.site/t/original/i/265b4ce4b8820a80535d81ad579f3b97dc6f43e69cc6bd823c6a87f9101e50c9/IMG_3397.jpeg" data-mid="93071263" border="0" alt="Detail from Campo Geral, 2015, &#38;Iacute;caro Lira" data-caption="Detail from Campo Geral, 2015, Ícaro Lira" src="https://freight.cargo.site/w/1000/i/265b4ce4b8820a80535d81ad579f3b97dc6f43e69cc6bd823c6a87f9101e50c9/IMG_3397.jpeg" /&#62;
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&#60;img width="1280" height="855" width_o="1280" height_o="855" data-src="https://freight.cargo.site/t/original/i/1ca6d84b6a8bab84efe706a6d9a5470b856d9ed648d009f718654432640749b2/_icaro_20.jpeg" data-mid="93684308" border="0" alt="Curators of the Resid&#38;ecirc;ncia Art&#38;iacute;stica Cambridge. Photo by Luiza Sigulem" data-caption="Curators of the Residência Artística Cambridge. Photo by Luiza Sigulem" src="https://freight.cargo.site/w/1000/i/1ca6d84b6a8bab84efe706a6d9a5470b856d9ed648d009f718654432640749b2/_icaro_20.jpeg" /&#62;
&#60;img width="2358" height="3144" width_o="2358" height_o="3144" data-src="https://freight.cargo.site/t/original/i/96f40d13a7b38995ccd3cd2b434ad63e07aa65ef3e158f7a1121ce2fd4a7de74/IMG_4919.jpeg" data-mid="93071542" border="0" alt="Dois pesos, duas medidas [Double Standard], 2016, Lais Myrrha" data-caption="Dois pesos, duas medidas [Double Standard], 2016, Lais Myrrha" src="https://freight.cargo.site/w/1000/i/96f40d13a7b38995ccd3cd2b434ad63e07aa65ef3e158f7a1121ce2fd4a7de74/IMG_4919.jpeg" /&#62;
&#60;img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/78b88ef85eb1cd4799f0d69549c937a6b143deba6e814156c93c10742a416c56/IMG_5328.jpeg" data-mid="93071524" border="0"  src="https://freight.cargo.site/w/1000/i/78b88ef85eb1cd4799f0d69549c937a6b143deba6e814156c93c10742a416c56/IMG_5328.jpeg" /&#62;
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	In May 2014 I was awarded a British Academy Postdoctoral Fellowship to carry out a three year research project on contemporary art in São Paulo. 

The research focused on the participatory and open-ended potential of the contemporary art research process, departing from a premise that conceived of the artist as a producer of knowledge and theorising agent. Working primarily in community contexts and non-institutional spaces, the project sought to invoke art’s prefigurative capacity and challenge hierarchies of epistemology. In a period of fieldwork from October 2014 to May 2019, I worked with artists, curators, activists, independent art spaces, institutions and publishing initiatives across themes including access to just housing, decoloniality, indigenous art, political activism - pertaining to removal of elected President Dilma Rousseff and the subsequent election of Jair Bolsonaro - and artistic perspectives on the production of knowledge.

David Graeber put forward that the ‘contemporary’ is to challenge what is taken as read, to not accept, and to reflect upon our present situation. In a context where, as Néstor Garcia Canclini notes, artistic practice has shifted from objects to contexts, my research on contemporary art in São Paulo encounters art as a challenge to the normative, a means to conceptualise and propose the otherwise. In this setting, the ‘contemporary’ has never been more important: it is an art which creates a space in which we can make real, think, and practice a way of doing things; it is a mode of organisation which offers a counterpoint to a violent world view, a one-world cosmology of racialised hierarchies, the tyranny of private property and deterministic teleology.


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		<title>cartoneras publishing project</title>
				
		<link>https://alexungprateebflynn.com/cartoneras-publishing-project</link>

		<pubDate>Thu, 17 Dec 2020 17:07:50 +0000</pubDate>

		<dc:creator>Alex Ungprateeb Flynn</dc:creator>

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	CARTONERA PUBLISHING PROJECT
	

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	Cartonera publishers are small community-based art collectives that make low-cost books from recovered materials with the aim of making both the consumption and production of literature accessible to wider society. Originating in Buenos Aires in the wake of the 2001 Argentine economic crisis, cartonera is a contemporary publishing phenomenon that lies at the intersection between artistic intervention, activist practice and community project. From humble beginnings, cartonera has become a grassroots Latin American publishing phenomenon with over 200 collectives spread across the world. 


Since its beginnings, a rebellious DIY spirit has underpinned the production of cartonera books, publishing marginal poets, voices from the peripheries, children’s literature, Latin American classics, indigenous scholars and almost everything else between. One of the things that makes cartonera unique is the way the books are bound: the cardboard used in the binding process is collected from the street and each book is individually painted or otherwise adorned before completion. Cartonera is also tightly networked in specific communities and publishers often reflect specific local concerns. Through a type of workshop practice, cartonera creates a space between visual art and literary narrative for people to tell their own stories by making their own book. 

The Cartonera Publishing Project started in 2015 when literary scholar Lucy Bell, of the University of Surrey, invited me to co-write a research proposal on cartonera. At the time, I was working on the Residência Artística Cambridge project and in the middle of a collaboration with Dulcinéia Catadora, a cartonera publisher based in São Paulo, so our thinking was shaped right from the beginning by the our different disciplinary approaches and cartonera’s own multimodality. 

Working horizontality with our project partners, Catapoesia (Minas Gerais, Brazil), Dulcinéia Catadora (São Paulo, Brazil), La Cartonera (Cuernavaca, Mexico), and La Rueda (Guadalajara, Mexico) we sought to understand how and why cartonera practices had travelled so rapidly and widely, with a focus on the aesthetic and social forms that have driven this growth. We also were fascinated by cartonera’s socio-material practices and how these might inform or complicate our understandings of social movements, resistance and activism. And finally, we saw an opportunity to develop an innovative methodological framework that might be employed by a global community of academics and practitioners seeking to understand – or take part in – contemporary artistic practices with a focus on activism, resistance and social change. To that end, the project brought together ethnography and literary analysis through a series of forms: a co-publication between the research team and the project partners; two international symposiums; and an exhibition.

Images courtesy of Beatriz Lemos, Lúcia Rosa, Isadora Brant, and Maria Paula Botero. 
	

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		<title>releituras cartonera exhibition</title>
				
		<link>https://alexungprateebflynn.com/releituras-cartonera-exhibition</link>

		<pubDate>Tue, 15 Dec 2020 18:36:34 +0000</pubDate>

		<dc:creator>Alex Ungprateeb Flynn</dc:creator>

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	CARTONERAS: LATIN AMERICAN RE-READINGS
	

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	1 November 2018 - 8 February 2019Casa do Povo, São Paulo, Brazil

The exhibition ‘Cartoneras: Latin American re-readings’ was based on an ethnographic collaboration between the Brazilian curator Beatriz Lemos (Lastro, Museu de Arte Moderna do Rio), myself, and over forty cartonera publishers from Brazil, Mexico and Argentina and more widely across Latin America. 

‘Cartonera’, which can be translated as cardboard or waste-picking publishing, has a unique trajectory that sits between cultural trend and social movement, artistic intervention and community project. Cartonera publishers recycle materials gathered from the street to produce low-cost books that make both the consumption and production of literature accessible to wider society. Embedded within their communities, these publishers put forward a different type of narrative, and through the use of a unique artistic model, conduct literacy workshops and exhibitions to put literacy and access to literature centre stage. 

‘Cartoneras: Latin American re-readings’ was part of two year research project co-led by Dr Lucy Bell (University of Surrey) and myself. The phenomena of cardboard publishing emerged in Buenos Aires, Argentina, as a collaboration between writers, publishers, and waste-pickers, in the wake of the 2001 economic crisis. Writer Washington Cucurto and artist Javier Barilaro began buying cardboard recycled from the streets at solidarity rates and, joining forces with curator Fernanda Laguna, created hand-painted covers for books that were often written by leading writers and sold at accessible prices. Their project, Eloísa Cartonera, quickly became a symbol of resistance in Argentina and the model has spread across the world. There are currently almost 200 cartonera publishers, which have emerged in over 20 countries and over 4 continents, publishing between 8,000 and 10,000 individual authors. 

‘Cartoneras: Latin American re-readings’ centred on over 300 cartonera books, from publishers from Mexico, Brazil, Peru, Bolivia, Paraguay, Chile and Argentina, besides three European publishing collectives. Echoing cartonera practice, the participatory centre of the exhibition was a workstation, equipped with cardboard from the Glicério recycling cooperative (as well as paints, boxcutters, thread etc.), where the public programme team helped visitors to turn the exhibition catalogue into a hand-made, personally-decorated cartonera book. The workstation also provided a free printing facility so that visitors could bind in cartonera form whichever PDF text they had chosen. Over the duration of the exhibition, over 300 catalogues were created in this manner and roughly 30 scholarly and activist texts were bound, allowing us to work alongside people integrating cartonera, both literally and affectively, into their research process. The exhibition attracted over 2,500 visitors and was reviewed in the Brazilian news magazine Veja as well as being the subject of a feature report by the national Brazilian TV news programme, Journal de Culture.
	

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		<title>Construction, Occupation</title>
				
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		<pubDate>Tue, 19 Aug 2025 22:28:45 +0000</pubDate>

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	CONSTRUCTION, OCCUPATION
	

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	4 May 2025 - 11 January 2025Fowler Museum, Los Angeles, US

The Fowler Museum at UCLA is proud to announce Construction,&#38;nbsp;Occupation, a major collective exhibition examining the intersections of art, activism, and social justice through the lens of urban transformation. On view from May 4, 2025 to January 11, 2026, the exhibition brings together 24 artists and collectives—primarily from Brazil—whose radical vocabulary challenges conventional boundaries between art and activism. 
Curated by Associate Professor Alex Ungprateeb Flynn (UCLA’s Department of World Arts and Cultures/Dance) and São Paulo-based independent curators Juliana Caffé and Yudi Rafael,&#38;nbsp;Construction, Occupation highlights the power of creative resistance, drawing direct connections between São Paulo and Los Angeles. The exhibition revisits and extends the groundbreaking 2016-17 “Cambridge Artistic Residency” (CARe) in downtown São Paulo, where an abandoned 17-story hotel was occupied by low-wage workers, refugees, and artists, ultimately leading to its transformation into government-funded social housing and a vibrant cultural hub. At the Fowler, the exhibition features photography, video, and installations from the original CARe residency alongside newly commissioned works, offering a compelling visual narrative of collective action, protest, and the radical potential of artistic practice to reimagine the urban landscape.

“Construction, Occupation examines art’s potential to shape the spaces in which we live, presenting a radical urban vocabulary that blurs the boundaries between art and activism,” says co-curator Alex Ungprateeb Flynn. “By linking São Paulo’s history of occupation-based social change with the urgent housing crises in Los Angeles, Construction, Occupation proposes new models of resistance and collective action to reclaim space and advocate for social justice.”

Participating artists include Raphael Escobar, Julián Fuks, Jaime Lauriano, Ícaro Lira, Virginia de Medeiros, Edgar Calel, Dulcinéia Catadora, Explode!, JAMAC, Rosa Gauditano, André Komatsu, Cinthia Marcelle, Bijari, Grupo Contrafilé, Noara Quintana, Frente 3 de Fevereiro, Preta Ferreira, Sato do Brasil, Cozinha Nove de Julho, and others.

"Bringing Construction, Occupation to the Fowler aligns with our commitment to presenting exhibitions that challenge perspectives and foster meaningful dialogue on global social issues," says Silvia Forni, Shirley &#38;amp; Ralph Shapiro Director of the Fowler Museum.

"By showcasing the intersection of art and activism, this exhibition highlights the transformative power of community-driven artistic practices and invites visitors to reconsider the role of public space in shaping equitable cities."

Exhibition Themes and Highlights
The exhibition is structured around three principal themes: Infrastructure and Vulnerability, Segregation and Circulation, and The Body in Public Space. Many artworks relate to key moments of housing justice movements in São Paulo, from the Prestes Maia occupation in the 2000s to the Cambridge Hotel occupation and the ongoing 9 de Julho Occupation, which today houses over one-hundred families. By engaging with these communities of resistance,&#38;nbsp;Construction, Occupation invites visitors to reflect on how urban spaces can be reimagined through collective action.

Public Programs and Community Engagement

In keeping with the participatory nature of the original residency, Construction, Occupation features a robust lineup of artist-driven public programs, roundtable discussions, and film screenings, in partnership with local organizations and advocacy groups addressing housing justice. Related programming includes:

What is a Landmark? Food, Storytelling, Music and Cartonera Construction with the&#38;nbsp;Cartonera Santanera Collective
Saturday, April 26, 2–4pm

Opening Celebration: Construction, Occupation
Saturday, May 3, 6-9pm

Artist Conversations: Raphael Escobar
Tuesday, May 6, 2025, 7–9pm
Off-site; Skid Row History Museum &#38;amp; Archive

Roundtable: Contemporary Art and Society in Brazil
Friday, May 16, 7–9pm

Lunch &#38;amp; Learn: Juliana Caffe
Monday, June 2, 2–2:30pm

Discussion: The Global Struggle for Housing JusticeSaturday, December 6, 12–1pm (PST)Photography by Angel Xotlanihua and Elon Schoenholz


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		<title>concrete mirror</title>
				
		<link>https://alexungprateebflynn.com/concrete-mirror</link>

		<pubDate>Tue, 15 Dec 2020 18:41:48 +0000</pubDate>

		<dc:creator>Alex Ungprateeb Flynn</dc:creator>

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	CONCRETE MIRROR
	

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	Art and Research Residency based between the École des hautes études en sciences sociales (EHESS) and the Cité Internationale des Arts
	

	In 2017 the artist Noara Quintana and I were invited to take up an art and research residency at the EHESS in Paris. Under the auspices of the InventFormes programme created by Jean-Bernard Ouédraogo and Giulia Battaglia, we began work on an interdisciplinary enquiry in collaboration with diverse members of the Brazilian community of Paris. The objective: to work between anthropology and art on the emergence of a political imaginary at the frontier; to explore how subjective experiences of stigma, migration and becoming intersect and take form. Our project, entitled Concrete Mirror, started from an ethnographic foundation: through a series of workshops, we invited our Brazilian interlocutors to imagine their relationship with Brazil through a particular object, or objects, of their choice. These objects were the starting points for coffees, barbeques, political debates, lunches, concerts and walks regarding how it feels to be Brazilian in Paris, to exist between multiple conceptions of self, to be constructed and yet also embody the other, to reflect on a politics which is at once distant and yet also refracted, tangible and present. 

From September 4 to December 10 2017, we worked between the EHESS and the Cité Internationale des Arts to create two open studios, three public dialogues and an exhibition at the EHESS.

DIALOGUE I&#38;nbsp;
THE ETHNOGRAPHIC MUSEUM AND INDIGENOUS KNOWLEDGE&#38;nbsp;

 Anne Christine Taylor and Maria Thereza Alves&#38;nbsp;

(EHESS)
DIALOGUE II 
THE AESTHETICS OF KNOWLEDGE
Jacques Leenhardt, Ícaro Lira and Elena Lespes Muñoz
(Musée de la Chasse et de la Nature)

DIALOGUE III 
DECOLONISE OUR REFLECTIONS: THE INSTITUTIONALISATION OF CURATORIAL, ARTISTIC, AND ANTHROPOLOGICAL PRACTICES
Alya Sebti and Jonas Tinius
 (La Colonie)

The forms employed in Concrete Mirror – the exhibition, the workshops, the open studios and the dialogues – spoke to both social and aesthetic dimensions that seek to intervene in our world. In working with a method that Noara and I came to term ‘reference to gesture’ – of the anthropologist, the artist and the interlocutor – Concrete Mirror attempted to recognise and cite the power of the open-endedness of a research process that engaged productively with aesthetics and its potential to re-order.&#38;nbsp;
	

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		<title>art beyond the horizon</title>
				
		<link>https://alexungprateebflynn.com/art-beyond-the-horizon</link>

		<pubDate>Thu, 17 Dec 2020 18:29:14 +0000</pubDate>

		<dc:creator>Alex Ungprateeb Flynn</dc:creator>

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	ART BEYOND THE HORIZON
	

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	Art beyond the horizon
Rethinking the meridian of aesthetics and politics
29-30 Sep 2018 1pm-7pm
Pivô, São Paulo

	
Art beyond the horizon proposed a critical reflection on the intersections of artistic, aesthetic and political practice to rethink notions relevant to future directions of contemporary art. 

The event, organised in partnership with the Goethe Institut São Paulo, and the independent art space Pivô Arte e Pesquisa, aimed to reflect on these issues, encompassing interstitial perspectives, many deriving from spaces of the Global South. In this way, Art beyond the horizon proposed a series of dialogues between artists, curators and academics to navigate an alternate meridian, rereading the compass of contemporary art. 

The event started from the premise that in recent years contemporary art has been subject to a series of theoretical and practical incursions from both within and without that call into question its models of practice and the structures that sustain them, the hegemony of a geographically located canon of works and the porous nature of art’s autonomy itself. In both institutional and extra institutional spaces, there has been a proliferation of artistic and curatorial projects that propose public space as a sphere of activity and the artistic work as a post-material experience. Accompanying this shift in focus that gestures towards dimensions of sociality, works that directly challenge the contemporary art systems of hegemonic countries have gained greater visibility, proposing unexpected pathways to engage with traditional architectures and putting forward artistic practice as a means of knowledge production. In parallel, theoretical propositions have emerged that put forward artistic practices as ‘ways of doing’, which intervene in the general order of daily life while also identifying a consequent oscillation between the inevitability of art’s insertion in society and its desire for autonomy. Importantly, these recent directions are intrinsic but also extrinsic: they are situated simultaneously on the inside and the outside of existing paradigms, but even if originating from an exterior position, they still seek to act upon that interior position as a whole. Such transit means that these issues play out in a liminal and contested field, so how might we understand the relationship between artistic practice and activist intervention, particularly with regard to urban space? Do such practices foster new modes of critical and creative thinking in their interaction with dimensions of sociality? How might the reconfiguration of Eurocentric canons be proposed as a result, if that is at all possible? Is it the case that we can make such a division between dependence and autonomy, art and society? And to where do these new directions point, what might lie beyond the horizon of contemporary art in its current incarnation?

With contributions by Wura Ogunji, Jonas Tinius, Laymert Garcia dos Santos, Fernando Palma Rodríguez, Catalina Lozano, Pedro Cesarino, Luiza Crosman, Bruno de Almeida, Isabella Rjeille, Juliana Caffé, Yudi Rafel, André Mesquita and Virginia de Medeiros amongst others. 

	
	VIDEOS
	

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		<title>residência artística cambridge</title>
				
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		<pubDate>Thu, 17 Dec 2020 18:49:26 +0000</pubDate>

		<dc:creator>Alex Ungprateeb Flynn</dc:creator>

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	RESIDÊNCIA ARTÍSTICA CAMBRIDGE
	

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The Residência Artística Cambridge was an artistic residency programme organised in partnership with the Movimento do Sem Teto do Centro (MSTC - Movement of the downtown homeless). It took place from March 2016 to April 2017 in the former Hotel Cambridge in São Paulo, Brazil, an erstwhile luxury hotel that went from hosting celebrities such as Bing Crosby and Nat King Cole in the 1950s, to charging for rooms by the hour in the 1980s and 1990s, before becoming a nightclub, and then finally in 2012, an abandoned space. 

The Residência’s programme invited four artists to each work for a flexible three-month period during a theoretical calendar year. Curated by myself, Juliana Caffé and Yudi Rafael, the first artist in residence was Ícaro Lira, then the duo Jaime Lauriano and Raphael Escobar, followed by the writer Júlian Fuks, before ending with Virginia de Medeiros’ residency period. For the project, the curatorial team, the coordination of the MSTC and the leader of the refugee movement GRIST received the São Paulo Association of Art Critics 2016 APCA Trophy.

The building was one of nine occupations managed by the MSTC, itself part of a wider collective, the Frente de Luta por Moradia (FLM, Front for Just Housing), movements that put forward the struggle for the right to a home within a very specific and hostile context. São Paulo is a city characterised by a high degree of socioeconomic inequality, an urban environment in which the number of vacant properties far outstrips the number of families who are designated as homeless, and movements such as the MSTC face high levels of police violence and intimidation in seeking to provide housing solutions for those at the margins. In such a context therefore, the Residência responded to, and articulated, a very different understanding of contemporary art practice, one embedded in the transits and everyday exchanges of a highly contested urban reality. 

The location invited all practitioners to enter into an unmediated daily artistic dialogue in a residential building that housed 500 people. Diverse activities, such as cinema clubs, working groups, dinners, debates, and exhibitions promoted the notion that embodied knowledge would inevitably irradiate from within a community, through the activation of relations of worlds that are, and worlds yet to be in São Paulo’s dense urban space. The geographer David Harvey has placed a strong emphasis on the collective dimension of the process of ‘the making of the city’ and what happened in the Hotel Cambridge demonstrated how space can be reconfigured by many different collectives working together, placed into dialogue by, at heart, an artistic proposition.
	

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