Art in the post-digital age: image and circulation.

on Juliana Caffé

Dates: May 14, 21, 28, June 11, 18, and 25, 2026
Thursdays
Hour: 19h to 21h
Duration: 6 meetings
Audience: general interested parties
Investment: R$ 480,00 + fees

Online course
Live, via video conferencing platform
Recorded classes available for a limited time only
Includes certificate at the end

This course presents an overview of the circulation of images in modern and contemporary art, based on Latin American experiences. Starting with the poster as one of the main forms of expression of the 20th century, the course explores how it was used in resistance practices and in the construction of collective imaginaries, as well as following artists, collectives, and exhibitions that marked this trajectory. It also addresses the history of exhibitions as a tool to understand how narratives have been articulated over time and discusses issues such as technical reproducibility, graphic printing, and the role of social media in the dissemination of contemporary art. The proposal is to consider the image as practice and power, both from the point of view of materiality and in its modes of sharing.

Agenda

Meeting 1 – The poster and visual culture

• The poster as a central language of 20th-century visual culture, exploring its artistic, graphic, and political dimensions through the public circulation of the image.
• The poster as an aesthetic form linked to technical reproduction, visual synthesis, and intervention in urban space, with a focus on Latin American experiences.
• References in dialogue: David Kunzle, Taller de Gráfica Popular (Mexico), Mexican Muralist Movement, Eladio Rivadulla Martínez

Meeting 2 – Solidarity Networks

• How posters and graphic images were mobilized as tools for cultural and political articulation in Latin America, structuring networks of solidarity between artists, institutions, and collective projects throughout the 20th century.
• The transnational circulation of images as an aesthetic and political strategy.
• Exhibitions, meetings, and platforms that consolidated visual repertoires of resistance and memory.
• References for discussion: Casa de las Américas (Cuba), Instituto de Arte Latinoamericano – IAL (Chile), OSPAAAL (Organization of Solidarity of the Peoples of Asia, Africa and Latin America).

Meeting 3 – Exhibitions, institutions and the history of images in circulation

• Key exhibitions of the 20th century
• How posters, print materials, and graphic practices entered the institutional space.
• New regimes of visibility for Latin American art.
• References in dialogue: Venice Biennale dedicated to Chile (1974), 1st Havana Biennial (1984), Lilian Llanes, Aracy Amaral.

Meeting 4 – Visibility Regimes

• How have reproduction processes, from printing to photography and technical means, transformed the circulation of images and modes of perception in modern and contemporary art?
• Aesthetic experience, reception time, and visibility regimes.
• Materiality and sensory dimension of the work
• References in dialogue: Walter Benjamin, Susan Buck-Morss, Jonathan Crary, Hélio Oiticica, Lygia Clark.

Meeting 5 – Art, systems and technical mediation in the post-digital context

• Shifting the work from the object to the experience.
• Contemporary practices that combine technology, participation, and expanded circulation.
• The post-digital era: analog and digital media
• References in dialogue: Christiane Paul, Walter Zanini, Julio Plaza, Lygia Clark, Giselle Beiguelman

Meeting 6 – Demonstrations, occupations and collective actions

• Artistic and collective practices that, in the last decade, have operated at the intersection of image, urban presence, and digital circulation in São Paulo.
• How art has functioned as a sensitive form of mediation between street experience, social media, communication devices, and the struggle for visibility in contemporary public space.
• The image not only as a document, but as gesture, language, and aesthetic form.
• References in dialogue: Sato do Brasil, Jornalistas Livres, Frente 3 de Fevereiro, Mídia Ninja, Bijari, Tupinambá Lambido, Zapantera Negra.

Juliana Caffé

Juliana Caffé is a curator and researcher in contemporary art. She holds a PhD in Arts from the University of São Paulo and has specialized in curatorial studies at the University of Cape Town (UCT) and PUC-SP. Currently, she is a researcher and postdoctoral fellow at the Museum of Contemporary Art of USP (MAC USP). Her practice articulates research, curatorship, and collaborative processes, focusing on Latin American art and the history of exhibitions, in dialogue with contexts of the Global South.

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Students, teachers and retirees have a 10% discount
Doubts:
cursos@mam.org.br
WhatsApp: 11 99774 3987

By participating in this activity/event, you authorize, free of charge and permanently, the São Paulo Museum of Modern Art to use your image, voice, biographical data, and distinctive features, captured in video, audio, photography, and prints, for the purposes of recording, disseminating, and promoting the institution's activities, in any means, vehicles, supports, media, methods, and technologies, whether tangible or intangible. If you do not wish your image to be disclosed, please inform the Museum of Modern Art of São Paulo by email. cursos@mam.org.br.

credits

Image: Claudio Tozzi, Fight [detail], 1968. MAM São Paulo Collection. Photo: Ding Musa.