Abstract
The article focuses on how the Portuguese arts have dealt with the Portuguese crisis, in the years 2011-2014, when the country was subjected to a financial bailout. The approach is based on a cross-section analysis, considering the domains of literature, fine arts, visual arts and cinema, music and performing arts. It emphasizes three distinct and complementary ways through which the relation between arts and society was developed in these years. The first way is the directly political positioning of artists, through artistic works and performances. The second way is the presence of the crisis as a background of several artistic creations of this time. And the third way is the one by which the crisis projects a new light into consistent topics of the Portuguese artistic imagination, stressing the centrality of collective identity and self-reflexivity. The Portuguese case suggests how promising can be for the sociological explanation of social processes the consideration of their cultural and artistic dimensions.
Highlights
The article focuses on how the Portuguese arts have dealt with the Portuguese crisis, in the years 2011-2014, when the country was subjected to a financial bailout
In the first place, to the oeuvres that some of the most prominent artists — as writers, film directors, composers, stage directors, choreographers, Vítor Gonçalves, A Vida Invisível, Portugal, 2013, 103’. Paulo Nozolino, Usura, exhibition at Espaço BES Arte & Finança, Lisbon, from 20/09/2012 to
On — have being constructing throughout their career, and that grant them relevance, coherence and individuality, and we examine the specific works they created in the “troika” years, one fact is striking for many of them: the new context of these years does not significantly alter the main traits that characterize and singularize their oeuvre
Summary
The article focuses on how the Portuguese arts have dealt with the Portuguese crisis, in the years 2011-2014, when the country was subjected to a financial bailout.
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