ÿþ<HTML><HEAD><TITLE>XII CONGRESSO INTERNACIONAL ABRALIC</TITLE><link rel=STYLESHEET type=text/css href=css.css></HEAD><BODY aLink=#ff0000 bgColor=#FFFFFF leftMargin=0 link=#000000 text=#000000 topMargin=0 vLink=#000000 marginheight=0 marginwidth=0><table align=center width=700 cellpadding=0 cellspacing=0><tr><td align=left bgcolor=#cccccc valign=top width=550><font face=arial size=2><strong><font face=Verdana, Arial, Helvetica, sans-serif size=3><font size=1>XII CONGRESSO INTERNACIONAL ABRALIC</font></font></strong><font face=Verdana size=1><b><br></b></font><font face=Verdana, Arial,Helvetica, sans-serif size=1><strong> </strong></font></font></td><td align=right bgcolor=#cccccc valign=top width=150><font face=arial size=2><strong><font face=Verdana, Arial, Helvetica, sans-serif size=1><font size=1>Resumo:41-1</font></em></font></strong></font></td></tr><tr><td colspan=2><br><br><table align=center width=700><tr><td><b>Oral (Tema Livre)</b><br><table width="100%"><tr><td width="60">41-1</td><td><b>On the dialectics of scandal in the last São Paulo Biennale</b></td></tr><tr><td valign=top>Autores:</td><td><u>Fabio Akcelrud Durão </u> (UNICAMP - Universidade Estadual de Campinas) </td></tr></table><p align=justify><b><font size=2>Resumo</font></b><p align=justify class=tres><font size=2>This presentation investigates two scandals of the last São Paulo Biennale, those of Nuno Ramos' installation, which featured vultures in loco, and Gil Vicente's drawings of himself on the verge of killing politicians and notorieties. The underlying hypothesis is that here the antagonism of scandal reconfigures these works from the inside, turning what would be problematical artifacts into successful objects from which knowledge can be derived.</font></p></td></tr></table></tr></td></table></body></html>