Censorship(s): More Than a Single Meaning

The Future of Art — Rereading of The Creation of Adam, Michelangelo (2018-12) by SteovilleFaculty of Arts and Humanities of University of Porto

Do you know what “censorship” means? From ancient times to Renaissance, Realism to Contemporary Art, acts of censorship existed throughout Art History. Scroll down to discover different agents, objects, themes, and consequences...

The Future of Art — Rereading of the Naissance de Vénus, William-Adolphe Bouguereau (2018-12) by SteovilleFaculty of Arts and Humanities of University of Porto

Acts of censorship have taken on different nuances, both in the past and in contemporary societies. During this exhibition, the term ‘censorship(s)’ is being used to embrace the range of its meanings.

For instance, if this remarkable academic painting - Naissance de Vénus by William-Adolphe Bouguereau (1879) - was posted on social media nowadays, tags would possibly be implemented in the nude elements by the algorithm. 

The Future of Art — Rereading of Susanna and the Elders, Artemisia Gentileschi (2018-12) by SteovilleFaculty of Arts and Humanities of University of Porto

Regardless of the motivation for censorship, it will always address moral, ideological, and political issues; being an act of power to dominate the ‘different’.
 
It can be said that 'censorship(s)' are acts that seek to silence others.

In the Roman Republic, ´censorship(s)’ were associated with the acts of a public agent, Cato the Censor. He defended the value of simplicity against the overt luxury of the Hellenistic culture. At the time, censorship(s)' consisted of taxing nobles and even casting out senators.

A classic masterpiece, Susanna and the Elders - from the baroque artist Artemisia Gentileschi - could also appear with a tag on her breasts on the media, illustrating contemporary and digital acts of ‘censorship(s)’.

The Future of Art — Rereading of Birth of Venus, Alexander Cabanel (2018-12) by SteovilleFaculty of Arts and Humanities of University of Porto

Even now, 'censorship(s)’ are associated with a prior prohibition issued by an institution of power. This meaning is inherited from the model implemented by the Catholic Church during the Inquisition.

On social media, this other academic painting which contains the usual nude representation of the goddess Venus in the mythical episode of her birth, can be easily blocked, deleted, or tagged.

The Future of Art — Rereading of The Oreads William-Adolphe Bouguereau (2018-12) by SteovilleFaculty of Arts and Humanities of University of Porto

Once more, a neoclassical painting from the French artist William-Adolphe Bouguereau, The Oreads (1902), has black targets, a practice seen nowadays.

In Brazil, as in other territories colonized by the Portuguese, prior and institutionalized 'censorship(s)' were widely applied. Being mainly imposed on artworks during Estado Novo (Portugal) and the military dictatorship (Brazil).

As it was shown, currently 'censorship(s)' can be applied by social networks and their algorithms.

The Future of Art — Rereading Liberty Leading the People, Eugène Delacroix (2018-12) by SteovilleFaculty of Arts and Humanities of University of Porto

In this part of the exhibition, we show the series Future of Art, by Steoville. We opted to explore 'censorship(s)' applied by social media. Simultaneously, in the description, we introduced our main topic: various forms of ‘censorship(s)’ in art.

Steoville used masterpieces to play with the idea of current 'censorship(s)'. In this last piece, the lady guiding the people (Liberty) is a representation of freedom and has been literally censored.

Credits: Story

CURATORSHIP: Mariana Eça Negreiros under the supervision of Hugo Barreira and Diana Felícia.

TEXTS: Mariana Eça Negreiros with scientific review by Hugo Barreira, Inês de Carvalho Costa and Maria Leonor Botelho.

PRODUCTION: This work results from a project by Mariana Eça Negreiros for the master's Degree in Art History, Heritage and Visual Culture at the Faculty of Arts and Humanities of the University of Porto, developed at CITCEM/FLUP during 2020/2021 and approved by the scientific committee in office. 

PROJECT REPORT:  https://repositorio-aberto.up.pt/handle/10216/139719

SPONSORS: CITCEM/FLUP. 


TRANSLATION REVIEW: Isabel Silva (« Financed by FCT - National Foundation for Science and Technology, under the project UIDB/04059/2020»).

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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