The crisis of democracy in Brazil in the late 2010s began to materialize with the soft coup that put Dilma Rousseff out of office in 2016 and would eventually become epitomized by the political persecution of her predecessor—the then former president who is currently serving his third term—Luiz Inácio Lula da Silva…
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The crisis of democracy in Brazil in the late 2010s began to materialize with the soft coup that put Dilma Rousseff out of office in 2016 and would eventually become epitomized by the political persecution of her predecessor—the then former president who is currently serving his third term—Luiz Inácio Lula da Silva.
During the short presidency of Michel Temer (2016-2018), this sociopolitical crisis in the largest nation in South America presented profound connections with those that were then taking place in neighbouring countries. After years of progress in the development of sovereignty both on an individual and a national level—a process which was steadily advanced by the generation of progressive South American administrations of the early 21st century and their respective movements—citizens would again see a series of governments with strong authoritarian traits resurging throughout the continent. These oppressive forces would darken horizons with their overt disregard for the rule of law and human dignity. The various forms in which this authoritarianism manifested itself in the different scenarios in the region were, in many ways, novelties, yet these political forms were also the continuation of long-standing lineages, systems, and processes that have oppressed South Americans for centuries.
Marcos Bertucelli is an Argentinian visual artist, educator, and researcher who resides in Brussels, Belgium. His theoretical work focuses mainly on aesthetics, history, and political theory. He has taught visual arts and art history both inside and outside systemic education, and currently directs the nomadic educational project Las Islas. Bertucelli studied at the Escuela Nacional de Bellas Artes Prilidiano Pueyrredón in Buenos Aires, the Facultat de Belles Arts at the Universitat de Barcelona, and the Ruskin School of Art at the University of Oxford.
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Ripple-marks (1976) est peut-être le plus grave des livres de Muno.
Justine Kasa-Vubu est la quatrième de la fratrie Kasa-Vubu. Justine naît en 1951, neuf ans avant l’Indépendance, dix-huit ans avant le décès de son père Joseph qui, voyant le désastre de l’Indépendance se profiler, aura la présence d’esprit de l’envoyer en Suisse – et peut-être de la sauver – pour ses études. Il aura eu le temps de lui transmettre ses convictions et ses croyances profondes, avec pour mission de les diffuser et de les développer. Justine passera sa vie à porter cette mission à bout de bras, sans relâche, à travers le monde et l’adversité.
C’est ce destin, riche, passionnant et émouvant, qu’elle nous raconte à travers ces confidences. Nous n’en révélerons pas l’épilogue, sinon qu’aujourd’hui, ce Congo déchiré, tant aimé, semble être à vendre.
À quel prix ?