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When any collective of artists, or even, as in this case of NAU creation, an individual artist who drags with him his network of partnerships and work, decides to settle down and anchor his poetic project far from the big urban centers, he will inevitably face a horizon of relevant socio-economic issues that go beyond their own survival and artistic making.  


Issues that touch on topics such as structures and institutions for validating art, territory and belonging, colonizing and counter-colonizing practices, gentrification and developmentalism, predatory tourism made up as "good" products of neoliberal consumerism bearing "eco" stamps, "new age ”, “alternative” etc.


The very idea of "making art a countryside issue" which, sometimes more or less, will be supported by cultural policies, will often reveal itself much more as a "capitalization of art", as it will not confront bastions of neoliberalism and "capital" and they will not radically challenge the hegemonic flow that imposes that the development of the artist and his art – as well as culture in general, economic practices, civilization, in short – always points to the centralization of capitals.  

This is the story we can tell with the experiences and achievements of NAU Nascente de Artes e Utopia since 2013. What have we lost and what have we gained by countering this hegemonic “civilizing” flow. The pressure within cultural institutions themselves to fit into categories, which are themselves easily colonizing, such as “popular art” and its derivatives. The challenges of building our work and social-affective networks around such a “rural project”. The learning in the search to make art “with” the community instead of “for” the community, that is, a poetics of the Encounter that, at the same time, teaches us about our own colonizing vices. Questions about the specialization of art and its consequent commodification, in contrast to Artevida's socio-poetic context.

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