ARTFEED — Contemporary Art Intelligence

Práticas Instituintes: A Critical Dialogue on Institutional Blindness in the Global South

publication · 2026-05-04

In reaction to Enric Puig Punyet's yet-to-be-published piece 'Prácticas Instituyentes en el Centro de Artes Santa Mònica,' the editor of the Brazilian art publication celeste presents a viewpoint from the Global South. Puig, who leads the Centre d'Arts Santa Mònica, addresses the concept of 'instituent disposition' as a means to confront institutional barriers. The response highlights Brazil's ongoing institutional turmoil, referencing João Zinclair's censored works during the 2022 'Histórias Brasileiras' exhibition at Masp, curator Sandra Benites' resignation, Julieta González's exit from Inhotim, and the Decolonize This Place movement's boycott of the Whitney Museum. Additionally, it discusses 'A História da Classe Trabalhadora' (2025) by Depois do Fim da Arte, which critiques the commercialization of art and calls for the acknowledgment of art press as an institution amidst Brazil's cultural policy issues.

Key facts

  • Enric Puig Punyet is director of the Centre d'Arts Santa Mònica in Barcelona.
  • The term 'instituent disposition' refers to a formative stage of an institution, before concepts and forms are fixed.
  • The book 'Instantánea de una Nueva Instituición' (2023) includes a glossary of 51 terms for self-questioning institutions.
  • Masp censored photographs by João Zinclair documenting the MST's National March for Agrarian Reform in the 2022 exhibition 'Histórias Brasileiras'.
  • Curator Sandra Benites, the first Indigenous woman on Masp's curatorial team, resigned after the censorship.
  • The book 'RETOMADAS – Memória, Debate, Atravessamentos' (2025) was published by Editora Expressão Popular after a crowdfunding campaign.
  • Decolonize This Place led campaigns that resulted in the resignation of a Whitney Museum board director.
  • The installation 'A História da Classe Trabalhadora' by Depois do Fim da Arte was presented at ArPa art fair in São Paulo in 2025.
  • The 330 drawings were sold at R$ 51.83 each, calculated as cost of materials (R$ 5.24) plus unskilled labor (R$ 37.95) plus 20% profit margin.
  • The work uses a stamp on the back instead of individual signatures, diluting authorship.
  • Dora Longo Bahia coordinated the research group Depois do Fim da Arte at the School of Communication and Arts of the University of São Paulo.
  • The text is published on the celeste website as a suite to the edition 'Crítica Infraestrutural'.

Entities

Artists

  • Enric Puig Punyet
  • Maxwell Alexandre
  • João Zinclair
  • Sandra Benites
  • Dora Longo Bahia
  • Nelson Leirner
  • Andrea Fraser
  • Bénédicte Savoy
  • Márcio Seilgmann-Silva
  • Benjamin Seroussi
  • Agnaldo Farias
  • Moacir dos Anjos
  • Clarissa Diniz
  • Julieta González

Institutions

  • Centro de Artes Santa Mònica
  • celeste (ex-seLecT)
  • Museu de Arte de São Paulo Assis Chateaubriand (Masp)
  • Inhotim
  • Whitney Museum
  • Decolonize This Place
  • Art & Language
  • Depois do Fim da Arte
  • ArPa Art
  • Universidade de São Paulo
  • Escola de Comunicação e Artes da Universidade de São Paulo
  • Editora Expressão Popular
  • Funarte
  • Casa do Povo
  • Galáxia Gutemberg
  • Centre d’arts Santa Mònica

Locations

  • Barcelona
  • Spain
  • Brazil
  • São Paulo
  • New York
  • Brooklyn

Sources