Abstract
Taking a verse from the poet João Cabral de Melo Neto as a metaphor for the situation of dispossession faced by portions of the Brazilian population, the text points out two ways in which these social groups are represented by the contemporary production in visual arts in Brazil. The first one is the partial representation, which ignores and thus excludes them from the socially shared realm of the sensible. The second one is the representation of the remains, which creates sensible equivalences of Brazilian reality that make visible the links between peoples, places and events that promote the radical dispossession of lives.
Keywords:
Art; Representation; Dispossession
