This Doctoral Thesis investigates some of the relationships between art, politics and social movements that permeate our present, starting from an insurgent constellation composed of exhibitions, activist actions and art works that took place in Rio de Janeiro, São Paulo and Pernambuco, in the period between 2004 and 2018. In a transversal approach to art and politics, each one of the six chapters enacts a certain aesthetic element: two actions held by Frente Três de Fevereiro collective (1) and one action held by Política do Impossível collective (2); the artistic collectivism around Prestes Maia occupation (3) and its unfolding in the exhibition Zona de Poesia Árida and in the installation work Poética do Dissenso (4); two performances conceived by Elilson (5); two pieces made by Bárbara Wagner, in collaboration with neopentecostal groups (6). Starting from this constellation, we discuss matters such as the poetics of politics, an education through silence, institutional critique and critical institutionality, a politics of mourning and memory, as well as issues related to collectives, minorities, alterities, identities and speaking places. This research draws especially on the thought of Jacques Rancière, supported by authors such as Bruno Latour, Walter Benjamin, Roland Barthes, Michel Foucault, Judith Butler and Suely Rolnik. Seeking to privilege a fragmentary approach, our method derives from Suely Rolnik s cartographic method; benjaminian s constellations; rancierian s scenes; barthesian s traces; and Bruno Latour s compositionism. This strategy absorbs certain modes of intelligibility common to curatorship, editing and assembly procedures, in which the gathering of a series of singular images can bring together multiple possibilities of meaning. Inside this Thesis, that method allows the emergence of a present compound as an unresolved field of dissenting vibration.