ANA MARIA PIMENTA HOFFMANN
CV: http://lattes.cnpq.br/4921539074739728
MODERN ART AND VANGUARDS, CRITICISM, AND ARTISTIC HISTORIOGRAPHY: 1922 TO 1960
Description: The research project investigates the primary sources of art criticism and art historiography, covering authors such as Graça Arranha, Mario de Andrade, Luis Martins, Sergio Milliet, Lourival Gomes Machado, Mario Pedros, among others.
LATIN AMERICAN DELEGATIONS IN THE BIENNIALS OF THE SÃO PAULO MUSEUM OF MODERN ART (1951-1961)
Description: The research focuses on the relationship between the development of art criticism and the first six São Paulo Biennials (1951-1961) and the context of the organization of Latin American delegations in these editions of the exhibition. These first Biennials were marked by their innovative character, by their integration with the São Paulo Museum of Modern Art's activities, and by a notable production of art criticism. Critics often organized foreign delegations. With the advent of Special Rooms at the II Biennial (1953), historians organized retrospective exhibitions of some artist or theme.; The Biennials' history is an important chapter of the development of art criticism and modernism's evaluation process. We intend to investigate how the narratives presented in the Latin American delegations established a network of dialogues between artists, critics, and artistic institutions. Since its first edition, Latin Americans have seen the exhibition as an opportunity to develop hypotheses about the modernist tradition and identity of contemporary art in their country. In this sense, the organization of these delegations offers an instrument to think about Latin American art history and relationships with Brazilian art history. In the whole Western world, the 1950s were characterized by reevaluating the modernist tradition. A close look at the delegations' reception and organization processes of São Paulo Biennials clarifies the similarity between Latin American contexts in their urgency to assess the significance of the modernist rupture in each national production. Thus, art criticism and its manifestation in this institution called "modern," MAM SP, presents the historiographic and esthetic debate that emerged at that moment of the emergence of the neo-avant-garde of the second half of the 20th century.
ANDRÉ LUÍS TAVARES PEREIRA
CV: http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4751342T2
THE IMAGES OF HISTORY: THE ARTS BETWEEN SIMULATION AND THE EXPERIENCE OF THE PAST AND HISTORICAL TIME
Description: This project is dedicated to studying the use of different art forms and other visual, literary, and musical elements to establish a specific historical narrative or represent historical time or the past. In this project's case, the theme is debated, above all, in the colonization process of Portuguese America. Other related contexts can be addressed, as long as they are related to the indicated political and cultural phenomenon. Although it includes specific case studies chronologically located between the 18th and 19th centuries, we reserve the prerogative to include cases demarcated by other time limits. The project includes two primary types of research, a) mineral memories: landscape memory and historical narrative between the 18th and 19th centuries and b) Tacwara: a study of cultural and artistic relations between the United Kingdom, the Iberian Peninsula, and the Southern Cone between 1780 and 1840. Both are linked to HARPA – History of Art, Heritage, and Architecture in Brazil and the Americas (PPGHA).
The project also includes the survey and analysis of the artistic heritage present in Brazilian and foreign public and private collections that provide evidence of the relationships pointed out in the investigations conducted here. From Francis Haskell's text, History and its images, as well as Ludmilla Jordanova in The look of the past, we seek to understand how the links between historical time and visualities are established. Also, what impact they have on the audience's understanding of past time, and how artistic production can create perceptions about the past or historical discourse.
ANGELA BRANDÃO
CV: http://lattes.cnpq.br/6843594697945779
The Five Senses in Art
Description: The Five Senses in 18th-century Portuguese-Brazilian Art. This research project analyzes the representation of the Five Senses in art, especially from the 18th century Portuguese-Brazil. It is currently in the bibliographic and visual survey of works related to the theme, such as those present in the cities of Salvador-BA and Tiradentes and Conceição do Mato Dentro-MG, Brazil and in Braga, Portugal. The intention is to investigate the iconography related to the Five Senses and philosophical and cultural aspects that allowed the senses to be understood no longer as inducers to sins but as a form of spiritual elevation and knowledge of the world, i.e., as positive elements. Part of this project is the theoretical and methodological questions about colonial and decolonial art, sacred art and profane art, religious rococo, and iconographic-iconological analysis.
CÁSSIO DA SILVA FERNANDES
CV: http://lattes.cnpq.br/6029273355119643
ABY WARBURG AND ASTROLOGY
Description: This research aims to cover the set of writings of the German scholar Aby Warburg (1867-1929) on the topic of astrology. Warburg is currently one of the most studied authors in the field of art historiography, as well as image theory. The study proposed here will enable us to follow his writings on astrology, which span from 1908 to his last efforts, completed shortly before his disappearance in 1929. If the research carried out by Aby Warburg centered on the significance of the ancients' influence on the Renaissance civilization, astrology's theme pursued the problem of man's orientation in the cosmos and the relationship with the images produced by Renaissance art. This research will seek to identify and analyze these moments in addition to locating and contextualizing this production, contributing to a more supported debate about the approach proposed by the historian for a "science of culture” (Kulturwissenschaft). Also, to comprehend the related research media, he used to understand the history of mental images more deeply. Thus, we will address Warburg's studies on Giordano Bruno and Neoplatonism, among others, placing mathematization and domestication of symbols with Copernicus and Galileo. This work's product also allows us to observe the intricacies of his intellectual relationship with Heidelberg's philologist, Franz Boll (1867-1924), and with the friend and main collaborator of the final phase of his life, the neo-Kantian philosopher Ernst Cassirer (1874-1945). This investigation's final product will consist of comprehensive studies (to be published in specialized magazines). Above all, the book with unpublished texts by Warburg translated into Portuguese: Aby Warburg inédito. Vol. 2. It is important to emphasize that this research is the later phase of a project, carried out between 2013 and 2016 in which we observed how the approach to Italian Renaissance art proposed by Jacob Burckhardt gives rise to a historical-artistic study that goes through the twentieth century. The study integrated art in no way abstract in its creation, focusing on the relationship between patronage, collecting, and artistic production. In the first phase of the project, we intended to start with Jacob Burckhardt's work on collectors in the Renaissance. Afterward, we sought their developments in the first half of the Nineteenth Century, observing their influence on Aby Warburg's and Martin Wackernagel's works. In the phase that is now beginning, Warburg's production is at the center of interest, focusing on his writings on astrology, which consists of a vast new material in Portuguese.
Objectives: The result of this research, therefore, demands a reinterpretation of Warburg's work in Brazil and seeks to constitute a new angle of understanding for the author, focusing on the gaping field of studies in the history of art historiography in our academic environment. More objectively, this project proposes the following results: publication of an article in national and international specialized magazines; edition of the 2nd volume of Aby Warburg's texts (Aby Warburg inédito, Vol. 2), organized, translated from German, with explanatory notes, consisting of a presentation study such as Introduction, entirely dedicated to the author's writings on astrology; organization of the 2nd International Colloquium “Aby Warburg and his tradition”; iconographic study of Renaissance astrological images, based on Warburg's research; obtaining grants to guide research on Undergraduate Research, Master's, Doctorate, and Post-Doctorate; organization of a study group with the participation of students at different levels and interested students; elements for the creation of elective courses in Undergraduate and Graduate Studies.
CAROLIN OVERHOFF FERREIRA
CV: http://lattes.cnpq.br/1735199899378409
ANOTHER HISTORY OF BRAZILIAN ART
Description: Art History is a European discipline that kept an excluding eye on other cultures until very recently when it began to question its epistemology (“the end of Art History”) and started a reframing (“global art”). However, most art histories in colonized countries, as is also Brazil's case, were shaped by looking at Europe, importing its concepts, periodization methods, myths of origin, etc. This legacy perpetuated and still perpetuates the exclusion and reduction of other art forms that do not fit within the Europeanizing practice and thinking, namely the esthetic expressions of the Brazilian native peoples and those of African descent. Currently, the awareness of this Euro-centrism has increased the desire and the demand to decolonize the Humanities, including Art History. This project aims to develop a theoretical basis to write another history of Brazilian arts intending to establish why "Amerindian art" and "Afro-Brazilian art" should be an integral part, instead of relegating them to separate chapters, as it has been happening so far. Thus, some case studies of contemporary Brazilian artists will be carried out to help theorize and replace concepts on which this Eurocentric view is based, namely concerning Arthur Bispo do Rosário, Rosana Paulino, Zahy Guajajara, and Denilson Baniwa, among many others. Several areas of knowledge will be mobilized in which Amerindian and Afro-descendant art have been discussed, namely Anthropology, Philosophy, Psychology, among others. The most important authors to be considered are Sueli Carneiro, Lelia Gonzalez, Eduardo Viveiros de Castro, Davi Kopenawa, Ailton Krenak, Abdias Nascimento, Beatriz Nascimento, Rita Segato, and Muniz Sodré, among others.
Objectives: 1. Decolonize Art History by theorizing the inclusion of Amerindian and Afro-Brazilian art; 2. Develop decolonial research on specific issues (artists, periods, social movements, etc.); 3. Write a history of inclusive Brazilian art based on these studies and theorizing.
ELAINE DIAS
CV: http://lattes.cnpq.br/8651231758923233
CIRCULATION OF ARTISTS, MODELS, AND THEORIES IN THE 19TH CENTURY AND EARLY 20TH CENTURY
DESCRIPTION: Artists, models, and artistic theories circulated in different locations in the 19th century. During this period, Brazilian artists moved through Europe to improve their training processes, having contact with theories and models that were later re-signified in their productions. At the same time, they brought the experience and models of their countries of origin to their peers, providing exchanges, creating work and friendship partnerships. The same happened with foreign artists who came to Brazil, who shared their backgrounds and artistic models, equally crucial for forming national iconographies. Particularly in the 19th century, trajectories, artistic productions, and theories were, thus, fundamental for the understanding of the creation process of works, the formation of institutions and art academies, the development of public and private exhibitions and collections, constituting themselves in essential point for the understanding of the artistic system in its entirety, in different places. The project investigates these issues in Brazil and other countries, especially in the 19th and early 20th centuries. It is linked to the CNPq Research group HARPA - History of Art, Heritage, and Architecture in Brazil and the Americas.
FLAVIA GALLI TATSCH
CV: http://lattes.cnpq.br/0478383494161646
CIRCULATION OF IMAGES AND INVENTIVENESS
Description: This project aims to analyze the circulation of images and inventiveness, emphasizing the periods that were conventionally called the Middle Ages and Early Modernity. The study will be developed by axes of reflection, which propose other forms of approach and present new instruments for their perception. They are 1. Review of historiography; 2. Identification of the forms of circulation and transfer of the models, seeking to glimpse the permanences and inventiveness; 3. The forms of diffusion, impact, and meaning of this circulation; 4. Circulation of images and materiality; 5. Medievalisms and inventiveness.
ILANA SELTZER GOLDSTEIN
CV: https://bv.fapesp.br/pt/pesquisador/688435/ilana-seltzer-goldstein/
THE ANTHROPOLOGICAL TURN IN CONTEMPORARY ART
Description: The project aims to reflect on the so-called anthropological turn in contemporary art, in which, on the one hand, curators and contemporary artists incorporate themes and procedures dear to Anthropology, and, on the other hand, new objects and practices – ethnographic films, ritual performances, etc. – are now accepted in art temples, such as museums and biennials. The main goal is to reflect on four dimensions of contemporary art linked to Anthropology and still little investigated in Brazil: 1. The production that plastically/formally recreates indigenous visual repertoires and traditional cultural expressions; 2. The production that addresses conceptually or methodologically issues dear to Anthropology; 3. Indigenous creators who are beginning to emerge on the regional or national artistic scene; 4. In temporary or permanent exhibitions of Brazilian art museums, the presence of non-hegemonic creations, such as indigenous and "self-taught/outsiders”. It seeks to establish interfaces between anthropology, art history, and the sociology of art and combine documentary-bibliographic research methodologies with ethnographic observation.
ART, INSTITUTIONALITY, AND DIVERSITY (PROJECT IN WHICH MARINA SOLER JORGE, ILANA SELTZER GOLDSTEIN, PEDRO FIORI ARANTES, VINÍCIUS PONTES SPRICIGO, LETÍCIA SEQUEFF, YANET AGUILERA FRANKLIN DE MATTOS, AND VIRGÍNIA GIL PARTICIPATE, ALL AT THE GRADUATE PROGRAM IN UNIFESP ART HISTORY, IN THE INSTITUTIONS, DISCOURSES, AND ALTERITY RESEARCH LINE)
Description: this is a collective project of the research line “Institutions, discourses, and alterity," Considering that the processes of inserting cultural goods and practices in institutions reveal explicit and implicit hierarchies among styles, times, techniques, authors, social positions, and worldviews; and based on the ideia that narratives and discourses are not only part of art valuation and interpretation, but also help to constitute it, we seek to analyse the relationships between artistic-cultural productions and their circulation and reception contexts. We also study how cultural forms and expressions are part of identity construction processes, in which manner differences and inequalities are reflected in artworks, and at the same time how artworks can be a way to deal with differences and subvert inequalities. In this sense, the ideas of identity and alterity are interesting analytical keys in the study of symbolic and material production. Contrary to the evaluation based on a supposed autonomy of the artwork and on an exclusively formal analyses, we propose approaches aimed at the historical, social, cultural, ethnic, philosophical, institutional, and discursive context of the works and their creators. We valu an expanded and interdisciplinary conception of art history.
Goals: 1. To study images, objects, artistic processes, and cities, based on their production contexts, the categories and hierarchies that constitute them, their appropriations, and their modes of reception, to emphasize the interfaces between artistic creation and extra-esthetic vectors; 2. To stimulate reflections and inter/transdisciplinary approaches, contemplating different historical and geographical contexts, and diverse theoretical references; 3. To cover, within the PPGHA, both hegemonic and non-hegemonic arts, cultural practices, memories, knowledge, and devices.
JENS BAUMGARTEN
CV: http://lattes.cnpq.br/1801238997224040
GLOBAL BAROQUE: TRANSCULTURAL AND TRANSHISTORIC EFFICIENCIES OF THE BAROQUE PARADIGM
Description: The research project is based on two observations: 1. Baroque culture can be transferred from one geocultural region to another; this transfer process finds more (from Italy to France) or less (from the Iberian peninsula to the Americas) resistance. 2. The Baroque paradigm has maintained an efficiency throughout the ages: not only was the concept "Baroque" developed post facto, i.e., at the end of the 19th century, but we witness today a return or a resurrection of the Baroque through and against negative filters of the perception and evaluation that it needs to overcome. In contemporary culture, the Baroque has become a fascinosum, at the level of discourses about culture and cultural practice – in its manifestations in all arts.
Goals: This research program explores and analyzes the Baroque paradigm's historical efficiency, which means that this paradigm will be investigated in its transhistorical and transcultural dimensions.
ART AND POWER
Description: The project Art and Power will create a transcultural debate in art history themes that present local differences, highlighting geographic space and cosmovision as crucial issues in discussing cultural identities in dispute. Three units explore issues related to Art and Power in a transcultural debate: 1. Decolonizing Art History, 2.Ecological Critique, and 3 Art Systems.
Goals: The main goals of the project are to discuss the role of the discipline of art history in identifying and analyzing visual programs that reflect the construction of a power discourse as a strategy of social dominance and segregated cultures' silencing; investigate the relations among art, space, and power through the transcultural and transdisciplinary approaches; explore the artistic canons from the constitution of art collections and institutions and their relationship with social, political, and economic issues; understand the presence and absence of artists and artworks within the context of curating exhibition and art market interests.
JOSÉ GERALDO COSTA GRILLO
CV: http://lattes.cnpq.br/7881569396286598
ART AND ARCHEOLOGY OF CLASSICAL ANTIQUITY
Description: Studies of Greek and Roman arts from the theoretical and methodological approaches of Classical Archeology, which, by placing its focus on form, function, and context, deals with questions about the workshops, artists and principals, the purpose and use of these arts, physical environments in which they were exhibited and seen, how they operated within their time and place, the historical, cultural, social, political, and economic contexts, within which they acquired meanings.
BODY, GENDER, AND SEXUALITY IN THE ARTS OF CLASSICAL ANTIQUITY
Description: This research line investigates the body's conceptions in the arts of Classical Antiquity and its articulations with gender relations and sexuality. It also verifies how body representations acquired meanings in specific historical, social, and cultural contexts in order to understand them within the Greek and Roman civilizations' different symbolic systems. As these worlds involve a broad temporal and spatial dimension, attention will be paid to body conceptions circulating, either within one of the civilizations involved or between them. Since ideas about the ancient body are still modern constructs and influence current corporealities, it deals with both reception and epistemologies, which have guided the researches.
LETÍCIA SQUEFF
CV: http://lattes.cnpq.br/8025201749244426
AT THE END OF THE EMPIRE THERE WAS A STONE: SCIENCE, POLITICS, AND TERRITORY IN IMAGES OF BENDEGÓ METEORITE (1870-1889)
Description: This project aims to show that the Bendegó meteorite was part of the last scientific and cultural effort of the Empire. Moreover, perhaps, it was one of the most successful experiences of propagating the image in the period. The dissemination of the image of Bendegó in the international scene, which occurred in different ways, had a remarkable moment in the Paris universal exhibition of 1889. The album of the expedition organized to take the meteorite to Rio de Janeiro was, on the one hand, part of the same whole that was linked to the tradition of scientific expeditions of the 19th century and, on the other hand, linked to a project to build a civilized and "scientific" image for the Brazilian Empire. Painting and photography, representation of territory and landscape, art and science were some of the themes that Bendegó's images tense.
MANOELA ROSSINETTI RUFINONI
CV: http://lattes.cnpq.br/2910985913890585
HISTORY OF ART, ARCHITECTURE, AND RESTORATION: THEORETICAL INTERFACES AND INTERNATIONAL CIRCULATIONS
Description: In the second Italian post-war period, the urban destruction caused by the war conflict led to the deepening of the debate on the theory, philosophy, and practice of preserving the built heritage. Two research fronts stand out in this context: on the one hand, the study of the necessarily urban dimension of preservation and restoration, adding to a debate that has already emerged since Gustavo Giovannoni's statements in the first half of the 20th century; and on the other, the relationship between restoration studies and the Philosophy of Art, paving the way for the valuation of the formal and figurative aspect of the assets to be preserved, a theme encompassed by critical restoration theorists, such as Roberto Pane and Renato Bonelli, and by theory scored by Cesare Brandi. The discussions raised since the 1950s, in the Italian environment, had repercussions on preservation practices in different locations, underlining themes that are still current today: the criteria for making up for gaps in artistic works or the urban fabric of interest for preservation; the issue of the old-new relationship in the historic city and the controversy about the quality of the new architecture; the interference of real estate speculation in areas of historical interest; and the identification and recognition of socio-cultural specificities impregnated with urban materiality. In this context, the project aims to investigate the roots, developments, and international repercussions of these debates, in order to question the permanence, at present, of old impasses in the field of preservation. Hosting the Art History Department research, we intend to explore the disciplinary interfaces of these same debates to foster student research that articulates theoretical contributions from the History of Art and the History of Architecture.
Objectives: The project aims to investigates the roots and international repercussions of debates held in the Italian environment around the preservation and restoration of cultural assets, starting in the second post-war period. The intention is to question the permanence, at present, of old impasses in the field of patrimonial protection. Hosting the Art History Department research, we intend to explore the disciplinary interfaces of these same debates to foster student research that articulates theoretical contributions from the History of Art and the History of Architecture.
HERITAGE AND RESISTANCE: BETWEEN DISCOURSES AND PRESERVATION POLICIES
Description: The research intends to analyze the issues involved in patrimonialization processes and the protection policies of architectures and urban spaces recently recognized as cultural assets, seeking to highlight the circulation of ideas and the transfer of knowledge in the practice of safeguarding built heritage. The expansion of the concept of cultural heritage endorsed by the Federal Constitution of 1988 and the participation of different groups forming Brazilian society in preservationist actions contributed to patrimonialization taking on an essential role as an instrument of resistance and historiographical openness. Therefore, discourses in the field of cultural heritage have configured one of the fronts of claiming the right to memory and history to parts of society hitherto silenced by hegemonic discourses. As a consequence, they paved the way for disclosing material and immaterial assets associated with historical processes and cultural manifestations neglected by traditional historiography and, consequently, little represented by preservation policies. In this context, the project investigates the relationships between memory, resistance, and urban-architectural heritage based on three thematic axes: i) the heritage of work and the issues involved in the heritage of architectures and urban spaces from the work environment; ii) the valorization of the architectural heritage of popular origin in peripheral neighborhoods hitherto little appreciated by studies of urban history, and iii) the attribution of patrimonial values to places invested with unpleasant memories recently claimed and problematized.
Objectives: The project investigates the issues involved in patrimonialization processes and policies to protect architectures and urban spaces recently recognized as cultural assets.
MARINA SOLER JORGE
CV: http://lattes.cnpq.br/5763073820553220
FEMALE REPRESENTATION IN CINEMA AND AUDIOVISUAL
Description: This project aims to analyze female representations in audiovisual products, especially films and series, from a perspective of cultural studies, which approaches both sociology and anthropology and art history. We intend to understand how visual culture represents the female condition and the struggle of women against oppression and the end of inequality. Also, how the conservative and reactionary representations are brought into play mainly by the mainstream audiovisual. We are also interested in the influence that different types of feminisms - radical, Marxist, intersectional, liberal, and decolonial - have on cultural products and the influence of female professionals and artists in these artistic manifestations.
MICHIKO OKANO ISHIKI
CV: http://lattes.cnpq.br/3118222606852565
JAPAN: CONNECTIONS, INTERACTIONS, AND TRANSNATIONALISMS
Period: 02/01/2014 – current
Description: This project studies connections and art interactions in the diachronic and in the synchronic axis, both temporal and spatial, and the transnationalisms between Japan and the West. The contact between the two occurs with the Portuguese' arrival in the Muromachi Era (1333-1573), intensified in the Meiji Era (1868-1912) with the opening of ports to foreign nations, after more than 200 years of seclusion. The displacements and intersections in the artistic field bring a hybridism with a mixture of traditional and contemporary or western and Japanese references. The study of Japanese-Brazilian artists brings up the question of identity and representation. In some artists, there is a rich hybridism, within the so-called transnationalism of the minority (a concept of Lionnet and Shih), in establishing a horizontal relationship.
OSVALDO FONTES FILHO
CV: http://lattes.cnpq.br/4167849706894566
ART PHILOSOPHY AND COUNTERHISTORIES
Period: 05/2019 – current
Description: This project, inserted in the research line "Art, Politics, and Philosophy" of the Master Program of the Art History Department of UNIFESP, seeks to assess the critical scope of recent theoretical and methodological questions posed to the discipline of art history by some contemporary thoughts of the image, dependent, directly or indirectly, of Philosophy and esthetic thought (Georges Didi-Huberman, Jacques Rancière, Giorgio Agamben, Hal Foster, Jean-Luc Nancy, and Philippe Lacoue-Labarthe, among others).
Objectives: It seeks to estimate the revisionist reach of the current esthetic regime of art, notably the idea of a counterhistory, knowledge woven into the hidden fold of official events of a linear chronology, and esthetic idealism, which has pointed to the particular efficacy of images for writing history. Therefore, historiographic revisionisms related to rethought relations between word and image, theory and practice, concept and art (both in the visual arts, dance, and theater) are analyzed. As a first research result, a comprehensive evaluation of the conceptual and iconographic archeology work proposed by the art historian and philosopher Georges Didi-Huberman was completed. This author rethinks the possibilities and limits of art historiography, its procedures of knowledge, discursive models, and categories of thought around the reasons for the survival of images and anachronism. At the moment, the project points to the surroundings of Jacques Rancière's work, which analyzes history in its specific writing practices. Based on the deconstruction of the visible and the history proposed by Rancière, we intend to discuss the argumentative modes of a "counterhistory of modernity," particularly fruitful in understanding the current relationship between the esthetic and the political.
PEDRO FIORI ARANTES
CV:http://lattes.cnpq.br/7983341512092040
CITY, EDUCATION, AND POPULAR PARTICIPATION
Period: 02/01/2018 – current
Description: Cities are relevant training spaces for active, critical, and creative education, based on the evidence of the real and the lived experience of students and teachers, as well as conflicting spaces, dispute, and participation in public life, the foundation for a real democracy that starts from the daily problems of the population so that spaces creating new social relationship and production of the common can be imagined and established.
Objectives: The project addresses the different educational and democratic innovation actions associated with urbanization processes, the relationships between the city, schools, and training spaces, participation and knowledge production, the pedagogical practices from the city and in the city, the playful dimensions from urban imagination and perception of space, territories as problem situations, and themes that generate the processes of learning to read and transform the world and its territories.
VISUAL NARRATIVES AND CONTEMPORARY CITY, ARTISTIC PRACTICES, AND URBAN ACTIVISM
Period: 02/01/2014 – current
Description: Investigation of visual narratives in contemporary cities, in processes of resistance, imagination, and prefiguring new territorial artistic uses and practices, their political, symbolic, and memory dimensions, in the action of collectives, social movements, artists, and activists in general.
VINICIUS PONTES SPRICIGO
CV: http://lattes.cnpq.br/7807906096752073
ARCHEOLOGY OF EXHIBITIONS
Period: 03/01/2015- current
Description: The research project was conceived to contribute to a 'history of exhibitions' instituted from the 1990s. However, it is something different from this both in its object and in its theoretical background. Instead of studying paradigmatic exhibitions for modern and contemporary art history, it seeks to compare, in their ideological bases, two 19th century phenomena, namely: art museums and universal exhibitions. This analysis is based on authors such as Michel Foucault, Giorgio Agamben, and Walter Benjamin. In Benjamin's work, we identify an ambiguity between the museum turned to the past and showcases bringing works of art closer to the assets. The Benjamin concept of exposure value is therefore central to the project. The coexistence of modernity and archeology in the Berlin philosopher's thinking, especially in the "Passages" is of equal importance to us. On the other hand, Foucault's and Agamben's works, mainly the book ‘Archeology of Knowledge,' are fundamental references to elaborating an archeological method to study art exhibitions as an alternative to the narratives assumptions given by the so-called ‘history of exhibitions.'
Objectives: Contributing to the consolidation at the local and international level of a research field dedicated to contemporary art exhibitions.
VIRGÍNIA GIL ARAUJO
CV: http://lattes.cnpq.br/8687854675231868
THE PHOTOGRAPHIC IMAGE OF THE BODY IN ART HISTORY
Period: 03/01/2015 – current
Description: This project studies the integration between art and technology in analyses based on the new historiography of art, whose axis is found in photography. The research develops a dialogue with other studies assessing the relationship between art and documentation, such as anthropology and history, their epistemological discussions on the transversality between the areas of treatment of documents and works in the artistic, methodological and theoretical scope. Since 2015, the project addresses the current themes for art history, as well as for exhibition curators, in which the body, human rights, and gender are tensioned from the photographic image
MEMORY POLICIES THROUGH PHOTOGRAPHIC POETRY IN LATIN AMERICA
Period: 05/05/2016 – current
Description: This project studies the politics of memory based on the interdisciplinary relationship between mixing visual poetics with photography. It analyzes the combinations between images and texts present in artists' editions, in art institutions, in critical discourses, and manifestations of alterity.
YANET AGUILERA VIRUÉZ FRANKLIN DE MATTOS
CV: http://lattes.cnpq.br/0964792926987907
IMAGE: POLITICS, HISTORY, AND ESTHETICS
Start date: 01/2020 - current
Description: The image is thought in a broad sense, focusing on how the audiovisual constructs it and on the narratives that this format structures through it. From the audiovisual perspective, think about the relationship between image and text; how do they appear in the various media? Painting, sculpture, digital, etc.? Moreover, the political, historic, and esthetic relationships they create. On political issues, research on power relationship, highlighting narratives of reappropriations and resistances, mainly from a decolonial point of view. This presupposes a study based on Latin America - which requires reading about militant, indigenous, Afro-Latin American, and gender audiovisual. On historical issues, in addition to contexts, reflect on musealization, archives, and historical silences. Moreover, concerning the esthetics, the potential of images and their effects on audiences or viewers emphasizing the circulation of affections it caused.