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| Author(s): |
Ana Mattos Porto Pato
Total Authors: 1
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| Document type: | Doctoral Thesis |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Arquitetura e Urbanismo (FAU/SBI) |
| Defense date: | 2017-04-19 |
| Examining board members: |
Giselle Beiguelman;
Maria Angelica Melendi de Biasizzo;
Ana Gonçalves Magalhães;
Márcio Orlando Seligmann Silva;
Guilherme Teixeira Wisnik
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| Advisor: | Giselle Beiguelman |
| Abstract | |
This dissertation addresses the change in the role of archives as a model of institutionalization of memory in the field of art since the mid- 20th century. It is based on the premise that political and cultural studies about the experience of violence and the memory-based practices created to deal with trauma, in the past thirty years, have resulted in the expansion of the discourse on memory. Given this, our proposition is to discuss how the traumatic historical experience is recognized in the field of Brazilian art, in the early 21st century. We understand that art is capable of prefiguring the violence contained in archives by challenging its origin and how it structures our reality. To study the architectural dimension of archives as producers of a historical imagination and to historicize the creation of said institution, we adopt postcolonial theories as a methodology (Edward Said, Gayatri Spivak, Homi Bhabha, Frantz Fanon, Walter Mignolo, Anibal Quijano, Achille Mbembe). Therefore, we chose as case studies the Arquivo Público do Estado da Bahia and the Museu Antropológico e Etnográfico Estácio de Lima. In the histories of these two institutions, we address colonial Brazil and the establishment of a model of nation based on late-19th-century racial theories. In our analysis of art practices, we study the work of Eustáquio Neves, Giselle Beiguelman, Ícaro Lira, José Rufino, Maria Magdalena Campos-Pons, Paulo Bruscky, and Paulo Nazareth, during the 3rd Bahia Biennial (2014), in projects that merge with, inform, and are informed by the experiences that acknowledge violence contained in the abandoned collection of an anthropology museum and in the precarious conservation state of our historical heritage. After analyzing the different forms through which art confronts these issues, we conclude that contemporary art in the 21st century operates based on historiographic procedures rather than archive-based ones. (AU) | |
| FAPESP's process: | 13/08130-0 - Contemporary art and archive: how does one make a Public Archive public? |
| Grantee: | Ana Mattos Porto Pato |
| Support Opportunities: | Scholarships in Brazil - Doctorate |