O Graphics Atlas é uma plataforma virtual dedicada ao estudo de processos gráficos e fotográficos... more O Graphics Atlas é uma plataforma virtual dedicada ao estudo de processos gráficos e fotográficos históricos. O artigo analisa o Atlas como um caso de estudo, buscando contribuir para a discussão mais ampla sobre usabilidade de recursos virtuais dedicados à preservação de bens culturais. O exame está baseado em uma comparação com outros recursos, entrevistas com profissionais do patrimônio histórico, estudos sobre usabilidade e uma pesquisa conduzida pelo Centro Internacional para o Estudo da Preservação e Restauro do Patrimônio Cultural (ICCROM) e o Canadian Conservation Institute (CCI) em 2017. A maior descoberta foi a ênfase na utilização do Atlas como instrumento didático devido a abordagem prática (task based) e ao conteúdo visual do site. Esperamos que este exame do Atlas auxilie organizações patrimoniais que planejam criar ou melhorar seus recursos virtuais, especialmente aqueles destinados ao aprendizado híbrido virtual e presencial.
A resenha apresenta a exposicao “Our Time for a Future Caring”, que ocupou o pavilhao da India na... more A resenha apresenta a exposicao “Our Time for a Future Caring”, que ocupou o pavilhao da India na 58a Bienal de Veneza (2019) e faz uma breve introducao da trajetoria de cada um dos oito artistas selecionados. A Bienal, cujo tema foi May You Live in Interesting Times , teve curadoria geral de Ralph Rugoff; Roobina Karode foi a curadora do pavilhao. Com uma proposta curatorial tradicional, bem definida e bem executada, a exposicao representou de forma positiva a producao artistica moderna e contemporânea do pais.
Brasília was built from scratch in three and a half years, a rare occasion that attracted the att... more Brasília was built from scratch in three and a half years, a rare occasion that attracted the attention of numerous photographers. Among them were Peter Scheier (1908-1979), a German Jew who fled the Nazis and settled in Brazil in 1937, and Marcel Gautherot (1910-1996), a French photographer commissioned by architect Oscar Niemeyer (1907-2012) to render his buildings. Gautherot’s images circulated nationally and internationally, profoundly shaping the visual representation of the event as they advocated for the city’s daring buildings. His photographs present the new capital as a monumental symbol of a grandiose national future built by strenuous work. The paper compares Scheier’s and Gautherot’s versions of the construction of Brasília, and localizes their documentation in relation to other cultural objects such as films and music that responded to the event. Especially relevant to this analysis is the documentary film Conterrâneos Velhos de Guerra, by Vladimir Carvalho, which strongly denounced the working conditions of Brasília. The examination concludes that both those who praised and those who denounced the endeavor resorted to an epic narrative centered around the feats of a hero: the candango, the migrant from the Northeastern States who built Niemeyer’s modernist architecture. Scheier’s coverage, however, deviates from the prevalent epic genre as his version of Brasília’s early days is lyrical rather than epic, open to individual emotions and intimate experiences. The paper proposes that his pictures of the budding city nevertheless suggest a sense of impending doom that blurs the line between project and ruin, an aspect that relates to his condition as immigrant.
O artigo discute a influência de preceitos religiosos funerários na história urbana da cidade esp... more O artigo discute a influência de preceitos religiosos funerários na história urbana da cidade espanhola de Toledo. O texto enfoca a área conhecida como Vega Baja del Tejo, onde tradicionalmente se encontravam os cemitérios muçulmanos e judaicos e que permaneceu pouco povoada durante a maior parte da história documentada da cidade. O artigo sugere que a baixa ocupação derivou da percepção muçulmana e judaica que prescrevia um distanciamento entre vivos e mortos.
O artigo utiliza uma perspectiva dos estudos de gênero para examinar a exuberante indumentária cr... more O artigo utiliza uma perspectiva dos estudos de gênero para examinar a exuberante indumentária criada pelo bando de cangaceiros liderados por Lampião, especialmente durante os anos 1930. Parte do argumento de Judith Butler (1990) sobre a superficialidade da construção do gênero e de uma fotografia de Lampião e Maria Bonita tirada por Benjamin Abrahão para propor que o traje cangaceiro funcionava como forma de recompor misticamente o corpo “aberto” do guerreiro masculino, fraturado pela presença de mulheres no bando. Utiliza a teoria de Mary Douglas (1966) sobre a relação entre os limites do corpo e os limites sociais para compreender as negociações de gênero que se manifestaram sobre as superfícies dos objetos do cangaço.
Relato da mesa 4 do Encontro Paulista de Museus 2020, que apresentou o primeiro ciclo da pesquisa... more Relato da mesa 4 do Encontro Paulista de Museus 2020, que apresentou o primeiro ciclo da pesquisa “Dados para navegar em meio às incertezas”, elaborada pelo ICOM Brasil para conhecer melhor o impacto da pandemia no campo museal do país.
A resenha apresenta a exposição Our Time for a Future Caring, que ocupou o pavilhão da Índia na 5... more A resenha apresenta a exposição Our Time for a Future Caring, que ocupou o pavilhão da Índia na 58ª Bienal de Veneza (2019) e faz uma breve introdução da trajetória de cada um dos oito artistas selecionados.
Brasília was built from scratch in three and a half years, a rare occasion that attracted the att... more Brasília was built from scratch in three and a half years, a rare occasion that attracted the attention of numerous photographers. Among them were Peter Scheier (1908-1979), a German Jew who fled the Nazis and settled in Brazil in 1937, and Marcel Gautherot (1910-1996), a French photographer commissioned by architect Oscar Niemeyer (1907-2012) to render his buildings. Gautherot’s images circulated nationally and internationally, profoundly shaping the visual representation of the event as they advocated for the city’s daring buildings. His photographs present the new capital as a monumental symbol of a grandiose national future built by strenuous work. The paper compares Scheier’s and Gautherot’s versions of the construction of Brasília, and localizes their documentation in relation to other cultural objects such as films and music that responded to the event. Especially relevant to this analysis is the documentary film Conterrâneos Velhos de Guerra, by Vladimir Carvalho, which strongly denounced the working conditions of Brasília. The examination concludes that both those who praised and those who denounced the endeavor resorted to an epic narrative centered around the feats of a hero: the candango, the migrant from the Northeastern States who built Niemeyer’s modernist architecture. Scheier’s coverage, however, deviates from the prevalent epic genre as his version of Brasília’s early days is lyrical rather than epic, open to individual emotions and intimate experiences. The paper proposes that his pictures of the budding city nevertheless suggest a sense of impending doom that blurs the line between project and ruin, an aspect that relates to his condition as immigrant.
Resumo: O artigo discute a influência de preceitos funerários na urbanização de Toledo, especific... more Resumo: O artigo discute a influência de preceitos funerários na urbanização de Toledo, especificamente na área da Vega Baja del Tejo, onde tradicionalmente se encontravam os cemitérios muçulmanos e judaicos e que permaneceu pouco povoada na maior parte da história da cidade. Baseando-se em uma pesquisa de campo e bibliográfica combinando história das religiões a estudos territoriais e arqueológicos, o artigo sugere que a baixa ocupação derivou da percepção muçulmana e judaica que prescrevia o distanciamento entre vivos e mortos. Palavras-chave: cemitérios; convivência; Ibéria. Abstract: The article discusses the influence of burial beliefs on the urban history of Toledo, specifically on the area known as Vega Baja del Tejo, where Muslim and Jewish cemeteries were traditionally located, and which remained scarcely populated during much of the city's documented history. Based on field and bibliographical research combining the history of religions to territorial and archaeological studies, the article suggests that the low occupation derived from Muslim and Jewish prescriptions for separating the living from the deceased.
The article examines how images, material culture, and texts intersect in the representation of t... more The article examines how images, material culture, and texts intersect in the representation of the Karipuna, an indigenous group who lived in the Brazilian Amazon. I discuss how authors historically employed “markers of typicality” (PINNEY 1997) to signal the “purity” of the Madeira and Mamoré Valley’s native population. I specifically focus on Dana Merrill’s photographic documentation of the construction of the Madeira-Mamoré Railway, built in the region between 1907 and 1912. I analyze Merrill’s corporate imagery in relation to the visualities of the Noble Savage. I argue that, although the photographer’s gaze did follow elements that connoted the isolation of Amerindians, he was also interested in the hybrid reality of the Karipuna.
The cangaceiros were bands of outlaws who roamed the Brazilian northeast semi-arid region since c... more The cangaceiros were bands of outlaws who roamed the Brazilian northeast semi-arid region since colonial times. Under the guidance of leader Lampião, they achieved fame and fortune in the early 1920s. This paper focuses on the early 1930s, a moment of profound changes in the group and the height of the cangaceiro visual production. I argue that the radical embellishment of surfaces during the period was a response to disturbances of the pre established cangaceiro social structure, which was largely based on local definitions of masculinity. I take Judith Butler's (1990) affirmation of the superficial aspect of gender identity in a literal sense to interpret the compulsion of the bandits to cover themselves in showy outfits. I follow Butler's lead and encounter in Mary Douglas's Purity and Danger (2001) the connections between local beliefs in the mystical " enclosing " of the male body and the elaboration of cangaceiro apparel.
O Graphics Atlas é uma plataforma virtual dedicada ao estudo de processos gráficos e fotográficos... more O Graphics Atlas é uma plataforma virtual dedicada ao estudo de processos gráficos e fotográficos históricos. O artigo analisa o Atlas como um caso de estudo, buscando contribuir para a discussão mais ampla sobre usabilidade de recursos virtuais dedicados à preservação de bens culturais. O exame está baseado em uma comparação com outros recursos, entrevistas com profissionais do patrimônio histórico, estudos sobre usabilidade e uma pesquisa conduzida pelo Centro Internacional para o Estudo da Preservação e Restauro do Patrimônio Cultural (ICCROM) e o Canadian Conservation Institute (CCI) em 2017. A maior descoberta foi a ênfase na utilização do Atlas como instrumento didático devido a abordagem prática (task based) e ao conteúdo visual do site. Esperamos que este exame do Atlas auxilie organizações patrimoniais que planejam criar ou melhorar seus recursos virtuais, especialmente aqueles destinados ao aprendizado híbrido virtual e presencial.
A resenha apresenta a exposicao “Our Time for a Future Caring”, que ocupou o pavilhao da India na... more A resenha apresenta a exposicao “Our Time for a Future Caring”, que ocupou o pavilhao da India na 58a Bienal de Veneza (2019) e faz uma breve introducao da trajetoria de cada um dos oito artistas selecionados. A Bienal, cujo tema foi May You Live in Interesting Times , teve curadoria geral de Ralph Rugoff; Roobina Karode foi a curadora do pavilhao. Com uma proposta curatorial tradicional, bem definida e bem executada, a exposicao representou de forma positiva a producao artistica moderna e contemporânea do pais.
Brasília was built from scratch in three and a half years, a rare occasion that attracted the att... more Brasília was built from scratch in three and a half years, a rare occasion that attracted the attention of numerous photographers. Among them were Peter Scheier (1908-1979), a German Jew who fled the Nazis and settled in Brazil in 1937, and Marcel Gautherot (1910-1996), a French photographer commissioned by architect Oscar Niemeyer (1907-2012) to render his buildings. Gautherot’s images circulated nationally and internationally, profoundly shaping the visual representation of the event as they advocated for the city’s daring buildings. His photographs present the new capital as a monumental symbol of a grandiose national future built by strenuous work. The paper compares Scheier’s and Gautherot’s versions of the construction of Brasília, and localizes their documentation in relation to other cultural objects such as films and music that responded to the event. Especially relevant to this analysis is the documentary film Conterrâneos Velhos de Guerra, by Vladimir Carvalho, which strongly denounced the working conditions of Brasília. The examination concludes that both those who praised and those who denounced the endeavor resorted to an epic narrative centered around the feats of a hero: the candango, the migrant from the Northeastern States who built Niemeyer’s modernist architecture. Scheier’s coverage, however, deviates from the prevalent epic genre as his version of Brasília’s early days is lyrical rather than epic, open to individual emotions and intimate experiences. The paper proposes that his pictures of the budding city nevertheless suggest a sense of impending doom that blurs the line between project and ruin, an aspect that relates to his condition as immigrant.
O artigo discute a influência de preceitos religiosos funerários na história urbana da cidade esp... more O artigo discute a influência de preceitos religiosos funerários na história urbana da cidade espanhola de Toledo. O texto enfoca a área conhecida como Vega Baja del Tejo, onde tradicionalmente se encontravam os cemitérios muçulmanos e judaicos e que permaneceu pouco povoada durante a maior parte da história documentada da cidade. O artigo sugere que a baixa ocupação derivou da percepção muçulmana e judaica que prescrevia um distanciamento entre vivos e mortos.
O artigo utiliza uma perspectiva dos estudos de gênero para examinar a exuberante indumentária cr... more O artigo utiliza uma perspectiva dos estudos de gênero para examinar a exuberante indumentária criada pelo bando de cangaceiros liderados por Lampião, especialmente durante os anos 1930. Parte do argumento de Judith Butler (1990) sobre a superficialidade da construção do gênero e de uma fotografia de Lampião e Maria Bonita tirada por Benjamin Abrahão para propor que o traje cangaceiro funcionava como forma de recompor misticamente o corpo “aberto” do guerreiro masculino, fraturado pela presença de mulheres no bando. Utiliza a teoria de Mary Douglas (1966) sobre a relação entre os limites do corpo e os limites sociais para compreender as negociações de gênero que se manifestaram sobre as superfícies dos objetos do cangaço.
Relato da mesa 4 do Encontro Paulista de Museus 2020, que apresentou o primeiro ciclo da pesquisa... more Relato da mesa 4 do Encontro Paulista de Museus 2020, que apresentou o primeiro ciclo da pesquisa “Dados para navegar em meio às incertezas”, elaborada pelo ICOM Brasil para conhecer melhor o impacto da pandemia no campo museal do país.
A resenha apresenta a exposição Our Time for a Future Caring, que ocupou o pavilhão da Índia na 5... more A resenha apresenta a exposição Our Time for a Future Caring, que ocupou o pavilhão da Índia na 58ª Bienal de Veneza (2019) e faz uma breve introdução da trajetória de cada um dos oito artistas selecionados.
Brasília was built from scratch in three and a half years, a rare occasion that attracted the att... more Brasília was built from scratch in three and a half years, a rare occasion that attracted the attention of numerous photographers. Among them were Peter Scheier (1908-1979), a German Jew who fled the Nazis and settled in Brazil in 1937, and Marcel Gautherot (1910-1996), a French photographer commissioned by architect Oscar Niemeyer (1907-2012) to render his buildings. Gautherot’s images circulated nationally and internationally, profoundly shaping the visual representation of the event as they advocated for the city’s daring buildings. His photographs present the new capital as a monumental symbol of a grandiose national future built by strenuous work. The paper compares Scheier’s and Gautherot’s versions of the construction of Brasília, and localizes their documentation in relation to other cultural objects such as films and music that responded to the event. Especially relevant to this analysis is the documentary film Conterrâneos Velhos de Guerra, by Vladimir Carvalho, which strongly denounced the working conditions of Brasília. The examination concludes that both those who praised and those who denounced the endeavor resorted to an epic narrative centered around the feats of a hero: the candango, the migrant from the Northeastern States who built Niemeyer’s modernist architecture. Scheier’s coverage, however, deviates from the prevalent epic genre as his version of Brasília’s early days is lyrical rather than epic, open to individual emotions and intimate experiences. The paper proposes that his pictures of the budding city nevertheless suggest a sense of impending doom that blurs the line between project and ruin, an aspect that relates to his condition as immigrant.
Resumo: O artigo discute a influência de preceitos funerários na urbanização de Toledo, especific... more Resumo: O artigo discute a influência de preceitos funerários na urbanização de Toledo, especificamente na área da Vega Baja del Tejo, onde tradicionalmente se encontravam os cemitérios muçulmanos e judaicos e que permaneceu pouco povoada na maior parte da história da cidade. Baseando-se em uma pesquisa de campo e bibliográfica combinando história das religiões a estudos territoriais e arqueológicos, o artigo sugere que a baixa ocupação derivou da percepção muçulmana e judaica que prescrevia o distanciamento entre vivos e mortos. Palavras-chave: cemitérios; convivência; Ibéria. Abstract: The article discusses the influence of burial beliefs on the urban history of Toledo, specifically on the area known as Vega Baja del Tejo, where Muslim and Jewish cemeteries were traditionally located, and which remained scarcely populated during much of the city's documented history. Based on field and bibliographical research combining the history of religions to territorial and archaeological studies, the article suggests that the low occupation derived from Muslim and Jewish prescriptions for separating the living from the deceased.
The article examines how images, material culture, and texts intersect in the representation of t... more The article examines how images, material culture, and texts intersect in the representation of the Karipuna, an indigenous group who lived in the Brazilian Amazon. I discuss how authors historically employed “markers of typicality” (PINNEY 1997) to signal the “purity” of the Madeira and Mamoré Valley’s native population. I specifically focus on Dana Merrill’s photographic documentation of the construction of the Madeira-Mamoré Railway, built in the region between 1907 and 1912. I analyze Merrill’s corporate imagery in relation to the visualities of the Noble Savage. I argue that, although the photographer’s gaze did follow elements that connoted the isolation of Amerindians, he was also interested in the hybrid reality of the Karipuna.
The cangaceiros were bands of outlaws who roamed the Brazilian northeast semi-arid region since c... more The cangaceiros were bands of outlaws who roamed the Brazilian northeast semi-arid region since colonial times. Under the guidance of leader Lampião, they achieved fame and fortune in the early 1920s. This paper focuses on the early 1930s, a moment of profound changes in the group and the height of the cangaceiro visual production. I argue that the radical embellishment of surfaces during the period was a response to disturbances of the pre established cangaceiro social structure, which was largely based on local definitions of masculinity. I take Judith Butler's (1990) affirmation of the superficial aspect of gender identity in a literal sense to interpret the compulsion of the bandits to cover themselves in showy outfits. I follow Butler's lead and encounter in Mary Douglas's Purity and Danger (2001) the connections between local beliefs in the mystical " enclosing " of the male body and the elaboration of cangaceiro apparel.
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