Estudo e tratamento de conservação e restauro da pintura Feto do artista Jorge Pinheiro

Followed by the opportunity of attending an internship at Argo – Art, Heritage and Culture, emerges the opportunity of studying and become responsible for the conservation and restoration of a painting by Jorge Pinheiro (Coimbra, 1931), whom is responsible for a wide artistic production that is vastly renowned and featured in particular and public collections, both nationally and internationally. This dissertation describes the study and the intervention of conservation and restoration of the contemporary painting Feto, executed in 1965 by Jorge Pinheiro, which was carried out during my internship of the Master’s in Science of Conservation, Restoration and Production of Contemporary Art, that took place in the company Argo, between November 2014 and April 2015. The issues in the conservation and restoration of contemporary art, related with the increasingly variety of materials that artists have been using since the beginning of the twentieth century, it’s also one of the main themes explored in this dissertation. From conservation and restoration, to the life and work of an artist, the following dissertation, besides describing in detail all the studies and steps that I took in the conservation and restoration of the oil on canvas painting, Feto (1965), it also reveals a closer look into the life and artistic career of Jorge Pinheiro

Colección póstuma,

Vol. 2-3 have imprint: Habana, Impr. "El Siglo XX" de A. Miranda, 1916.

Diálogos sobre las artes del diseño /

Autor tomado del prólogo.

Art-Map: concept of moving curatorial project and its practical realization in Aveiro

In this dissertation, I present the results of a project which aim was to find out and try an effective model of independent curatorial project executable in small and medium cities in Portugal. The concept of Moving Curatorial Project ARTMAP is a result of theoretical research and reflection about municipal exhibition spaces and possibility of presentation of the contemporary art in these spaces. To test if this curatorial project is realizable and if there are conditions to continue it, a first trial was implemented in Aveiro. A curated international exhibition, entitled “A Poética do Visual" occupied two municipal and two private gallery spaces and brought together 111 artists from 25 different countries. The art event was carried out in collaboration with the Municipality of Aveiro and the University of Aveiro, and involved several private cultural spaces in the city. This first experience showed that there are all conditions for the presentation of contemporary art in small and medium size locations in Portugal, and for this project to be replicated in other regions of the country.

Representações de ciência e tecnologia em Gustavo Barroso (1909-1935): nacionalismo autoritário, eugenia e antissemitismo

This study focuses on the representations of science and technology in the thinking of the Brazilian intellectual Gustavo Barroso in the period between 1909 and 1935. As one of the main leaders of the Brazilian Integralism, we will discuss,especially, his eugenic vision, prior to his participation in integralism and the influence of this science in building his authoritarian and anti-Semitic thinking. We seek to realize Gustavo Barroso dialogue, in a context of profound social and political changes, with the search for a nationalism "truly Brazilian." The methodology used was of a documentary and literature research , highlighting the analysis of Gustavo Barroso books, which were used as primary sources: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), and, also, some of his articles surveyed in the National History Museum collection. The survey results show that in this period Gustavo Barroso went on to develop in his writings an eugenic and authoritarian political vision, later, in his integralist phase, linked strongly to an anti-Semitic view.

Art and the Body Image: about Self and Stereotypes

Today's man is socially absorbed by problematic body issues and everything that this means and involves. Literature, publicity, science, technology and medicine compound these issues in a form of this theme that has never been seen before. In the artistic framework, body image is constantly suffering modifications. Body image in sculpture unfolds itself, assuming different messages and different forms. The body is a synonym of subject, an infinite metaphorical history of our looks, desires, that leads one to interrogate his/her image and social and sexual relations. These are understood as a manifestation of individual desires freed from a moral and social imposition. It attempts a return to profound human nature before we are turned into a cloning industry. In thisstudy it isimportant for usto understand in which form doessculpture reflect body image as a sociocultural and psychological phenomenon within the coordinates of our time. To understand how they represent and what artists represent in sculpture as a multiple and complex structure of human sexuality. Today, the sculptural body, expanding its representation, no longer as a reproduction of the corporal characteristics, presents the body in what it possesses of most intimate, unique, human and real, that moves, reacts, feels, suffers and pulsates, a mirror of us all.

El cristal se venga. Textos, artículos e iluminaciones de José Luis Brea.

Conferencias y debate posterior con María Virginia Jaua y Luis Francisco Pérez. La sesión estuvo organizada en función de sendas intervenciones de los dos invitados que fueron estableciendo una alternacia discursiva alrededor del contenido, el sentido y la gran significancia y repercusión de la obra del teórico José Luis Brea, incluyendo la proyección de un ensayo audiovisual acerca de su obra. María Virginia Jaua es editora, escritora, crítica y traductora. Actualmente vive entre la Ciudad de México y Madrid. Estudió comunicación en la Universidad Central de Venezuela, Letras hispánicas en la UNAM y un posgrado de Letras Modernas centrado en la relación entre las artes y la literatura en la Universidad de La Sorbonne. Ha desarrollado y colaborado en diversos proyectos editoriales ligados a la literatura y a las artes. Actualmente dirige la revista online de crítica de arte y análisis cultural contemporáneos Campo de relámpagos (http://campoderelampagos.org/), tras haber dirigido Salón Kritik (http://salonkritik.net/), y es jefa de redacción de la revista Estudios Visuales, de la revista mexicana de literatura Líneas de Fuga y de El Estado Mental. Ha publicado los libros El cristal se venga, textos, artículos e iluminaciones de José Luis Brea (Fundación Jumex Arte Contemporáneo / Ed. RM, 2014) e Idea de la ceniza (Periférica, 2015). Ha escrito numerosos textos de crítica de arte, literatura, cine, música y políticas culturales y es en el entrecruce de estas disciplinas donde se centra su trabajo. Luis Francisco Pérez es uno de los críticos referenciales en el panorama de arte contemporáneo español. Teórico, crítico y comisario de arte independiente, desde principios de los años ochenta ha colaborado con prácticamente todas las revistas relevantes de arte contemporáneo españolas, así como en otros medios europeos y latinoamericanos. Ha participado en conferencias, catálogos, jurados, mesas redondas, debates en prensa, etc., y en numerosas publicaciones en Red, siendo, por ejemplo, asiduo colaborador en Salón Kritik (http://salonkritik.net/). Últimamente ha extendido su interés hacia la escritura de la crítica literaria, o introduciendo en la teoría de arte cuestiones cercanas a la literatura, filosofía y música.

The role of the curator in the context of contemporary art

Dissertação de Mestrado, Comunicação, Cultura e Artes, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve, 2014

Corpos tatuados : experiências sensíveis em realidade aumentada móvel

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2015.

What is Home without a Mother

'What is Home Without a Mother', el primer volumen sobre una investigación sobre espacios domésticos de ficción; espacios que, pese a que a menudo no pertenecen a los imaginarios arquitectónicos de la modernidad, sin embargo, constituyen unos verdaderos campos de pruebas para llevar a cabo ensayos sobre la domesticidad, capaces de desafiar las grandes narrativas disciplinares. Casos de estudio: El hotel electrico, Segundo de Chomon, 1908, The Sacrecrow, Buster Keaton, 1920 and The Electric House, Buster Keaton, 1922. 'What is Home Without a Mother', is the first volume of a research done by elii on some classic fiction domestic spaces: spaces which despite being seldom the brainchild of an architect, are nevertheless true testing grounds for domesticity and are capable of challenging the prevailing disciplinary narratives. Case studies: El hotel electrico, Segundo de Chomon, 1908, The Sacrecrow, Buster Keaton, 1920 and The Electric House, Buster Keaton, 1922.

Campus expandido. UEM/MULAFEST

En la convulsa escena norteameriacana de finales de los años sesenta, la crítica de arte Rosalind E. Krauss en su célebre artículo “La escultura en el campo expandido” definía este género artístico desde su condición de negatividad, como combinación de exclusiones, según sus palabras, la práctica tridimensional había cesado en su condición de positividad para generar una nueva categoría que resultaba de la adicción del no-paisaje y de la no-arquitectura. Si la propia escultura se había convertido en una especie de ausencia ontológica, una combinación de exclusiones, eso no significaba que la oposición entre lo construido y lo no construido, entre lo cultural y lo natural, careciera de interés.