Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums

Contém artigos apresentados na International Conference “Uncertain Spaces: Virtual Configurations in Contemporary Art and Museums”, na Fundação Calouste Gulbenkian (Lisboa), 31 Outubro - 1 de Novembro de 2014) de: Helena Barranha e Susana S. Martins - Introduction: Art, Museums and Uncertainty (pp.1-12); Alexandra Bounia e Eleni Myrivili - Beyond the ‘Virtual’: Intangible Museographies and Collaborative Museum Experiences (pp.15-32); Annet Dekker - Curating in Progress. Moving Between Objects and Processes (pp.33-54); Giselle Beiguelman - Corrupted Memories. The aesthetics of Digital Ruins and the Museum of the Unfinished (pp.55-82); Andrew Vaas Brooks - The Planetary Datalinks (pp.85-110); Sören Meschede - Curators’ Network: Creating a Promotional Database for Contemporary Visual Arts (pp.11-130); Stefanie Kogler - Divergent Histories and Digital Archives of Latin American and Latino Art in the United States – Old Problems in New Digital Formats (pp.131-156); Luise Reitstätter e Florian Bettel - Right to the City! Right to the Museum!(pp.159-182); Roberto Terracciano - On Geo-poetic systems: virtual interventions inside and outside the museum space (pp.183-210); e, Catarina Carneiro de Sousa e Luís Eustáquio - Art Practice in Collaborative Virtual Environments (pp.211-240).

Museus sem lugar: ensaios, manifestos e diálogos em rede

Contém artigos de: Helena Barranha - Introdução: manifestos por um museu sem lugar (pp.3-8); Natalie Bookchin e Alexei Shulgin - Introdução à net.art (1994-1999) [1999] (pp.11-18); Andreas Broegger - Net Art, web art, online art, net.art? [2000] (pp.19-24); Josephine Berry - Humano, demasiado Pós-Humano? A Net Art e os seus críticos [2000] (pp.25-33); Jon Ippolito - Dez mitos sobre a Internet Art [2002] (pp.34-44); Manuel Castells - Os museus na era da informação: conectores culturais de tempo e espaço [2001] (pp.47-62); Yehuda Kalay e John Marx - Arquitectura e Internet: projectar lugares no ciberespaço [2005] (pp.63-87); Erkki Huhtamo - Nas (ou para além das) pontas dos dedos: arte contemporânea, práticas expositivas e tactilidade [2008] (pp.88-102); Domenico Quaranta - Perdido na tradução. Ou trazer a Net Art para outro lugar – desculpem, contexto [2008] (pp.103-120); Marisa Olson - Pós-Internet: A Arte depois da Internet [2011] (pp.123-136); Fred Forest - A arte cosa mentale. Do visível ao invisível e da realidade a uma realidade... diferente. [2012] (pp.137-141); Hito Steyerl - Demasiado mundo: a Internet morreu? [2012] (pp.142-158); Excertos das entrevistas realizadas, no âmbito do projecto unplace, a artistas, curadores e investigadores (pp.159-196).

Human immunodeficiency virus/Leishmania infantum in the first foci of urban American visceral leishmaniasis: clinical presentation from 1994 to 2010

INTRODUCTION:Human immunodeficiency virus (HIV) coinfection with Leishmania infantum or Leishmania donovani, the agents of visceral leishmaniasis (or kala-azar), has become a fatal public health problem in the tropics where kala-azar is endemic.METHODS:The clinical presentation of patients with HIV and L. infantum coinfection is described using two unique databases that together produce the largest case series of patients with kala-azar infected with HIV in South America. First, a retrospective study paired the list of all patients with kala-azar from 1994 to 2004 with another of all patients with HIV/AIDS from the reference hospital for both diseases in the City of Teresina, State of Piauí, Brazil. Beginning in 2005 through to 2010 this information was prospectively collected at the moment of hospitalization.RESULTS:During the study, 256 admissions related to 224 patients with HIV/L. infantum coinfection were registered and most of them were males between 20-40 years of age. Most of the 224 patients were males between 20-40 years of age. HIV contraction was principally sexual. The most common symptoms and signs were pallor, fever, asthenia and hepatosplenomegaly. 16.8% of the cohort died. The primary risk factors associated to death were kidney or respiratory failure, somnolence, hemorrhagic manifestations and a syndrome of systemic inflammation. The diagnosis of HIV and kala-azar was made simultaneously in 124 patients.CONCLUSIONS:The urban association between HIV and kala-azar coinfection in South America is worrisome due to difficulty in establishing the diagnosis and higher mortality among the coinfected then those with either disease independently. HIV/L. infantum coinfection exhibits some singular characteristics and due to its higher mortality it requires immediate assistance to patients and greater research on appropriate combination therapy.

Global trends in modern and contemporary islamic art

Disponível para consulta índice e introdução.

Lisbon Street Art & Urban Creativity. 2014 International Conference

Disponível para consulta - índice e introdução.

Da intercepção de comunicações, acções encobertas e serviços de informações

The Portuguese Intelligence Services have their operational skills limited due to the grievances caused by the Dictatorship and, in particular, by its political police. With the help of historical elements, and by analyzing current legislation, we demonstrate that such grievances are today unjustified and misplaced, mainly taking into account the Risk Society’s multifaceted threats. Also part of our analysis is the impugnment of the Constitutional Court’s decision nº 413/2015, which pronounced unconstitutional the norm contained in Decree nº 426/XII, of the Republic’s Assembly, article nº 78, nº2, which intended to allow Intelligence Services access to the so-called “metadata”, as well as to tax and banking information. It is our understanding, and we demonstrate it in our dissertation, that should be allowed the access of, not only the above mentioned information, but also the means known as communications interception and undercover operations to the Intelligence Services, as long as properly supervised and inspected.

Going Public: Conservation of Contemporary Artworks. Between Backstage and Frontstage in Contemporary Art Museums

In museum studies and history of art, what happens behind the scenes of museums stays relatively unseen and unspoken about. In the arts, generally speaking, what is dismissed as irrelevant (e.g. the realm of practices) is deliberately detached from what is thought to really matter; theory, discourse, content and meaning. Up till recently, backstage activities such as conservation practices are merely discussed among specialists and museum professionals. Only the outcomes of these discussions are sometimes – if at all – explicitly communicated to a larger public. Studies into the practices of contemporary art conservation however show that practices behind the scenes play an important role in the perpetuation of these artworks. What happens behind the scenes in terms of conservation has, in several ways, important effects on the ongoing life of these artworks in a museum context. Conservation practices, I argue, should therefore become a necessary part of museum studies and history of art. How can the working practices of conservators become more visible and transparent to a diversity of audiences, including researchers? And what does this mean in terms of research methodology?

Recensão: Peter Goldie e Elisabeth Schellekens, Who’s Afraid of Conceptual Art?

Recensão de: Peter Goldie e Elisabeth Schellekens, Who’s Afraid of Conceptual Art?, Londres e Nova Iorque: Routledge, 2010

Incoherences of the Art World

Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp

The names of things: terminology and the practice of art history

This paper aims to explore the ways in which standard art history terminology shapes the practice of art history by conditioning the interpretation of specific works of art and, in certain cases, the definition of a research subject (especially where questions of genre and periodization are concerned). Taking as a case study a painting by Georges de La Tour, the Peasant Couple Eating, I will argue that terms such as realism, realistic, naturalistic etc. used for its description and/or interpretation, far from constituting objective stylistic characterizations, shape our perception of the work in question. Bringing the question of social class to the center of the discourse on realism, I propose to show how the social divide between the painter and his subject matter (in this case, the peasants) is internalized in the painting’s style and meaning, and how it is fundamental for the understanding of its intentionality and function.

The perfect paint in modern art conservation: a comparative study of 21st century vinyl emulsions

Contemporary painting places, and will continue to place, several questions about its meaning, its chemical nature, its durability and the best way to preserve it. This research aims at putting together comprehensive data on vinyl based paints, including their components, their properties, their aging behavior and their response to selected cleaning products. In this project degradation mechanisms of vinyl binders and formulations used in the 20th and 21st century were studied. Stability over time of selected vinyl polymers was assessed through natural indoor and artificially aging. The objective was to enhance knowledge and understanding of vinyl emulsion formulations and their performance over time. Overall conservation state of pictorial layers namely, adhesion, cohesion and discoloration of selected case studies from the Portuguese artist Julião Sarmento (b.1948) was correlated with the observed molecular level changes studied in laboratory experiments. Sarmento’s paintings were chosen due to conservation concerns (discoloration) on some of his works from the 90’s. Besides, research was carried out to start increasing the knowledge of what can be expected of PVAc based paints in terms of response to conservation treatments namely, surface cleaning. Artificial aging showed that the most recent formulations which are based on a poly(vinyl acetate), poly(vinyl chloride) and polyethylene terpolymer are less stable when compared to some homopolymer formulations. From the four pigments studied, titanium dioxide rutile and a carbon based black proved to be stabilizers for both types of polymer. The mixture lithopone plus calcium carbonate has showed to have a photocatalytic effect on the binders. The studied paintings showed to be in an overall good state of conservation except for the paintings created in the 90’s with white glue and a mixture of white lithoponeand calcium carbonate. Discoloration of this white paint seems to be irreversible and ongoing and is still a major concern. The disapearance of the plasticizer was the only change detected. The current works created by Sarmento are expected to be more stable as they were painted using the rutile titanium dioxide. Immersion/cleaning tests showed that vinyl based paints can be susceptible to water and organic solvents like ethanol as some evidences point to the removal/diffusion of additives from the paint. The observations made point to the need to further proceed in this research field.

History of Art and Art Criticism: A System in Crisis

This article aims to reconstruct the critical debate regarding the examination of the crisis in the disciplines of art history and criticism with a particular focus on the proposal formulated by U.S. theorists who contributed to October journal. The discrediting of many modernist critical methods, particularly that of Clement Greenberg – the formalist diktat – marked the birth of the journal and gave rise to proposals set forth by critics committed to a new approach. Their divergent positions, nonetheless, have contributed to undermining the traditional concepts of the autonomy of art and criticism. The proposals discussed over the course of publication were the result of a reappraisal of the disciplinary instruments of art history and criticism pursuant to the crucial cultural changes which took place in the 1980s.

Recensão: Claire Bishop, "Radical Museology: or What’s ‘Contemporary’ In Museums of Contemporary Art?"

Recensão de: Claire Bishop, "Radical Museology: or What’s ‘Contemporary’ In Museums of Contemporary Art?", Londres: Koenig Books, 2013

ESTRATIFICAÇÃO E DENSIDADE DE INVERTEBRADOS EM SOLO ARENOSO SOB FLORESTA PRIMÁRIA E PLANTIOS ARBÓREOS NA AMAZÔNIA CENTRAL DURANTE A ESTAÇÃO SECA

Densidade e distribuição vertical de invertebrados foram estudados durante o mês de setembro de 1990 e 1991, em solo de três tipos de cobertura vegetal: floresta primária, plantios de Dipteryx odorata(Leguminosae = cumaru) e Simaruba amara(Simarubaceae = marupá), nos arredores de Manaus, Brasil. Foram encontrados 19 grupos principais da fauna. A maioria desses grupos foram similares para os três tipos de cobertura, sendo Isoptera (40,1%), Formicidae (25,2%), Araneae (6,7%) os grupos mais abundantes que, juntos, representaram 62,4% da fauna de cumaru, 57,0% da fauna de marupá e 84,1% da fauna de floresta. Houve uma diminuição da densidade para todos os grupos (excluídos os cupins) até a profundidade de 20 cm, com subseqüente aumento até 30 cm de profundidade, principalmente pela presença de Isoptera. Cerca de 45% de toda a fauna ocorreu no estrato de 0-5 cm de profundidade, seguido de 9,5% (5-10 cm), 9,1% (10-15 cm), 2,7% (15-20 cm), 20,7% (20-25 cm) e 12,3% (25-30 cm) nos estratos subseqüentes. Isoptera, Diptera e outros invertebrados não apresentaram correlação com a umidade e o pH do solo.