Programa de Pós-Graduação em Artes - PPGARTES/ICA
URI Permanente desta comunidadehttps://repositorio.ufpa.br/handle/2011/6805
O Programa de Pós-Graduação em Artes (PPGARTES) é um programa do Instituto de Ciências da Arte (ICA) da Universidade Federal do Pará (UFPA) e em nível de Mestrado acadêmico teve a sua primeira turma constituída no ano de 2009 e o primeiro Processo Seletivo para o Doutorado acadêmico se deu no primeiro semestre de 2016.
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Navegando Programa de Pós-Graduação em Artes - PPGARTES/ICA por Orientadores "LEÃO, Ana Cláudia do Amaral"
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Item Acesso aberto (Open Access) Amatória: práticas artísticas de uma feminista que reescreveu uma parte da memória líquida de seu corpo(Universidade Federal do Pará, 2019-06-26) GARCIA, Maryori Katherine Cabrita; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592Item Acesso aberto (Open Access) Casa de Luiza : escritos de um retorno(Universidade Federal do Pará, 2023-03-06) SILVA, Rodrigo Antonio da; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592Luiza's house, writings of a return is a work-research in Arts. It started from the reflection and construction of black families visual narratives, in documentary cinema, having my grandmother’s death as a trigger for the process of collecting, collage and dialogue of different traces of memory. For the development of this work-research, I adopt as a discursive basis women-voices, thinkers and artists, namely: Beatriz Nascimento (1989) and her definition of the black body as a body-memory; afrografia by Leda Martins (2021) in dialogue with the escrevivência by Conceição Evaristo (2005), which help me to understand the need and power of using my voice and body – in the field of filmic writing; and the perspective of becoming a subject according to Grada Kilomba (2019), to understand this aspect in the affirmation of myself as a researcher-artist. In a filmic fable, past, present and future are instantiated in the understanding of an ancestry of the diaspora born of escape as freedom, in a constant recreating of paths to be presented in the format of an “artist’s text”, as conceptualized by Rosana Paulino (2011). In this writing, the reflections that gave rise to short films that are part of the research and that aim to contribute to the debate on the Afrocentric episteme in the area of poetic research are shared. The writing of this story is on the walls, in the traces of life, in scattered images, in multiple voices, in threads of memory yet to be stitched together.Item Acesso aberto (Open Access) Criança de um planeta chamado Combu: modos de aprender e ensinar arte, vida e amor(Universidade Federal do Pará, 2018-12-21) SILVA, Adriele Cristine Silva da; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592Item Acesso aberto (Open Access) Delírio em rio mar: paisagem entre a experiência e a partilha(Universidade Federal do Pará, 2019-06-28) VIANA JÚNIOR, José de Almeida; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592Item Acesso aberto (Open Access) A Existência das obras performáticas de Berna Reale e Lúcia Gomes nas coleções de Jorge Alex Athias e no Fundo Z - Casa das Onze Janelas em Belém do Pará(Universidade Federal do Pará, 2024-03-08) CABRAL, Marcela Guedes; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592This research aims to understand how collecting occurs, specifically, the preservation of information and the poetics of performance art, through the acquisition and production of documentation of these works, which allows the existence of the work in several modes, allowing it to be included in public and private collections. Specific objectives: verify the representation of the intrinsic and extrinsic information of these artistic processes adopted by the artists and in the two collections developed; understand how the acquisition of scientific works occurred and the impact of this procedure on the preservation of information from these works, investigate how documentation, or its lack, allowed or not the preservation of artistic works of an ephemeral nature, and verify the perspectives from the collector and representatives of the institution about the presence of performances in the collection. For empirical observation, the research focuses on the work of two artists from Pará who expressively produce works of performance art and on two collections, in the city of Belém-PA, one public and the other private - where the works of the two artists were exhibited, namely, Berna Reale and Lúcia Gomes in the Fundo Z Collection of Casa das Onze Janelas, public, and in the Jorge Alex Athias Art Collection, private. Considering that contemporary works of art of a performative nature, such as performance and happenings, challenge museum professionals in their preservation actions through the documentation of information and poetics developed by artists, we understand that it is necessary to investigate the prospects for this type of preservation, with the support of art discourse enunciators and institutions that produce discourses about art. Therefore, this research is configured as an associative analysis with a qualitative approach. It adopts a theoretical-empirical and associative perspective between the process of musealization of work performance art of two artists in two collections, one public and the other private. It also involves on-site observation of the documented process of the artists in the Collections, as well as analysis of the documentation, intrinsic and extrinsic information, and the discourses about and by the artists. Semi-structured interviews are also used with the artists, the collector and the professionals at Casa das Onze Janelas.Item Acesso aberto (Open Access) Olhar [Re] Egresso: diálogos entre as propostas curriculares e à docência em Artes Visuais na UFPA(Universidade Federal do Pará, 2020-02-20) BARROS, Amanda Cristine Modesto; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592This research contemplates reflections on the profile of the egress of the Visual Arts Course, using the 2007 Curricular Pedagogical Proposal and the new 2019 curricular document, specific of the Degree in Visual Arts of the Faculty of Visual Arts /FAV of the Federal University of Pará /UFPA. The study considers the historical process of curriculum construction in the Arts course at UFPA, bringing together the most important milestones that influence the profile of art / education graduates, coupled with quantitative and qualitative in-kind data analysis to substantiate contextual information. of teaching in this graduation. To base these considerations some authors are invoked to validate the propositions of these studies, they are: SILVA (2011), ZABALA (2010), TARDIF (2002), BARBOSA (2012), PIMENTA (2002), among others. Based on these authors and based on my own experience as a graduate of the Visual Arts Degree at UFPA, reflections are conducted on themes that go through the process of initial formation of art / educators, so that we can understand how this birth and growing of the world occurs. teaching identity in the historical, political, social, ethical, philosophical and epistemological context of the Visual Arts course. It is observed the teaching and student involvement of this experience over the course of the course, with a view to identifying the sensitive nature of how these relationships constituted the concepts of teaching that currently guide the egress profile that the initial education aims at.Item Acesso aberto (Open Access) A poética das encruzilhadas de Arthur Leandro/Tata Kinamboji: Atos de fazer Güera(Universidade Federal do Pará, 2023-08-16) BARROS, Bruna Suelen Silva; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592Inside of the line of research theories and epistemic interfaces in arts, fromthe GraduateProgram in Art at UFPA, I propose a cartography that covers part of the life experienceofArthur Leandro/Tata Kinamboji. This is an affirmative work, which brings Exuinfront toopen paths, with the intention of producing knowledge in which I present a conceptual andmethodological proposition that defends the poetics of this man as a crossroads, openinggapsbetween art, political activism in Traditions of African Matrix and the teaching of theartsinthe universities where he taught. I defend the idea of the fight for memory against oblivionabout who Arthur Leandro/Tata Kinamboji was with his poetic crossroads, as a politicizationof the same to mark a place of importance for this person for Culture and the Arts inthecityof Belém, and even in the Amazon . I listen to those who lived with Arthur and whonarratehis way of making art and I look for open possibilities of writing that intersect Arthur'slifeexperience and his Poetics of the crossroads, to say the concept created by himof Art-Güera,as an attitude of resistance to everything that diminishes and conditions life andart intooppression, so I will list four of these acts in the course of the text. At the same time, I evoketheorists who have already thought of the genocide of the black people as a project, relatingthe issue of the whitening of Brazilian culture to the needs of confronting and overcomingtheerasures generated by this attempt, such as Abdias do Nascimento, Luiz Rufino, LuizSimas,Zélia Amador de Deus, Muniz Sodré, among others – mostly black people, of course, tostrengthen an anti-racist way of knowing, with regard to the protagonismof knowledgeproduction by those who experience the hardships of this project firsthand. I connect thisbibliography to my travels, my traffic through the poetic practices of Arthur Leandro, narratednot only by me, not only with my gaze, but with everyone I could find crossing our paths. Ipropose, in addition to my writing, two poetic maps, one visual and one withreports, toencompass the other voices that cross these paths, within the cartographic methodthat thisresearch proposes. Here there is a glimpse of a life and yes, it is epistemology, becauseit isthe production of knowledge, it is poetics and it is a policy of valuing the Afro-Amazoniancultural heritageItem Acesso aberto (Open Access) Tecnologias de Sobrevivência em Arte: Narrativas de uma Ama [Dor] A(Universidade Federal do Pará, 2023-03-15) OLIVEIRA, Débora Alessandra Costa de; LEÃO, Ana Cláudia do Amaral; http://lattes.cnpq.br/3091200390689592Esta investigación presenta un memorial narrativo, de acciones en/con el arte construidas en los caminos estéticos y críticos que conforman Las Tecnologías de la Supervivencia en el Arte, que son, según mi propuesta argumentativa, colectividades que parten de experiencias femeninas periféricas, y principalmente de mujeres con las que dialogé durante mi trayectoria vital/artística, por lo tanto, entiendo que desde estos procesos periféricos de supervivencia que fundamentan y conducen mi creación estética en el Arte. Presento relaciones de interseccionalidades de género, clase, raza e identidades diaspóricas amazónicas que son el resultado de una vida/experiencia en los márgenes. Procesos que me permitieron comprender una cultura periférica de supervivencia mayoritariamente femenina. Así, compongo las narrativas personales que se comprenden en las teorías de Gonzalés 1998, hooks 2013, Lorde 2012, Njeri 2019, Oyêwumí 2020, Costa 2013, Walker 2021, Carneiro 2005, Piedade 2017, Akotirene 2019, Alvarez 2009, Nascimento 1994. Beatriz Nacimiento que incluso inspira algunas construcciones narrativas dentro de la investigación. Presento una comprensión del matriarcado periférico de la relación brasileño/amazónica con la ascendencia, que pretendo fortalecernos y orientarnos en formas de existir como sujetos diaspóricos. Aquí presento caminos artísticos construidos a partir del apoyo y referencia colectiva de la necesidad, y el registro y visibilización de una red afectiva femenina.