Navegando por Orientadores "MANESCHY, Orlando Franco"

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Amazoniana, transzamazônia, transarte: a geoestética
(Universidade Federal do Pará, 2015-08-17) PRADO, Alcidean Augusto Brasil; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
The Amazoniana, Transzamazônia, Transarte: Geoaesthetics will address questions about the position of the image in the Amazon, the place of matter in the region, the place of time in the Amazon. As these cycle times between image space, the territory of matter and entropy are given in the Amazon, it is what will decide when and how come the cycles of Amazoniana. Supported the research object, the Amazon project, place the Experiência¹. You begin to think the region by the project substrate, Amazoniana Collection of Art, to get to the Amazon as larger object to be investigated in the compilation of the four visual tests, which are subdivided for seven mônadas². Leaving for the Amazon by questions raised by Amazoniana. In order to bring the light effects and states of the region on aesthetic issues, image and art, to discuss areas of visuality in the development of the Amazon, from a question: "Where does the image in the Amazon?".
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O artesanato urbano como valor agregado à Moda Autoral produzida na cidade de Belém-Pará
(Universidade Federal do Pará, 2014-06-30) MAIA, Maria Felicia Assmar Fernandes Correia; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
The present research makes the relationship between urban handcraft an authorial fashion production in the city of Belém, in the state of Pará, Brazil, after the researcher has discovered that the wish to create fashion products with local identity has led the people of the region to search new local resources to make clothes and accessories with characteristics that could make them different in today’s globalized world, and that the difference is linked with the local culture. The research starts with the investigation of the interfaces of fashion, art and handcraft, showing that this last one can be considered one of the kinds of representation of the local identities. It also shows how the local fashion designers are trying to find their cultural roots in order to face the process of hybridization caused by the acceleration of history. Authors like Nestor Garcia Canclini, Zygmunt Bauman, Pierre Bourdieu e Gilles Lipovestsky give the theoretical support for the researcher’s perception that the access to a wide variety of goods, facilitated by globalization can make it easier to combine them and help designers create new things. Methodologically, the research has been developed by the analysis of the work of four fashion designers who have dared to add the value of handcraft with some local resources like tururi fiber, curauá fiber, fish leather and a new kind of rubber called encauchado to make clothes and accessories that can have original looks. Other authors like Stuart Hall, Lars Svendsen, Carol Garcia and Ana Paula de Miranda also contribute to the researcher’s conclusion that to create fashion production is to create behavior and in today’s market context, handcraft can be the great value that could be aggregated to fashion.
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O artista curador: conceitos, precursores e atuação na cena artística paraense
(Universidade Federal do Pará, 2012-03-02) MOURA, Eliane Carvalho; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
In this paper we show a possible trajectory for the artist-curator construction, a lively figure in the field of contemporary arts and with a great action within the paraense art scene. Therefore, we build a trajectory from the first proposal about what we consider as curatorship, since the curiosities collectors until the first museum appearance. After some primary source interviews, associated to literary research we produced living documents from The Paraense Art History, in which we outlined historical facts from the regional scene identifying the process of exhibitions constructing; and some characters who have excelled in the art scene in the context of the nineteenth century to the present day. In the contemporary scene we highlight the actions undertaken by national and regional curators, who revealed to the artist-curator as one of the possible classifications for the contemporary art field of Belém do Pará, where the artist’s job and the curator’s job both intensify and self complement in thinking and making of the target-character: the artist who creates and care.
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Caminho Sonoro: O corpo em escuta performativa
(Universidade Federal do Pará, 2024-12-01) AMÉRICO, Waléria.; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761; https://orcid.org/0000-0001-8917-1348
The Sound Path deals with the relationship between body and landscape, using displacement as a space for artistic creation. The body in front of the river-forest horizon aimed to develop sonorities over the duration of the path. Procedures of listening to the soundscape, drawing scores and collaborating with people and natural beings make up the performances or sound transmissions. The reflection starts with the writing of experimental between places and the practice of listening to the soundscape in the north of Brazil, in the capital Belém, located in the state of Pará. The experience of the body in the Amazonian territory blossomed into art actions in resonance with the Samaúma tree species.
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Cidade como lugar de experiência: uma percepção pelas imagens dos fotógrafos Mariano Klautau Filho e Paula Sampaio
(Universidade Federal do Pará, 2013-08-13) MOURA, Simone de Oliveira; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
This research was developed to study the city's image produced by two contemporary photographers working in Belém and other cities, which are: Mariano Klautau Filho and Paula Sampaio. Based on the understanding of the city and image, with reference aisthesis concept proposed by James Hillman in the city feel from the expanded notion of psychic reality, anthropological approach discussed by Hans Belting image that distinguishes image and medium, and in dialogue with other authors, we sought to understand what image of the city is developed by photographers research subjects, taking into account the discourses, experiences and photographs of urban environment, outlining a perception of the image of the city. This study was done by means of the assessment, selection and analysis of the work of these photographers that emerged from the 1980s in the artistic context in Belém. The methodological approach used was qualitative and inductive analysis, using the method bibliographic, documentary and semi-structured interviews to survey and knowledge of photographic production of these authors, their discourses and experiences in Belém related to urban themes.
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Dibubuísmo por rios antes não navegados: Narrativas de uma performer pesquisadora
(Universidade Federal do Pará, 2021-08-06) GOMES, Marise Maués; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
t is a practical poetic memorial composed of the narratives of the creative process. It has autobiographical anchorage and was born in the scope of performance, seeking to understand what moves my artistic work in the field of this language, where the body is the support and content in the formation of the artistic testimony. Its guiding thread is the practice of dibubuism according to Paes Loureiro, for whom it represents the act of continuing to float in the river, being carried by the current, downstream, upstream and under the empire of the tides. This concept is taken as a research methodology. In the search for the materialization of the object proposed here, it allows the constitution of a territory of experiences with moving female organisms of the Venezuelan ethnic group Warao in refuge condition in the capital of the State of Pará, as well as their minor children, immersing themselves deep in my high-water peraus rebujando memories sedimented in the corners of my unconscious, making them surviving images that feed the artistic process. The trip was uneventful, where rising tides directed me through other holes and streams. I grounded and unloaded several times. Using crepe paper threads, I wove a body dress that I threw over my shoulders and took - in the literal sense of the term - for a walk. I visited my backyard, a small spark of the Amazon of Pará, a drop of rain precipitated in Belenense land; I moisturized trees and, with their leaves, gave birth to leaf bodies that I kindly invited to soak with me in the Algodoal mangrove. The traces of this journey are spread across the pages of this memorial and cover contents and practices that refer, above all, to the itinerary of my trip. In the coming and going of the rising tides, conceptual images from different fields of knowledge are frequented, which constitute symbolic tools, places from which one starts in the search for the exercise of the dibubuism proposed here
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Elemento transitório: caminho de volta para o mar
(Universidade Federal do Pará, 2019-07-01) LEVY, Bianca Costa; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
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Fluxo Norte: sobre diários de bordo e cartografia poética de determinada Produção de artes visuais na Amazônia
(Universidade Federal do Pará, 2015-06-15) SOBRAL, Keyla Cristina Tikka; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
This research aims to establish a poetic and analytical mapping of certain visual artists who work or are the source of the Amazon, from trips made in that territory between 2013 and 2014. I apply the concept of Contemporary developed in What is the contemporary? Giorgio Agamben watching how artists articulate to perform their productions and what they think about a region full of peculiarities, differences and complexity as the Amazon; well, support me in the concept of mapping used by Virginia Kastrup, in Mapping Method Lanes Book, to draw a subjective cartography of the region. Reflect on the poetics of the Board Daily and Daily Intimate found in Mario de Andrade, Maria Gabriela Llansol and Maurice Blanchot, with the intention of (re) discover the region through writing, understanding this as part of the path of understanding on Amazon.
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A gambiarra na cena: uma poética de iluminação para ativação de obras de arte em Belém do Pará
(Universidade Federal do Pará, 2011-03-18) SOUZA, Iara Regina da Silva; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
The object of this research is the reflection about the appropriation of the gambiarra lights to the scene exhibition. In an specific way there will be treated the cultural mechanisms favourable to this process, transversal in its essence, its contribution to an expository scene dramatized, with an indentation at the end of last century to the present days, outlining the problem studied to the reality of Belém do Pará. The research has the purpose of understanding the creating processes, building and reception of gambiarras such as illuminating artifact in the activation of artistic creation. For this, the study discusses about light within the universe of art gallery from the appropriation of gambiarra lights, that are part of daily urban of Belém do Pará, in order to evaluate the illumination while potency in the activation of art works. In the argumentative sequence there are articulated the understanding of relationship between illuminating and the other elements of art exhibition, since that operates as an activation agent not only of the work, but from the spatial situation in which it is located; producing theory, strengthening the art as a field of knowledge. The gambiarra has character of meaning conceptual implication, not while object, but what it produces, which is denominated as social and aesthetic effects, that are read from fifteen years of experience of this researcher in the appropriation, re-signification and re-transportation of luminous artifacts for the activators function of exhibition spaces, in a statement of the praxis like main element of joint research paths, considering that during this time, a method has been constituted and it is in perfect accord with this research. To operate more efficiently within the complexity of the materiality fields and reproducibility of the object; from the devices to establish the art works; from the gambiarra lights as an inventive way and of investigative solution that takes place in a subjectivity field, we used the methodological approach of bricolage.
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O inferno dantesco e o inferno digital: jogo, fantasia e realidade
(Universidade Federal do Pará, 2011-06-23) CAVALCANTE, Acilon Himercírio Baptista; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
This essay is about possible parameters delined between Dante’s Infero and the Cyberculture, thru a research developed in three aspects: Hell’ image, a legacy from dantian narrative and expressed by diferent artists among the centuries, with diferent styles, but wicht adopted the same elements propouseds by the florentian author. The Cyberculture’s concepts, as ciberspace, digital image, convergence culture and the recent transformations in society. At last, the phantasia possible between Medieval Inferno and the contemporary World, beyond the hypernarrative project for those definitions.
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Memórias tecidas de cor: o retrato pintado de Mateus Machado
(Universidade Federal do Pará, 2013-08-13) MACHADO, Simone Alves de Melo; LIMA, Wladilene de Sousa; http://lattes.cnpq.br/4769018199137074; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
Mateus Machado is one of the few still active painted photography of a legion that not long ago was dedicated to the colorization of manual and manufacture of portraits painted portrait photography. About twenty years ago, prior to the effective field of digital technology to extend the image, edit, manipulate, modify or even colorize a photo was manual work done by skilled photography on canvas. This research aims to present some of the world about to disappear before the inexorable field of image scanning. Through their stories, and weave his portrait from him unravel the routine, the process of creating and techniques painted photography, who inherited and reinvented over half a century dedicated to this work. Through him, also focus on the route of the small professional outskirts of Bethlehem Inserted in the category of popular photography, his performance was primarily aimed at the social register and producing portraits, trying to cover their various production techniques, which made those who had some handicraft became painted photography. Many like Matthew specifics that were developed beyond mere simple retouching and colorization, going to the reconstitution of the full image, associating this procedure to restore a species, how effectively the painted portrait was sold and became known. Research sources were their reports, newspapers, painted portraits of his own and anonymous artists, as well as photographic record of their activities. This research expects that way have contributed to tell you a little, but not least important chapter in the historiography imagery Para.
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Miguel Chikaoka: fotografia como prática da liberdade
(Universidade Federal do Pará, 2012-03-01) MAGNO, Luciana Loureiro Figueira; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
This research aims to study the processes undertaken by the photographer an educator Miguel Chikaoka who boosted in Belém from the 80’s through fotoatividades an intense movement of art and life in scene of photography in Pará, where he developed concurrently a unique teaching method of photography that expands the experience, not restricting it only toa n aesthetic exercise, plastic, visual, but as spring modifieractivating sensory experienses, way to the practice of freedom.
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Projeto “Adote um urubu”: uma experiência artística na comunidade de Algodoal - Maiandeua - Pará
(Universidade Federal do Pará, 2011-09-08) ANDRADE, Andréa Feijó; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
When the art-thematize the community and discuss the artistic creation and social participation, this work has as its object of study shared artistic production. The visual language of photography is the main tool in the construction of devices artistic / aesthetic. From the epistemological point of view, we adopted the paradigm of complex thought, proposed by Edgar Morin, of reference guiding this research approach. Because it is a practical research on an experimental basis, committed to community participation Algodoal, we used the assumptions of action research, in theoretical terms proposed by Rene Barbier. The community chosen for this experiment artistic / aesthetic is located on the island of Maiandeua, northeastern Pará State.
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Sinval Garcia: um artista contemporâneo na confluência entre linguagens
(Universidade Federal do Pará, 2015-06-15) NASCIMENTO, Cinthya Marques do; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
The current research discourses part of the Sinval Garcia’s work (1966 - 2011) which performs major production in the Brazilian’s visual arts field. In his production, we will focus on the exhibition “Samsara” (1997) “Paisagens In-visíveis” (In-visible Landscapes) (2005) and “A Câmara da Transmutação Secreta” (The House of Secret Transmutation) (2009). This cut of his work constitutes by the interstices between photography and other languages, and it will be focused particularly on the established relationship with painting, observed over the links between the works within the artist's production context. To do this we used the concepts of phenomenology M.Merleau-Ponty, the study Laura Gonzalez Flores on photography and painting, beyond thought of Flusser about a philosophy for photography. This research contribute to the discussions of a story of contemporary photography in Pará and Brazil, and contribute to the reflective and critical stance of contemporary art nationwide.
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Vídeo aderência: território intervalar de reflexão e experimentação
(Universidade Federal do Pará, 2012-02-28) LIMA, Melissa Barbery; MANESCHY, Orlando Franco; http://lattes.cnpq.br/6198572031091761
This paper examines the territory of video art, developing a review and reflection from established concepts within a temporal line and territorial, where video art is the main theme, relating as its historical perspective, as its language and technical , forming a journey from some experiences in artistic projects from my self. With a focus on works in which small forms of life are discussed and serve as a guide for reflection Art and Life. As a result of this analysis and critical essays from the conceptual clash with the works studied, we instituted a territory interval that we conceptualize as Video adherences.