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Crônica/Memorial sobre a produção artística na Belém do final do século XX: três coleções e alguns biografemas
(Universidade Federal do Pará, 2021-03-18) CHARONE, Neder Roberto; SILVA, Joel Cardoso da; http://lattes.cnpq.br/6918547599708778; SOUZA, José Afonso Medeiros; http://lattes.cnpq.br/6045766440369156
This research goes the way of history and memory to expose a participatory and observative experience of the cultural and artistic field in city of Belém do Pará in the last three decades of the 20th century. This chronological time space is constructed by a series of factors and attitudes that drive the productive field in the arts, mainly the visual and visual arts, caused by the earthquakes of the the 1960s, and the disruption of territorial isolation and Cultural. The way it is written has a structure of egohistory and significant understandings in a phenomenological sense; collections, collections, the relationship between owner and work, in addition to the existential space of both and complemented by commentary on the works in their composition, based on the teaching attitude of the teaching years. In the descriptive section of the decades there is a citation of the facts and their social and political inflows and their possible interference in the contents of the works contained in the collections. Ground zero of the investigation took place in a face-to-face interview about the origin of the set followed by its visual record, sequenced by the mapping of artists and techniques. The theoretical contribution is anchored mainly in Paul Rucouer, Araci Amaral, Francois Dosse, Peter Burke, Didi Huberman, Arnould Hauser, Jacques LeGoff, Philipp Blom, Terry Eagletom, Aby Warburg, Anne Cauqueliin, Walter Zanine Ulpiano Menezes, Pierre Nora, José Afonso Medeiros Souza, Mariza Mokarzel, Aldrin Moura Figueiredo in addition to the search in newspapers and periodicals that circulated in the decade studied and a source of paramount importance that were the libraries and collections of institutions such as museums and theaters to have the memory understood as college, but also understood as history of the arts in a certain period.