http://hdl.handle.net/11422/99 2026-07-29T15:38:15Z 2026-07-29T15:38:15Z http://hdl.handle.net/11422/29827 2026-07-29T03:00:10Z 2025-03-07T00:00:00Z

Title: Daninhas: ancestralidades marginais Author(s)/Inventor(s): Souza, Roberta Cunha Azevedo de Advisor: Fragoso, Maria Luiza Pinheiro Guimarães Abstract: This study explores the relationship between weeds and marginalized bodies, emphasizing how both have historically been subjugated by hegemonic structures that enforce exclusion and erasure. Drawing on the works of Vandana Shiva, Appadurai, and Spivak, the research examines the persistence of these plants as a metaphor for the resilience of subaltern bodies, which, despite enduring historical violence, continue to reinvent their existence. Resistance emerges through the reconfiguration of narratives, enabling the construction of new temporalities inspired by ancestral cosmologies that propose alternative ways of relating to the earth. In this context, the works Berço de Daninhas, Brotar, and Morada dos Deuses embody these reflections, evoking memory, belonging, and new possibilities of existence. Thus, artistic production becomes a space for challenging hegemonic paradigms and proposing new ways of connecting art, nature, and identity. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação

2025-03-07T00:00:00Z http://hdl.handle.net/11422/29824 2026-07-29T03:00:10Z 2025-01-27T00:00:00Z

Title: Névoa e pedra Author(s)/Inventor(s): Szwarcfiter, Ana de Almeida Advisor: Bartholomeu, Cezar Abstract: This dissertation explores the relationship between impermanence and permanence, represented by the elements of mist and stone, which serves as metaphors to bild a reflection on time, memory, and materiality. Inspired by the ideas of Guilherme Wisnik, Byung-Chul Han, Walter Benjamin, and Roland Barthes' reflections on photography as a monument, the research questions the limits and possibilities of photographic and sculptural practices in attempting to capture and preserve the ephemeral. Mist, with its fluidity, symbolizes the transient and the elusive, while stone evokes a timeless presence. The Japanese concept of "ma" – the empty space gap – is central to this investigation. The research unfolds along two main directions: photography and sculpture, which, though distinct, converge in their attempt to materialize the transient – to transform mist into stone. The dissertation develops through a dialogue between the author’s works and those of other artists, creating a space for conversation that deepens the pursuit of understanding the unknown. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação

2025-01-27T00:00:00Z http://hdl.handle.net/11422/29691 2026-07-19T03:00:09Z 1996-08-01T00:00:00Z

Title: Arte popular brasileira e a criação da Casa do Pontal: um olhar antropológico Author(s)/Inventor(s): Mascelani, Maria Angela dos Santos Advisor: Cavalcanti, Maria Laura Viveiros de Castro Abstract: Popular art, apart from the contribution of some authors, has received little attention from art scholars, generating few critique texts. Produced by people from the underprivileged economic strata of the population, this art occasionally occupies art galleries, cultural centers and museums. The reflections about this form of production generally question its condition of "art", when their option is not to propose the use of classifying scales, discussing the prevalence of their craftsmanship aspects over the artistic ones, or vice-versa. ln the period focused by this research, from the second half of this century on, only a few times was this genre substantially taken as an art, favouring its esthetic aspects. A rare example of this viewpoint, was given by the work of the French artist and collector Jacques Van de Beuque, who dedicated the last 45 years to the research, selection, classification and creation of an adequate space for the exhibition of this work, in the city of Rio de Janeiro: Casa do Pontal. Such peculiarity initially suggested that the objective of this dissertation should be to discuss this enterprise, which collection includes 4.500 objects, focusing the tridimensional production, and is considered as the largest and most complete popular art museum in the country. At first, I thought about recovering the data concerning the history of its creation, through a biographical approach, since it was a private enterprise, carried on by the initiative and the financial resources of one only person. However, as the indepth research on this theme advanced, I perceived that this work developed by Jacques Van de Beuque was based upon the cooperation amongst a number of people and events, which careful examination raised a question about the cultural encounters between social layers. This perception changed the major focus of my research, and I began to study the relatively large group of social actors, where each one, in their own way, performed an important role, and all of them contributed to shape the idea of popular art, as a form of contemporary plastic expression. For this reason and, considering that art in this century is a complex problematic, and that there is no space for unanimity or certainty, I made an option to observe from the diversity of viewpoints expressed by the participants in this network, composed of people who cooperate round the very idea of "popular art", analyzing what they think and practice: artists, shop owners, consumers, critics, scholars and collectors. ln examining this network through a sociological perspective, a fact became clear; that different social actors contribute, sometimes without knowing, to the establishment of a certain conceptual view of the Brazilian popular art. Dueto the lack of references to support the research in the field of History of Art - based on the development of stylistic schools and on the reconstitution of historical personalities - where the current popular production is, generally, not mentioned - I chose to verify which would be the concept shared by artists and consumers (the collector seen as a privileged consumar), trying to identify the coincident and the opposite points, aiming at finding the acccurate vision of art that corresponds to their ideas. When placing these cooperations into perspective, it is my interest to contribute to expand the visibility around what constitutes the Brazilian popular art, if not in its totallity - which seems to be impossible, due to the proliferation of this sort of artistic production and to their many possible interpretations - at least, a portion of the constituents of this universe, which I consider as part of one world among the many "art worlds", multiplied in Brazil and abroad, in our present time, when fragmentation is the emphasis. Publisher: Universidade Federal do Rio de Janeiro Type: Dissertação

1996-08-01T00:00:00Z http://hdl.handle.net/11422/29569 2026-07-11T03:00:12Z 2026-03-30T00:00:00Z

Title: Constelações da Boca do Céu: poéticas de uma esquizonauta ou formas de navegar o caósmos Author(s)/Inventor(s): Spadotto, Danielle de Cassia Advisor: Nóbrega, Carlos Augusto Moreira da Abstract: This research was conducted by an artist and researcher diagnosed with schizophrenia. Grounded in self-reflexive experience and in schizophrenic modes of feel-think-being within contemporary society and culture, the study poses the following questions: if society and culture can be understood as exhibiting a schizophrenic affect or disposition, how might their processes of subjectivation be navigated? What lines of force are mobilized to mediate or stabilize processes of deterritorialization and reterritorialization? Which aesthetic elements or procedures operate within and around these dynamics? These questions structured the research, which developed in close relation to everyday life and, in turn, informed both the artistic practice and the theoretical inquiry through dialogue with artists and thinkers from the fields of art, philosophy, and psychoanalysis. Starting from the assumption that, in order to cope with the chaos established during psychotic episodes, individuals with schizophrenia develop coping strategies that take the form of a constellation - thus enabling orientation and engagement in the movement of life, allowing navigation between delirium (imagistic processes) and thought (conceptualization and abstraction) -, our hypothesis suggests that art, for the schizo subject, is not merely a therapeutic instrument that enables self-expression, but rather, and more fundamentally, an aesthetic dispositif that fosters the development of ethical and political thought in active relation to one’s historical, social, and cultural context, situating madness as a counter-colonial mode of creation, reflection, sharing, and knowledge production. Drawing on what Ken Gale has termed methodogenesis, the research both shaped and was shaped by the lived experiences encountered throughout its trajectory. The study examines key moments in Western thought that accompanied the emergence of schizophrenia as both a clinical pathology and a mode of production, while engaging in critical dialogue with theorists and artists whose work supports and expands the proposed analysis. In addition, the research considers works by both schizophrenic and non-schizophrenic artists in order to identify how constellational procedures manifest aesthetically and whether they reveal shared formal or conceptual characteristics. Finally, the project culminates in the creation of a schizophrenic poetic constellation composed of artworks that integrate and respond to the theoretical and conceptual contributions developed throughout the research. Publisher: Universidade Federal do Rio de Janeiro Type: Tese

2026-03-30T00:00:00Z