The article discusses certain practices of Museum-Curatorial Quilombist Actions, that is, the actions of Black people in managing and articulating the centralization of Afro-diasporic memories, while also engaging with foundational concepts within Museology. The work also contrasts curatorial programs, projects, and social articulations of Afro-Brazilian memory from Afrocentered and quilombist organizations as responses to practices and theories developed by classical museological institutions. Through experience-based accounts and literature reviews, the article offers critical insights aimed at bringing nuance to the discussion on ANTIRACISM IN MUSEUMS within the context of contemporary museology.
The work in question seeks to elucidate the movement of young black artists from Par & aacute; from Coletivo Ilustra Pretice PA, with the aim of highlighting and understanding how these artists move around in the city of Bel & eacute;m and the metropolitan region, based on their strategies of resistance, survival, care and artistic and organizational creativity. To this end, it has as a theoretical, practical and analytical basis a multidisciplinary approach based on the black epistemologies of the black-African diaspora with the contributions of black intellectuals from different fields of knowledge, especially Social Sciences, Anthropology, Visual Arts, Philosophy and Psychology. It is from this confluence of knowledge, experiences, theories and practices that this text took shape, with the aim of recording, through writing, the movement of young black women from the Coletivo Ilustra Pretice in Bel & eacute;m do Par & aacute;, considering their resistance, creativity, potential, denunciation and confrontation of racism present in the Art System in Bel & eacute;m do Para.
In this experience, we discuss our visit as two Black museologists and anthropologists to the exhibition "Heitor dos Prazeres is My Name,"curated by Pablo Le & oacute;n de la Barra, Raquel Barreto, and Haroldo Costa, held at the Centro Cultural Banco do Brasil (CCBB) in Rio de Janeiro from June 28 to September 18, 2023. We highlight the life and beauty of Heitor dos Prazeres. To deepen these issues, we share our reflections as Black women in dialogue with the methodological proposals of authors such as Rosane Borges, Saidiya Hartman, Christina Sharpe, Denise Ferreira da Silva, and bell hooks.
The article deals with the artistic and curatorial processes of Afro-Amazonian artists and curators, Jean Ribeiro and Glauce Santos, these are my contributions on the trajectories, who completed twenty years of career in 2022, when they won a visual arts notice from the Funda & ccedil;& atilde;o Cultural do Par & aacute;, and were able to hold the commemorative exhibition titled "20 years". Most of the time or almost always, artists-engravers work in solitude, silently, collected in an engraving studio, maturing each stage, it is an intense process that only ends with the printing of the matrix engraved on paper, something totally of delivery. Regarding curatorial processes, quilombola strategies were created throughout these twenty years of career to survive and guarantee the preservation of the artistic production of both, and, amidst so many colonialist perspectives in the visual arts scene, the work as curator emerges and new fronts of struggle emerge, among which, the decolonization of curatorial processes.
This article aims to trace the historical trajectory of the Foto Elite Collection (FFE), a photographic and documentary archive belonging to the Campos Gerais Museum (MCG) at the State University of Ponta Grossa (UEPG), located in Ponta Grossa, Parana, Brazil. Furthermore, it discloses the activities carried out within the project "Digital Audiovisual Memories: digitization of the Foto Elite collection (1954-2018)." Composed of paper documents, glass and acetate negatives, slides, and photographs, this collection represents a significant record of the social and cultural history of Ponta Grossa, beginning in 1954 with the photographic studio founded by Germano Aquiles Koch, later acquired by Domingos Silva Souza. The article details the initial stages of the project, which was funded by the Paulo Gustavo Law in 2023, focusing on preventive conservation, cataloging, and digitization of the documentation. In addition, it discusses the creation of a documentation system that systematically organizes and records the items, ensuring the preservation and future accessibility of the collection. In conclusion, the article highlights the historical relevance of the FFE and underscores the importance of ongoing efforts for its preservation, including plans for the digitization of additional materials.
This text will briefly present how the concept of "self-defense" was mobilized in an artistic-political periodical with the same title, published in 1932 by a group of eight young intellectuals from Martinique. Invoking the theoretical principles of Karl Marx's historical-dialectical materialism and the Surrealism that was historically constituted around Andr & eacute; Breton, figures such as Rene Menil (1907-1957) and & Eacute;tienne L & eacute;ro (1910-1939) denounced, in the only edition of the magazine L & eacute;gitime D & eacute;fense (1932), France's colonial relations and the eradication of Caribbean cultures in the name of a supposedly superior culture, that is, of modern Western civilizations. Although this text focuses on the emergence of "black surrealism" in the Americas (Rosemont; Kelley, 2009) and the form of its anti-colonial critique, it is necessary to emphasize that this study does not intend to evaluate the influence of this magazine on culture and debates on the issue. racial or Afro-diasporic, but rather to propose a presentation of the magazine that starts from a possible parallel with a contemporary art exhibition entitled Dos Brasis: Arte e Pensamento Negro (2023), which mobilizes a critique of racial narratives of Western influence, based mainly on a core of this exhibition also titled "Leg & iacute;tima Defense".
This article is the result of the written production carried out in the Museography I discipline, in the undergraduate course in museology at UFSC, a moment when it was suggested to analyze a curricular exhibition that discusses the construction of a national identity in a critical way. The analyzed curricular exhibition was "Brazil: Red as Embers", held in 2022, at UFRGS. Correlated with the decolonial studies of Anibal Quijano (2005), it provided an enriching debate about the colonial structures and power relations that surround society, with a focus on the Latin American context. Aiming to complement and enrich these studies, this writing aims to critically analyze the effects of coloniality in society and more specifically within the museological scenario through the observation of the proposed exhibition project. A discussion beneficial to the academic scenario and to other social niches, as it brings decolonial studies to museology as much as it integrates museology within the studies that permeate the community.
This experience report refers to the activities developed by the Communication Work Group, of the curricular exhibition "Ruas, Lares & Lagos", from the Museology course at the Federal University of Santa Catarina. It is intended to address the paths and means taken by the Work Group to elaborate the communication and dissemination project of the exhibition, from the contact with entities, the development of graphic art, the choice of the language communication and how it was used in the strategies made for social networks and, finally, the development of the lighting circuit and the vernissage organization.
The preservation of university heritage is invaluable and begins with a deep knowledge and understanding of the collections that comprise this legacy. This study analyzes data obtained through interviews with curators of collections at the Federal University of Par & aacute; (UFPA), investigating management, documentation, acquisition, disposal, valuation, communication, dissemination, and access practices. The objective is to diagnose the positive and negative points identified in the information gathered, with the intention of optimizing these institutions as an integrated network system. The qualitative-quantitative methodology involved the application of detailed questionnaires addressing all aspects of managing these collections and museums. The research reveals that most university collections still face significant challenges in digitization, documentation, and the development of adequate management policies. This study highlights the urgent need to develop robust policies and effective practices to improve the management, preservation, and valuation of university collections, promoting their integration and relevance in the academic community and society at large.
The article brings to discussion the application of the methodology of expertise, based on internationally tested and recognized criteria in museum practice for the keeping of museum cultural assets. Based on bibliographical, convergences between museological practices and forensic methods are presented. These activities are related to ethical recommendations for the exercise of activities in museums, by their professionals and to the methods of expertise. As an example, art forensics is presented, that is, the investigation into the authentication of works of art. Having identified the objectives of the expertise, the methodological procedures of this work are highlighted in relation to museum practice. The reflection based on bibliographic references and normative documentation for work in museums, in terms of the use of technology, have had little impact on the daily work in museums, but that this must be repaired and, therefore, forensic procedures can be incorporated into the core activities of museums and meet the institutional mission of ensuring the credibility of data and information generated and preserved by museum institutions.
Russian dolls known as Matrioshka traditionally form a set of a few pieces that fit together, from the smallest to the largest. The history of the Santa Catarina Art Museum (MASC) has been reproduced in a few parts. From the first space where the Contemporary Art Exhibition took place in Florianopolis in 1948 to the current headquarters of MASC, the history of different museums is told as if they were one museum. The purpose of this article is to question the linear, unique and definitive narrative of the MASC and demonstrate that its inserts-like a Matrioshka-only serve to establish a chronology or a "museum biography", but are innocuous for another history of the MASC.
This article aims to present a brief overview of the workshops held by the State Museum System of Santa Catarina (SEM/SC), with data from 2005 to 2024. The first part studied the period from 2005 to 2009, during which the training sessions were offered as Cultural Heritage Training Workshops, covering various themes. In the second part, the context of the reformulation that created the Programa de Capacita & ccedil;ao Museol & oacute;gica/Museum Training Program (PCM) in 2011 is addressed. Regarding the PCM, it was decided to present the information in two phases: the first covering the period from 2011 to 2014, when the workshops were resumed. The motivation for these reflections results from documentary research and a literature review, particularly the analysis of the Certificate Register Book and the PCM dossier seeks to contribute to the discussion about the importance of this public policy for the museum sector in Santa Catarina.
This article aims to bring visibility to the presence of fashion in spaces of memory. To carry out this proposal, the work developed at the Modateca of the Universidade do Estado de Santa Catarina (UDESC) is described and analyzed. The research examines the composition of its collection, explores its connection to museological practices, and discusses the significance of clothing as a means of preserving memory and contributing to the study of History and Museology. To support this discussion, academic articles developed over the last ten years in the areas of Fashion, Clothing and History were reviewed, in addition to an in-person visit and interview with those responsible for the Modateca. The study concludes that clothing can be understood as a document and Modateca plays a crucial role as a research hub for textile collections, especially given the lack of such collections in the museums of Florian & oacute;polis. Through the application of museological techniques, Modateca emerges as a significant space of memory, preserving Santa Catarina's fashion heritage and housing a collection that supports academic research. By using museological techniques, the Modateca can be considered a space of memory and a heritage of Santa Catarina's fashion, with a collection suitable for research.
The article addresses the importance of paleontology exhibitions as essential tools in the dissemination and popularization of scientific knowledge, especially about fossils in the state of Par & aacute;. Exhibition held at the Federal University of Par & aacute; (UFPA) in 2022 presents elements of Amazonian fauna and flora, including fossils from the Pirabas Formation, with the aim of reaching different audiences. An interdisciplinary team created an integrated exhibition narrative, facilitating physical contact between visitors and bodies. A public investigation revealed that a large part of the population is unaware of the existence of fossils in the region, highlighting the lack of scientific dissemination and the distance from formal knowledge of the local reality. Exhibitions and museums play an important role in disseminating this knowledge, bringing people closer to two paleontological collections. Interacting with the fossils during the exhibition allows visitors to understand the relationship between the current Amazon and its past marine life. Exhibitions in public spaces promote the democratization of science and contribute to reflections on coexistence with nature, abandoning anthropocentric perspectives. In the absence of institutions dedicated to paleontological heritage in Par & aacute; and the scarcity of exhibitions, we highlight the importance of disseminating and valuing this scientific heritage for the local population.
This report aims to discuss the activities related to the internship mandatory curriculum of a museology course graduate, held at the Funda & ccedil;& atilde;o Cultural Badesc, in Florian & oacute;polis (SC). Focuses on the creation and development of educational art, taking into account the variability of audiences and the challenges for building of thresholds that correspond to the themes of the exhibitions: "Ra & iacute;zes Po & eacute;ticas" and "9 encontros". Monitors the development, application and repercussion processes of activities involving children and young adult classes. Furthermore, reflect on the perceptions and experiences of the groups, considering the individual's relationship with art and the making of art, expanding horizons and perspectives.
The S & atilde;o Paulo Biennials are interconnected. Although they have been held every two years since 1951, they are the result of analyses and proposals that, despite their specific approaches, are described as a series of 'hits and misses', discussed by several researchers and art critics. Thus, this article aims to understand how the processes involved in developing the expography of the 35th S & atilde;o Paulo Biennial (35th BSP), to be held in 2023, are organized, even though they are not shared in a single document. Methodologically, this documentary research analyzed multiple channels for publicizing the event, including its catalogs and promotional products from the contracted companies, data published on cultural, journalistic, and institutional communication channels, and YouTube videos in which professionals independently shared their experiences. As a result, a shared curatorship was identified, with a disruptive proposal that, however, did not advance the proposal with the group of collaborators, who even denounced inadequate working conditions. It did not establish a connection with other spaces in Ibirapuera Park, nor did it provide visual communication for accessibility, although it was promoted as "easy to read". Based on the analysis of the materials produced, it is concluded that the 35th BSP presents gaps in terms of the development of bibliographic materials that bring together the process in its entirety and that can effectively contribute to the understanding of its Expography.
This work consists in the development of a practical guideline containing directives and interventions to be used in the preservation and conservation process of the vinyl record collection of the Museum of Image and Sound of Santa Catarina (MIS/SC). This guideline aims to serve as a subsidy for the continuation of activities already being developed at the Museum Institution; its qualification in relation to the conditions of packaging and storage, and the introduction of new methodologies related to the cleaning process, essential for its safeguarding. The elaboration of a Diagnostic Form of the Conservation State, an instrument necessary for the recognition of current characteristics of the collection, starts the applying process of the guideline of practical activities that will bring greater security to the preservation of sound recording, the support technology and the language of its covers and inserts.
The aim of this paper is to analyze the trajectory and history behind the unfinished pictorial project of Victor Meirelles de Lima (1832-1903): Study for "A Abordagem do Monitor Alagoas". This work was commissioned from this painter, within the scope of the War of the Triple Alliance against Paraguay, and which is currently under the custody of the Victor Meirelles Museum (MVM), named differently, and is currently cataloged as a Study for "Passage m de Humaita". As a support for this study, the specialized literature in Art History referring to the period, the vast existing bibliography on Meirelles and that related to the conflict against Paraguay, in addition to contemporary periodicals, the commissioning, conception, realization and circulation of the painting, together with part of the rest of the iconography produced by Meirelles and other painters of the period. Based on the comparison of sources and documents found, it can be seen that the nomenclature of the work has changed according to its trajectory, having three distinct identifications that were attributed to it over time, referring to the initial idea of commissioning the painter, the fact represented by the artist and a generic denomination used in view of the lack of information about the estates of Victor Meirelles.
