https://repositorio.pucsp.br/jspui/handle/handle/27991 2026-04-04T08:50:30Z https://repositorio.pucsp.br/jspui/handle/handle/32267 Título: Lições de descolonização: sujeito e memória, emancipação e transdisciplinaridade numa palestra-performance de Grada Kilomba Abstract: Grada Kilomba is an artist and academic who in recent years has been dedicating herself to performances, films and installations through a transdisciplinary approach to address diverse themes involving racism in the post-colonial world. This research will deal with the lecture-performance called Decolonizing knowledge held in 2016 at Centro Cultural São Paulo. The objective is to analyze how the artist deconstructs the dominant discourse inherited from colonialism by breaking traditional forms of representation of the academic discourse, understanding how she builds the discourse of decolonization of knowledge through transdisciplinarity. To this end, we present concepts who are in the performance as reflections on the concept of transdisciplinarity and the different perspectives and studies regarding decolonization. Next, we make a biographical synthesis and the trajectory of Grada Kilomba, exposing one of her milestones in literary production: the book Memórias da Plantação (2008) which is addressed in the lecture-performance Decolonizing knowledge that we will analyze from the division proposed by the artist herself who uses different languages to demonstrate that it is necessary not to forget that production of knowledge is always located in a place and in a history, therefore, it cannot be neutral and universal Tipo: Trabalho de Conclusão de Curso 2021-12-12T00:00:00Z https://repositorio.pucsp.br/jspui/handle/handle/32265 Título: A prática da crítica na Revista Documents: o informe e a tarefa das imagens Abstract: The present work aims to discuss the French art magazine Documents: Doctrines, Archéologie, Beaux-Arts, Ethnographie (1929-1930) which counted as one of its founders Georges Bataille (1897-1962) — philosopher and writer. We will investigate the visual relationships between image and text and how the conceptual disposition of these elements in the magazine produced “formless similarities”, as pointed out by critic and art historian Georges Didi-Huberman (1953) from the reading of Georges Bataille in the critical entry Report (nº 7) presented in the first edition of the magazine in 1929. We will analyze, in particular, one of the outstanding characteristics of the articles that are found in the construction of disparate relationships between image and text. Such relations make reference to the anthropomorphism of the human figure, which will be carefully investigated by Didi-Hubeman in “The formless resemblance or the jay visual knowledge according to Georges Bataille” of 1995. suggests us — Documents had the participation of thinkers from different disciplines, which was reflected in a transversal discussion of art from different aspects: anthropology, art history, popular culture, economics, archeology, ethnography, etc. This situation collaborated, a posteriori, in the dissemination of the debate on art, art history and art criticism in other disciplines and interests Tipo: Trabalho de Conclusão de Curso 2022-05-09T00:00:00Z https://repositorio.pucsp.br/jspui/handle/handle/32266 Título: Decolonialismo no ponto de vista da Pinacoteca do Estado de São Paulo a partir dos Catálogos de exposição Rosana Paulino: a costura da memória e Adriana Varejão - suturas fissuras e ruínas Abstract: The present work aims to analyze the point of view of the Pinacoteca do Estado de São Paulo on decolonialism through two exhibition catalogs of this institution: Rosana Paulino: a costura da memória (2018) and Adriana Varejão: suturas, fissuras e ruínas (2022). This theme is of extreme importance since it studies how one of the most prestigious museum entities in Brazil and Latin America presents two important contemporary artists who, despite their own authorial distinctions, work with the same subject: the history of the oppressed. The Pinacoteca is a public art institution founded on the coffee elite’s principles of its time, which over the years developed a greater interest in the public’s demands on social issues. The thesis is divided into six chapters plus an introduction and a conclusion: History of Pinacoteca do Estado de São Paulo, Catalogs as a textual genre and the Pinacoteca’s catalogs, Decolonialism, The catalog Rosana Paulino: a costura da memória, and The catalog Adriana Varejão: suturas, fissuras, ruínas Tipo: Trabalho de Conclusão de Curso 2022-02-28T00:00:00Z https://repositorio.pucsp.br/jspui/handle/handle/32263 Título: Campo de disputa: a relação entre arte e política na história das exposições Abstract: The relationship between art and politics can be addressed through the perspective of the history of exhibitions, understood as situations marked by the immediate encounter between the art object and the public in the larger context of life in society. In the late 1960s, due to its status as a cultural institution with official attributions, the Fundação Bienal de São Paulo was seen as a symbol of the Brazilian military dictatorship. Artists and important figures from the national and international circuit organized a boycott movement against the tenth edition of the show in 1969, widely known as the "Boycotted Biennale". We seek to demonstrate that the possible relations between art and politics in this exhibition’s history are not only relative to the country’s context of repression and censorship and to the boycott movement that reacted to it. They also arise from the possible propositions that emerge when art objects are put on display before the public. In this way, although it is significant to evaluate the position taken by the artists who joined the boycott, we are interested in looking at some of those who participated in the exhibition and positiones themselves in light of the context in a surprising way through the works presented. From this, we analyze the political protests that marked the opening and the history of the exhibition of the 34th Venice Biennale in 1968, in which artists and protesters explicitly and physically took over the exhibition of artworks as a way to bargain their political position. Both historical situations combine with more recent cases of boycott of art exhibitions and demonstrate that the relations between art and politics, produced from the encounter of art with the public, are not only relative to the specific context of the exhibitions, but also engage with major issues and dilemmas of society, disputing its autonomy in the face of power structures Tipo: Trabalho de Conclusão de Curso 2022-11-21T00:00:00Z