{"id":8167,"date":"2022-12-16T23:32:36","date_gmt":"2022-12-16T23:32:36","guid":{"rendered":"https:\/\/citcem.org\/eventos\/xx-art-history-week\/"},"modified":"2022-12-16T23:32:36","modified_gmt":"2022-12-16T23:32:36","slug":"xx-art-history-week","status":"publish","type":"eventos","link":"https:\/\/citcem.org\/en\/events\/xx-art-history-week\/","title":{"rendered":"XX Art History Week"},"content":{"rendered":"
\n

XX Art History Week <\/strong>“around art: a handful of conversations<\/p>\n

May 12, 19 and 26 | 1:30 pm | via Zoom<\/p>\n

 <\/p>\n

The SHA presents, in this 20th edition, a theme and a format that resulted both from adapting to the digital space, with interventions from the place where each one of the participants is, or is, located, and to the impossibility of holding events in shared spaces at FLUP, UP and, etc.<\/p>\n

The theme, “around art”<\/strong>, breaks, even if unintentionally, with thematic proposals that were treated, with good success, in previous editions – and there are already many! Why was this change made?<\/p>\n

– the idea was to bring together a group of people, different by age, academic background, and profession, as well as by experiences of the “artistic thing”, to share with each other and with “our” students, their respective visions and practices of art;<\/p>\n

– to think and debate “what art is, how it is used, and what it is good for”, in its various forms and practices, from the remote past to present times; these questions will be addressed here by artists, by researchers, and by professors in scientific areas with distinct methodologies but who share a common goal: to make the art they produce, debate, study, and disseminate be shared not only with great enthusiasm but also with the use of analytical vocabulary and scientific rigor;<\/p>\n

– The lectures\/communications\/performances of this XX SHA are not meant to be homogeneous; quite the contrary: they are intentionally distinct. There are them in colloquial frames, in experimental processes, in the form of communication of recent scientific research results, in lectures, and even in sharing part of a curatorial and artistic realization process.<\/p>\n

The 20th Art History Week<\/strong> is the logical continuation of the 19 editions of the past. It is adapted to the circumstances of the present and is designed for our students: it is a broad forum for discussion of issues that respects the work and profile of an “art historian. It is above all the meeting place for those who love the arts and want to know, understand and “live” them better. It is through the generous sharing of knowledge, acquired and accumulated through years of study and achievement. It’s always a new experience and a party: let’s get together “around art” and celebrate it!<\/p>\n

 <\/p>\n

The presentation text of the XX SHA, written by Professor Celso dos Santos, can be read in full here<\/a>.<\/p>\n

 <\/p>\n

The sessions will run online via the Zoom platform, and can be accessed via the following links:<\/p>\n

12.05.2021 https:\/\/videoconf-colibri.zoom.us\/j\/84973160251<\/a><\/p>\n

Celso dos Santos<\/p>\n

. Abstract: Passionate debates about art are ancient. They are public and have divided the actors and the “connoiseurs” into antagonistic and noisy groups, which, from the sphere of the specialists spreads to the entire society of each historical time; the disputes between the colorists and the defenders of design, between the Ancients and the Moderns have remained in history, just like many others, which as they spread in society, lose part of their initial meaning as they gain political and ideological contours – in Italy in the 80’s of the century. In the past, the division between pro-Bernini and pro-Borromini, into right and left, was strange and incomprehensible to a non-Italian! What has become of these lively discussions today? Did the controversy surrounding Cabrita Reis’ “sea line” and\/or Jo\u00e3o Ribas’ resignation from the artistic direction of the Serralves Museum of Contemporary Art have the same capacity to bring us together in opposing camps? it is this and other things that we will try to deal with in the presentation of 12.5.2021<\/p>\n

– Celso dos Santos has been an art historian and a lecturer at the DCTP since 1982 and has regularly worked on the FLUP’s Art History Week.<\/p>\n

 <\/p>\n

Joana Ramos<\/p>\n

. Abstract: The presentation is about the Economy of Culture, in particular, the Art Economy, reflecting on its focus of study, its subjects and agents, and its interaction and dynamics with the artistic universe.<\/p>\n

Joana Ramos has a bachelor’s and a master’s degree in Engineering from the Faculty of Engineering, University of Porto. She has a degree in Art History and a master’s degree in Museology from the Faculdade de Letras da Universidade do Porto. It presents research, in the academic context and in protocol with private and public entities, in areas transversal to the exact, heritage, and artistic sciences. As a historian and museologist, she works in the study and management of art collections. As part of his PhD, he is dedicated to researching areas adjacent to the art market. Joana Ramos is an Art Historian and works at the Porto City Hall.<\/p>\n

 <\/p>\n

Rui Morais<\/p>\n

. Theme\/summary: “The ways and trails of the Berm\u00fadez\/Daupias collection”.<\/p>\n

Rui Manuel Lopes de Sousa Morais was born in Porto in 1969 and has a degree in History, variant of Archaeology from the University of Coimbra. Master in Urban Archaeology, PhD in Archaeology and Aggregation in Archaeology, in the knowledge area of Materials and Technologies by the University of Minho. He was a professor at the University of Minho and is currently an Assistant Professor with Aggregation at the Faculty of Arts of the University of Porto. Among his research work, he has devoted special attention to the study of trade in antiquity, with numerous works published, individually or with other national and foreign authors. He is a researcher at the Center for Classical and Humanistic Studies of the University of Coimbra (CECH). Consultant for the Calouste Gulbenkian Foundation for antiquities and member of the Scientific Committee of the IBERIA GRAEGA Project.<\/p>\n

 <\/p>\n

19.05.2021 https:\/\/videoconf-colibri.zoom.us\/j\/81298544204<\/a><\/p>\n

 <\/p>\n

Raisonn\u00e9 Gra\u00e7a Morais catalog: contributions to the documentation and research of the artistic production of painter Gra\u00e7a Morais<\/strong><\/p>\n

Joana Bai\u00e3o<\/strong><\/p>\n

Institute of Art History, FCSH, NOVA University of Lisbon; Laboratory of Mountain Arts – Gra\u00e7a Morais, Bragan\u00e7a. joanabaiao@fcsh.unl.pt<\/a><\/p>\n

Sofia Carvalho<\/strong><\/p>\n

Faculdade de Letras, Universidade do Porto. sofia.carvalho.ac@gmail.com<\/a><\/p>\n

 <\/p>\n

Summary<\/strong><\/p>\n

Gra\u00e7a Morais (b. 1948) left a small Transmontana village, Vieiro, for the world; the local and the global constitute the referential universes of her work, in dynamic relations that involve and question the observer. Starting from its tutelary figure, it was created in 2018 the Mountain Arts Laboratory – Gra\u00e7a Morais<\/strong> (LAM-GM), based at the Polytechnic Institute of Bragan\u00e7a and the result of a strategic partnership between several institutions and the artist herself, which provides access to her work and correlative documentation for study, cataloging, and dissemination.<\/p>\n

LAM-GM was conceived as a research and practice project that crosses in an integrative way arts, sciences, and education, in its multiple valences, also privileging the establishment of multidirectional relations with society. In the field of research, one of the priority tasks set was the systematic inventorying of studies, drawings, paintings and other works by the painter Gra\u00e7a Morais, and document collection, with a view to preparing her Raisonn\u00e9<\/strong> Catalog and creating a Documentation Center<\/strong>, both with an eminently digital existence. As part of this work, which has been ongoing since 2019, and aiming to expand the lines of research that naturally arise in a project of this nature, the seed project “Public Art Interventions: From Cataloguing to the Virtual Museum – Case-study Gra\u00e7a Morais<\/strong>“which, based on the painter’s public work corpus, proposes to explore contemporary conceptual and practical challenges related to the cataloging and documentation of public art or artistic interventions in architectural spaces, and its communication to the public through digital tools.<\/p>\n

In this seminar, we will discuss these ongoing research works at LAM-GM, focusing on the challenges related to research in the disciplinary fields of Art History and Digital Humanities, in a specific work context marked by the artist’s own accompaniment.<\/p>\n

<\/strong><\/p>\n

Joana Bai\u00e3o<\/strong><\/p>\n

Researcher at CIMO – Mountain Research Center, Polytechnic Institute of Bragan\u00e7a, within the Mountain Arts Laboratory – Gra\u00e7a Morais, and integrated member of the Institute of Art History from the Faculty of Social and Human Sciences, New University of Lisbon (IHA, NOVA FCSH). She has been an Invited Assistant Professor at FCSH\/NOVA since 2018. She was Researcher in charge of the seed project <\/em>“Public art interventions: from cataloguing to the virtual museum – case-study Gra\u00e7a Morais” (IHA, NOVA FCSH, October 2020 – March 2021). D. in Art History – specialization in Museology and Artistic Heritage (2014), Master in Museology (2009), and Bachelor in Fine Arts – Sculpture (2005). She was a PhD (2010-2014) and Postdoctoral (2016-2019) fellow, funded by the Foundation for Science and Technology. He collaborates regularly with several institutions in projects dedicated to the history of art in Portugal.<\/p>\n

<\/strong><\/p>\n

Sofia Carvalho<\/strong><\/p>\n

She holds a BA in Art History from the NOVA University of Lisbon (2014) and a Master in Documentation and Information Sciences from the University of Lisbon (2018). He is currently attending the Masters in Museology at the University of Porto. She was a research fellow in the project “Public art interventions: from cataloging to the virtual museum – study-case<\/em> Gra\u00e7a Morais” (IHA, NOVA FCSH, October 2020 – March 2021). She collaborated as a volunteer researcher in the projects “Projeto Lx Conventos – Da cidade sacra \u00e0 cidade laica. The extinction of religious orders and the dynamics of urban transformation in 19th century Lisbon” (2015-2016) and “Calouste Gulbenkian Foundation Art Exhibitions – Digital Catalogue” (2016). She has collaborated with the Documentation Center of MUDE – Museum of Design and Fashion (2016), with MUHNAC – National Museum of Natural History and Science (2016-2017), and most recently worked as an archivist at the Historical Archive and Library of the Museum of Communications (2018-2020).<\/p>\n

 <\/p>\n

“Outside and inside”<\/strong><\/p>\n

Cl\u00e1udia Amandi & Paulo Freire de Almeida<\/strong><\/p>\n

Summary<\/strong><\/p>\n

This presentation seeks to observe Claudia Amandi’s artwork from two points of view.<\/p>\n

From the outside<\/em> and through the eyes of Paulo Freire de Almeida;<\/p>\n

And inside,<\/em> by the author and directing the eye to a characteristic of her process.<\/p>\n

 <\/p>\n

Claudia Amandi<\/strong><\/p>\n

Assistant Professor<\/p>\n

Design Department<\/p>\n

Faculty of Fine Arts, University of Porto<\/p>\n

I2ADS Integrated Member<\/p>\n

https:\/\/claudiaamandi.weebly.com\/<\/a><\/p>\n

 <\/p>\n

Paulo de Oliveira Freire de Almeida<\/strong><\/p>\n

He is an Assistant Professor at the University of Minho. He has published 4 articles in peer-reviewed journals and 3 papers in event proceedings. It has 5 technical production items. He has participated in 6 events in Portugal. In his professional activities he has interacted with 8 collaborators in co-authoring scientific papers.<\/p>\n

 <\/p>\n

 <\/p>\n

“Talking about Prehistoric Art<\/strong><\/p>\n

 <\/p>\n

Following the motto “how art is used and what it is used for”, we will try to frame the idea of art in prehistory (its contexts, supports and perspectives of integration in community life) and its dimension as an object of study in archeology. Through some case studies concerning rock art forms with different chronologies and different formal characteristics we will try to show how the archaeologist approaches these materialities and how he integrates them in the construction of the historical narrative about past societies. Finally we will make a short approach to the dimension and problematic of rock art as heritage in contemporary society.”<\/p>\n

 <\/p>\n

Maria de Jesus Sanches<\/strong> is an Associate Professor of Porto University, Portugal, with 38 years of experience in teaching and researching Prehistoric rock Art and Archaeology. PhD in Archaeology and Prehistory (1995) and Aggregation in Prehistoric (2006).She directed several archaeological research projects-megalithic constructions, settlements, rock art- in close relation with the respective paleo-ecosystems, particularly in the North of Portugal. She has authored more than a hundred papers and five books in Prehistory. http:\/\/orcid.org\/0000-0002-2643-2325<\/a><\/p>\n

 <\/p>\n

Joana Castro Teixeira<\/strong> is an archaeologist since 2007 and is currently doing her PhD at Porto University. She has been doing her work and research in Prehistory and Rock Art, particularly in the North of Portugal and has been publishing some papers and book chapters in those domains. Between 2012 and 2017 Joana directed and published the prehistoric component of the Historic and Ethnological Study of Tua Valley in the North of Portugal. https:\/\/orcid.org\/0000-0002-9560-0679<\/a><\/p>\n

 <\/p>\n

26.05.2021 https:\/\/videoconf-colibri.zoom.us\/j\/82388970223<\/a><\/p>\n

 <\/p>\n

Rui Centeno<\/strong><\/p>\n

On the pretext of the exceptional find in Bragan\u00e7a, in 1840, of a piece of Greek goldsmithery decorated with the effigy of the nymph Aretusa, a work signed by the artist Euainetos, a Sicilian native, we aim to show how a masterpiece of monetary iconography from the Classical World “imposed” themes and influenced the way they were represented throughout the Mediterranean.<\/p>\n

 <\/p>\n

Jorge Marques<\/strong><\/p>\n

This is something, but what?<\/strong><\/p>\n

ABSTRACT – A reflection around the idea of limit in the expression and
\ngraphic language of drawing and conventionally associated processes
\npainting, photography, or installation, but also sculpture, sculpture, photography, installation
\nperformance or to the object. It is in a sense, and from
\nsome examples, to question which condition(s) contribute
\nfor what conventionally is or is associated with a particular
\nart practice.<\/p>\n

Jorge Marques<\/strong> is an Assistant Professor in the Department of Design at the Faculty of Fine Arts, University of S\u00e3o Paulo.
\nArts at the University of Porto, where he has been teaching since 1998. Member
\ncollaborator at the Art Design and Society Research Institute.
\nPhD in Art and Design – scientific area of Design – by
\nFaculdade de Belas Artes da Universidade do Porto, with the work of
\nresearch – “The process as a design circumstance. Contributions
\nfor the study of experimental process models” (2015).<\/p>\n

CURRENT RESEARCH INTERESTS<\/p>\n

While teaching and researching in the Design department at Fbaup,
\nhas been interested in the importance of design processes and how
\nthese can become a viable means of the thought and conception of the
\ndesign.<\/p>\n

As an artist he has been exploring the idea of limit in expression and
\nlanguage of design and processes conventionally associated with
\npainting, drawing, and photography.<\/p>\n

Daniel Moreira and Rita Castro Neves<\/strong><\/p>\n

danielmoreira.ritacastroneves@gmail.com<\/a><\/h3>\n

Two or three things <\/strong><\/p>\n

This is a moment of sharing and reflection on two – or three – of our art projects. Often supported by residency projects, and the practice of walking, our exhibitions are configured as installations in which the expository and the device are mutually complexified. Photography, video, and drawing have been consolidated as privileged ways to work reflections and representations of places, from the observation of nature and from a critical political perspective about the territory.<\/p>\n

 <\/p>\n

www.danielmoreira.net<\/a> | www.ritacastroneves.com<\/a> | www.escolademacieira.com<\/a><\/p>\n

 <\/p>\n

www.marziabruno.com<\/a><\/p>\n<\/div>\n

Files<\/h4>\n

POSTER<\/a><\/p>\n

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