Mestrado em Arte e Cultura Visual (FAV)
URI Permanente para esta coleção
Navegar
Navegando Mestrado em Arte e Cultura Visual (FAV) por Por tipo de Acesso "Attribution-NonCommercial-NoDerivatives 4.0 International"
Agora exibindo 1 - 20 de 40
Resultados por página
Opções de Ordenação
Item A poética da mulher prendada: prática artística como estratégia de agência feminina no espaço doméstico(Universidade Federal de Goiás, 2023-03-30) Alves, Debora Taiane Oliveira; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Cavalcante, Denise Moraes; Berardo, Rosa MariaThis research emerges from the confluence of the fields of art, autobiography and feminism, with the aim of transforming individual experiences lived at home into dissident artistic practices, which in turn create poetic places of political enunciation and stimulate female agency in the domestic sphere. It is through an artistic practice capable of subverting the idea of an “housewife” that I present the process of a series of works carried out between 2018 and 2022, exploring different aspects of the feminine private experience and bringing reflections with a feminist bias on family, housework, marriage, body and race.Item Decolonialidade e uma educação antirracista no ensino de artes: escrevivências e resistências(Universidade Federal de Goiás, 2023-07-25) Andrade, Vanessa Silva; Dering, Renato de Oliveira; http://lattes.cnpq.br/7891833942208165; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Ferreira, Glauco Batista; Abreu, Carla Luzia de; Santos, Noeli Batista dos; Dering, Renato de OliveiraThe relationship between art teaching and the importance of visual culture is intrinsic, since thinking about visual culture is thinking about the constitution of society and the individuals who are part of it. However, throughout the history of education, the teaching of Arts has been anchored in a perspective, sometimes historiographical, sometimes to enumerate and punctuate characteristics about certain aspects or avant-gardes, reducing another type of proposal: reflection and criticism about this language. Therefore, there is, in this context, a trivialization of this curricular component at school, which, in turn, promoted - and still promotes - various forms of social prejudice, such as racism, which occurs through reproductions that come from a view of a given cultural and economic elite. When we understand this proposal, we notice that education has principles that dialogue with coloniality, discussed by Quijano (1992), Mignolo (2017) and other decolonials. In summary, a form of domination of bodies through massified knowledge imposed on all subjects, contributing to a racist education. The purpose of this work, written anchored in “escrevivência”, a concept by Conceição Evaristo (2020) and speech place by Djamila Ribeiro (2017), is to promote a critique of this view through a reflection on an anti-racist education. Thus, the research problem is to understand the importance of working with art in the classroom in order to contribute to a social and cultural reflection of society. That said, the general objective of this research is to question the absence of racial debate in art teaching. To this end, the study outlines the reflection on my trajectory and how I experienced the different forms of racism, as well as presenting possibilities for an anti-racist debate in art teaching through my experiences, understanding that this agenda is essential in teaching practice, since it is a necessary action to think about teaching art from a decolonial perspective. Based on the fact that it is in education that subjects become active agents in their learning process, the teaching of visual arts is an important tool for criticizing these preconceived models. The research, therefore, brings its contributions by proposing a new perspective to think about the teaching of arts in schools and, in this way, erasing coloniality through anti-racist educational “vivências”.Item Jovens cineastas: montagem audiovisual, arte e cotidiano na escola(Universidade Federal de Goiás, 2023-06-30) Anjos, Maykon Rodrigues dos; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Guimarães, Leda Maria de Barros; Satler, Lara LimaA presente pesquisa propõe a aproximação entre o cinema e a educação no âmbito da realização enquanto experiência de aprendizagens na escola. As discussões trazidas estão inseridas na perspectiva da cultura visual. O eixo das produções estudantis se estabelece na montagem audiovisual como instância articuladora do processo criativo, participando desde a concepção à finalização das obras. Buscamos compreender os desafios e as possibilidades da utilização do telefone celular para a captação de imagens visuais e na montagem dos filmes em sala de aula. Observamos o comportamento do cinema e as discussões da cultura visual em relação às contribuições narrativas de cotidiano, vivências urbanas e experimentações audiovisuais de estudantes. Durante as investigações, o conceito de montagem se ampliou para além do cinema, performando-se uma estratégia de construção de conhecimento. Além disso, durante o trabalho de campo da pesquisa, a pergunta “qual o sentido de aprender cinema?”, surgida em sala de aula, oportunizou a (re)organização das discussões aqui abordadas. Este trabalho orientou-se pela pesquisa-ação enquanto instrumento metodológico empregado, subsidiando a participação coletiva da comunidade escolar durante as atividades, visando alcançar uma cumplicidade com a experiência cinematográfica. As atividades pedagógicas foram desenvolvidas durante um semestre letivo, por meio de disciplinas eletivas, em uma escola pública da rede estadual de educação, o Centro de Ensino em Período Integral Nova Cidade (CEPI Nova Cidade), na cidade de Aparecida de Goiânia, Goiás. Além disso, o campo de investigação se desenvolveu em contexto pandêmico provocado pelo coronavírus SARS-CoV-2. Por outro lado, as aprendizagens com experiências audiovisuais superaram as dificuldades impostas pela pandemia. Ao final, foram produzidas 10 obras audiovisuais utilizando o telefone celular, resultando em sessões públicas de cinema para a comunidade escolar durante o evento da Culminância das Disciplinas Eletivas.Item Ateliê de figurinhas com arte de resistência(Universidade Federal de Goiás, 2023-07-21) Arantes, Daryellen Ramos; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Abreu, Carla Luzia de; Ospina Álvarez, Juan SebastiánThis research was articulated around the following problem: how do people who make images of resistance see, can they see themselves and make images of resistance be seen? We bring conceptual issues arising from the practices of a studio designed, amid the challenging context of the COVID-19 pandemic, from the perspective of Visual Culture studies, to discuss actions used in the creation and development of a creative environment for editing stickers with frames of films screened at “They make cinema: a showcase for films directed by women”. The research collaborators were invited through posters, posted on informative bulletin boards of the Uniforte network cooperatives, announcing remote meetings to exercise ways of appreciating, capturing and editing stickers. Using a/r/tography as a methodological approach, we dialogue with the demand in order to understand fundamentals and mediation strategies aimed at artistic proposals in exercises related to the construction of the gaze. The research resulted in the production of a collection of film links for the sticker studio. The study also established connections with image makers of resistance from the Uniforte cooperatives. The authors used in the bibliography offer a theoretical framework to deal with the themes of resistance, poetics of solidarity, education for visual culture, visualities, decolonial pedagogies, art research and other cross cutting themes.Item Extraviando imagens em um percurso autoformativo(Universidade Federal de Goiás, 2024-02-02) Araújo, Marcos Felipe Fidelis; Perotto, Lilian Ucker; http://lattes.cnpq.br/1120812742549842; Perotto, Lilian Ucker; Valle, Lutiere Dalla; Rodrigues, Manoela dos Anjos AfonsoThis dissertation sets out to think about how visualities guide the formation of subjects and, consequently, the implications they have for their understanding of themselves. By visuality I mean the constructed ways of looking or the culture of seeing apprehended in its social and historical context, which enables certain ways of seeing ourselves and weaving self-images from these conceptions. I place myself as the subject of this autobiographical investigation, with the aim of reviewing my training process together with the images that represent the authorized ways of seeing that were given to me from my experience as an EXTRAviada child, who understands himself as a young gay man in a homophobic society, based mainly on religious beliefs. The concept of misplacing images arose from the appropriation of the work by artist Bento Ben Leite entitled “Born to ahazar” (2013), which was censored at the exhibition Queer Museum: cartographies of difference in Brazilian art in 2017, which propagated the concept of the queer child. Based on contributions from the field of visual culture studies, I sought to understand the role of images as devices that help in the process of understanding the subject about their life trajectory. I find in artistic practice a self-formative potential that throughout history has enabled various subjects to claim the autonomy of their gaze on themselves, unleashing a self-creative process that is also self-formative, which according to Pineau (2014) consists of "becoming an object of formation for itself" (p.95). Faced with the impossibility of conceiving of myself as a subject based on the identities that have been offered to me, I try to create my own references, going beyond the meanings of the images that have (con)formed me into a distorted and limited perspective of who I could be. Through artistic practice, I reflect on my formative journeys as a subject, returning to the path of creating a character called Mimimon that I developed during the initial years of my undergraduate degree in Visual Arts, which records my formative journey in relation to the images that guided my formation, from which I intend to question my experiences and understand the constitution of the gaze on myself. The image of this character, which is close to the conception of the Devil that I acquired in childhood, is seen as a counter-visuality that authorizes me to claim my formative power to confront the beliefs that have restricted my gaze. In the end, I realize that the dissertation has become a space for formative and methodological experimentation that helps critical reflection on the construction of the subject's own gaze, supported by the images that contributed to his formation, appropriating the Biographical Project Workshop (Delory-Momberger, 2006) to propose the Autobiographical Visual Narratives Workshop, process in which I have immersed myself throughout the research as research method of investigation and the main contribution of this dissertation to the field I’m inserted.Item Ser mil e uma: imagens dançaram em seus próprios tempos até chegarem a mim(Universidade Federal de Goiás, 2024-02-05) Barra, Luiza Domingos; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Abreu, Carla Luzia de; Macedo, Silvana BarbosaThis autobiographical essay writing is a drift full of doubts - which is woven together with reflections on and with the processes of artistic creation. Defining itself as a research in art, it aimed to create artistic works based on photographic images from my family's collection, including photos taken in Lebanon in the 1950s and collected by my great-grandmother since her immigration to Brazil. I start from the position of great-granddaughter of Lebanese immigrants to appropriate such photographs with a poetic intention that addresses issues of identity, gender and belonging while criticizing orientalist stereotypes. I therefore draw on Edward Said's (2007) definition of Orientalism, using it as a theoretical-critical nutrient to perceive Eurocentric discourses and epistemologies in images of Art and Visual Culture referring to Arab countries. Inserted in the research line Artistic Poetics and Creation Processes of the Postgraduate Program in Art and Visual Culture at FAV/UFG, the relevance of the research glimpses the current geopolitical configuration of the “Middle East” and how the Western media reproduces stereotypes that affect refugees and immigrants. The methodology benefits from the notions of Autobiographical Research in Art, proposed by Manoela dos Anjos Afonso Rodrigues (2021) and autofiction by Nelson Guerreiro (2011). I present as artistic results created in this context, a set of works that seeks to technically explore artist books, photography, performance and video from a “feminist way of unarchiving” as presented by Luana Saturnino Tvardovskas (2021).Item Vertebral: um olhar feminino crítico sobre a representação da mulher flexível(Universidade Federal de Goiás, 2023-09-21) Berardo, Julia Macedo; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Miola, Gabriela Canale; Nascimento, Ana ReisThis is an autobiographical arts research, developed at the master's level in the research path Artistic Poetics and Creative Processes of the Graduate Program in Art and Visual Culture, at the Faculty of Visual Arts (FAV) of the Federal University of Goiás (UFG). The objective was to carry out an audiovisual production based on a critical and poetic exercise on the presence and representation of women in the circus, seeking to address the obstacles and invisible violence suffered by athletes and artists in circus performance, starting from my experience as a woman and artist. With the support of feminist critical thinking and informed by the historical study of the presence of women in the circus, I create a multimedia audiovisual performance, seeking to confront the sexist and fetishized representations of the athletes and opening space for other ways of being and seeing the female body in the circus expression. In this text, I dialogue with Latin American authors such as Bosch (2019), Losada (2021), Orellana (2020) and Varejão (2020). Complementarily, the theoretical framework is composed by Bleiberg (2005), Guhl and Koner (2017), and Qifeng (1985) to draw a historical panorama. Concerning multimedia artistic representation and cinematographic language, my audiovisual poetics is informed by the survey and analysis carried out by authors such as Martin (2003) as well as by my references and experiences as a woman, artist, circus contortionist, and multimedia audiovisual producer.Item Professora podemos dançar sobre isso? Experiências de uma artista-docente no Projeto Orlandança (2015-2020)(Universidade Federal de Goiás, 2022-03-29) Calixto, Janaina Pimenta; Silva, Thiago Fernando Sant 'Anna e; http://lattes.cnpq.br/973568299664754; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Ribeiro, Luciana Gomes; Perotto, Lilian Ucker; Silva, Rosana Gonçalves da; Figueiredo, Valéria Maria Chaves de; Guimarães, Leda Maria de BarrosThis research deals with the power of critical teaching of art in public schools, based on the experiences of an artist-teacher for five years with the Orlandança Project at the Orlando de Morais Municipal School in Goiânia-GO. Thus, we bring, through the images and memories of the researcher archived through them, the paths of a teaching experience, critical/reflective in art at school, through dance from a critical perspective. In this way, we intend, through these experiences, to understand the power of teaching art at school? How does this teaching experience answer the question? Starting from an affective writing, we seek in this narrative to bring elements that validate the importance of strengthening the teaching of art in public schools, especially dance, which is increasingly removed from this place as an area of knowledge. We approach concepts from the field of Visual Culture, Semiotics, Archive, Memory, Body, Education, Art and Dance. We established as a general objective of this research: to investigate the importance of critical educational practices in dance at school, and as specific objectives: to understand how my teaching experience in the Orlandança Project can contribute to a transformative teaching, potent in art at school; to analyze the mediation processes and the construction of meanings that the classes, presentations and sensitization in dance aroused in the students of the Orlandança Project; to analyze the possible relations between dance and the critical formation of the subjects in the Orlandança Project.Item Corpo, doença e política na obra de Félix González-Torres(Universidade Federal de Goiás, 2023-02-20) Cardoso, Anna Beatryz Ribeiro; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; Jesus, Samuel José Gilbert de; Sá, Rubens Pilegi da Silva; Anjos Neto, João Dantas dosThis research aims to analyze some works by the American artist Félix González-Torres through three different thematic axes: body, disease and politics. It is shown how the artist related to each of these axes and also how they appeared in his artistic production. In order to talk about how he saw and thought about the body, a historical summary of western ways of perceiving it is made and, then, examples are given of how González-Torres approached issues of corporeality in his works. In relation to the disease aspect, some etiological models used to understand it are shown and, later, the influence that the medical system has on the way patients deal with and understand their own disease is pointed out, as well as works by other artists who also talked about similar topics. It is emphasized how González-Torres used his artistic production to better relate to AIDS, disease from which he died, as well as his relationship with death, pain and the loss of family and friends. Finally, the theme of politics is approached and, for that, the context of the AIDS crisis in the United States, during which González-Torres lived and produced most of his works, is brought. The research tries to show how his work and that of other artists of the time were able to contain very strong political and activist capacities, mobilizing for better awareness and reducing prejudice against people infected with the HIV virus.Item Cozer bolos/coser livros - autopublicação de livros: ação pedagógica e artística na cidade de Goiás (GO)(Universidade Federal de Goiás, 2022-02-04) Carlos, Wagner Falcão; Perotto, Lilian Ucker; http://lattes.cnpq.br/1120812742549842; Perotto, Lilian Ucker; Andrade, Émile Cardoso; Guimarães, Leda Maria de BarrosHistory has shown that access to the book as a reader and, especially, as an author faces significant restrictions since its development. It is proposed to reflect on the relevance of other subjects having access to the book as authors, minimizing the distance between people to this object by seeking ways to, on the one hand, question the right artificially constructed by visuality to access exclusively the book as authorship; on the other hand, providing opportunities for other subjects to access it as authors, valuing their perspectives through these objects. It is methodologically supported by action research (LEWIN; GREENWOOD, 2006); in Arts-Based Research (HERNÁNDEZ, 2008) and a/r/tography (IRWIN, 2013); and in Visual Culture (MIRZOEFF, 2003). As complementary techniques and procedures, bibliographic research are used (MARCONI; LAKATOS, 2017), cross images (SAMAIN, 2012), grounded theory (STRAUSS; CORBIN, 2008) and writing under the typology of Evocative Texts ( BARONE; EISNER 2006 apud HERNÁNDEZ, 2008). The option for such methodological paths and for such methods are given to meet the idea of trivialize the access to the book as an author, something that has strong support in the propositions of Mirzoeff (2011) about visuality complexes, generating the perception that the book system is also organized through a complex, the book complex. The reflections on memory had as a starting point the thought of Candau (2011) and Halbwachs (1990). Exist an emphasis on the relation with the book Memory and Society, by Ecléa Bosi (1994), which, in addition to debating the issue of memory, brings reflections relevant to the methodology for promoting self-publishing due to the way in which the book is organized. From Almeida (2009), Gohn (2015) and Freire (2011,2013), he raised a reflection on the pedagogical and artistic action, “Cozer bolos/ Coser Livros”, which was mediated by a visual arts teacher. The results of the experiment were shared through a significant number of images and text-images. Then the promotion of self-publishing is a relevant action for the access of more subjects to the book as authorship; that the training process involved in the action must have as a principle the search for the authors' autonomy, in an education for freedom; that public research and teaching institutions play a key role in ensuring the development of similar actions.Item Análise e aplicação do quadrinho autoral de horror e terror: uma construção de estilo híbrido a partir de influências de desenhos de quadrinhos espanhóis da década de 1970 e narrativa Gekigá(Universidade Federal de Goiás, 2020-12-01) Dutra, Cláudio Batista; Andraus, Gazy; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Oliveira, Ivan Carlo Andrade de; Berardo, Rosa MariaThe current dissertation carries out in discussion authorial comics, in which highlights thematics such as the horror, as well as the narrative originated from the Gekiga style. Concerning the horror, it implements a reflection based on the authors of these genres and explores the influence of Spanish comics illustrators such as Esteban Maroto, José Ortiz, José Gonzalez, Sanjulián, Luís García, and others published in Brazilian magazines, as well as it contextualizes a few contemporaneous Brazilian authors influenced by them such as Mozart Couto, Mano, Rodval Matias, Watson Portela, Carlos Chagas, Ricardo Leite, among others. These last names were relevant on the creating process of national Comic Books on the publishers D-Arte and others. Furthermore, the research accom- plishes the influence throughout the visual narrative aesthetic of Gekiga comics – an au- thorial branch of Manga. These theoretical reflections result on the artistic practice built on the creating of authorial comic books that mixes realistic styles throughout the Spanish aesthetic of horror with the photographic language of the Gekiga narrative, promoting narrative exercises that blend these influences. The result proposed, as itself, consists of an album in horror comic books carrying out three short comics to this research work.Item Cibernética e interatividade: conceitos, práticas e poéticas experimentais(Universidade Federal de Goiás, 2019-12-13) Fioramonte, Wilder; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Salles, Laurita Ricardo de; Monteiro, Rosana Horio; Hildebrand, Hermes Renato; Silva, Thiago Fernando Sant’Anna eThis research unfolds in an investigation of a theoretical nature and another of a practical nature. From a theoretical point of view, aspects of cybernetics (such as the notions of feedback, control, self-regulation, entropy, role of the observer, cognitive processes, first and second order cybernetics) are addressed, as well as theoretical aspects related to participation and to interactivity in the context of technological art, with issues such as the opening of the artwork to reception and the notions of first and second interactivity, endogenous and exogenous interactivity being discussed. The alignment of these concepts form the basis for the practical approach, when we present: (1) the technological art installations of the new expographic project of the Museu Casa de Cora Coralina (City of Goiás), developed by the Media Lab / BR team between the years from 2016 to 2018; (2) the work Sonoridades Coralinas (2017), an installation that invites the viewer to delight in declamations of verses by the poet Cora Coralina, in a multisensory perspective; and, (3) the installation of technological art Metamorfônicos (2017-2018), in which a person can interact to a cybernetic system through the generation of sounds capable of inducing a “creature” to perform rhythmic steps and paint ink tracks in paper. As relevant results of this investigation, we mention the verification of important alignments between the theoretical notions of participation and interactivity in the perspectives addressed by Julio Plaza and Edmond Couchot et al. in association with first and second order cybernetic theory, and the practical experiments with the technological poetics of the works listed, all of them inserted in the regional context of the state of Goiás.Item Educação infantil e cultura visual nos documentos da Rede Municipal de Educação de Goiânia(Universidade Federal de Goiás, 2023-05-25) Guimarães, Julia Moreira; Abreu, Carla Luzia de; http://lattes.cnpq.br/1430560976125427; Abreu, Carla Luzia de; Perotto, Lilian Ucker; Costa, Adriane Camilo; Valdez, DianeThis dissertation proposes a analysis of the subject formation in Early Childhood Education, specifically in the Municipal Education System of Goiânia, having as a founding reference the official documents that regulate this educational stage in the municipality and the understanding that the school environment is not a neutral ground as it is being formed by many contextual layers and plural perceptions. Through the methodological perspectives of document analysis and narrative survey, the research was interested in intersecting the guidelines contained in official documents with different voices from the Municipal Department of Education, which testimonials were collected through interviews. It was examined how these documents were constructed, passed on and received and what as well are the strategies for studies and implementation in educational units. As specific questions, it was explored the role of (audio)visual artifacts in the processes of construction of knowledge in childhood and in other pedagogical dynamics and practices that contribute to the development of children in educational routines. The narratives of the people interviewed pointed out some difficulties for the full understanding of the documents that currently conduct the daily life in educational units dedicated to Early Childhood Education, especially in relation to the time allocated to studies and collective debates on the various themes present in official documents. The interviewees indicated the need to build a broader network of efforts to favor in-depth knowledge of the documents and pointed to continuing education courses as a possibility to incorporate more diversified practices into pedagogical planning, prioritizing the construction of knowledge that favors the development of ethical and democratic values within educational environments.Item A perspectiva temporal no projeto de interfaces gráficas(Universidade Federal de Goiás, 2021-08-13) Lebtag, Paulo Lucas Araújo; Rocha, Cleomar de Sousa; http://lattes.cnpq.br/5039948128955710; Rocha, Cleomar de Sousa; Carvalho, Agda Regina de; Monteiro, Rosana HorioThis work discusses, from the perspective of merleaupontian phenomenology, about the temporal dimension in the design tools of graphic interfaces. The discussion is about the definition of what is the temporal perspective according to the concepts of the phenomenologist Maurice Merleau-Ponty. It exposes what graphic interfaces are and their relationship with contemporary society. It presents what is the design of graphical interfaces and its relationship with design tools. It is analyzed the tools present in the Design Toolkit of the Universitat Oberta de Catalunya (2020), discussing the temporal perspective in each of the tools. The tools that have a temporal bias are highlighted and structured in an instruction on how to develop a project from a temporal perspective. It is concluded that the study of the temporal perspective enriches the designer and makes it possible to problematize the interfaces in a more adequate way to the liquid contexts of contemporaneity.Item Lacunas entre linguagens: a leitura de obras de arte visuais e verbais(Universidade Federal de Goiás, 2024-08-16) Macedo, Marília de Paula Gontijo; Beck, Ana Lúcia; http://lattes.cnpq.br/2375559417849078; Beck, Ana Lúcia; Tavares, Leonardo Motta; Jesus, Samuel José Gilbert deThis dissertation reflects upon artworks that use visual language and verbal language as complementary things, as opposed to a hierarchical relation between them. Considering the works of authors such as G. E. Lessing, Michel Foucault and W. J. T. Mitchell, a landscape of the different relations between images and words in the artfield throughout the course of history is made, as well as how these conceptions have affected and still affect art production and our perception of it. Driving this content are some examples of visual artists and writers, such as Taryn Simon and Cecilia Vicuña, connecting works that have words and images in order to, at last, reflect about the production of brazilian artist Leila Danziger, considering the way she explores the dialogue between verbal and visual languages in her own production.Item Representatividades e auto-representação no ensino de Arte(Universidade Federal de Goiás, 2021-03-05) Malheiros, Jorge Aladir da Cruz; Ferreira, Glauco Batista; http://lattes.cnpq.br/2193871294419921; Guimarães, Leda Maria de Barros; Ferreira, Glauco Batista; Santos, Noeli Batista dosThis research discusses the use of artistic productions together with proposals for representation and self-representation in the teaching of Art, seeking to insert themes of diversity in the teaching of visual arts, pluralizing the students' image / aesthetic universe and to assist in the historical repair of cultural invisibilities in Art History. The initial proposal of this study goes through experiences and observations that I witnessed as a teacher of Basic Education, a place where the aesthetic deficiencies and the invisibilities of different cultures remain distant. Reflecting on the black representativeness for the teaching of Art, when looking at Kehinde Wiley's work in an educational practice, I aimed not only at mentioning him as a simple example, but to work so that students could see themselves, identify themselves and produce knowledge in an associated way to make arts education more inclusive and rich, breaking cultural invisibilities and honoring the image of the society around us. Thus, we realize how the work of an Afro-descendant artist can contribute to Afrodescendant representativeness and other markers and subjectivities in arts education, as well as in the way we relate to visual culture.Item Um artista no planetário: processos de criação e poéticas artísticas na intersecção arte e astronomia(Universidade Federal de Goiás, 2021-12-07) Meireles, Matheus Ezequiel de Oliveira; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Bonfim , Carolina Felice; Oliveira, Flavio Gomes deThe origin of this work lies in my artistic trajectory, which intersects visual arts and astronomy – a practice I designate as cosmographies. In this research, I want to reflect on my experience as an artist at the Planetário Juan Bernardino Marques Barrio of the Federal University of Goiás (UFG). Through an artistic practice-based research methodology, I ask what can I discover with the experiences, creations and poetics that arise in this interdisciplinary context which converges art and astronomy in actions directed to society. With the theoretical-practical approach to these issues, I seek to challenge borders and defend the importance of synergy between different areas of knowledge. A research that directly contributes to the Planetarium, to the local society/culture and, especially, to the area of Arts – considering both artistic research in Planetariums and investigations in the relationship between art and astronomy are fields that have been few explored academically in Brazil and in the world.Item Um estudo sobre a nudez, pudor e erotismo através das mulheres desnudas em Henrique Alvim Corrêa(Universidade Federal de Goiás, 2020-10-13) Melo, Rayani Rodrigues; Jesus, Samuel José Gilbert De; http://lattes.cnpq.br/3589952430806659; Andrade, Rita Morais de; Jesus, Samuel Jose Gilbert De; Costa Junior, Martinho Alves daStarting from the observation of the visual production of Alvim Corrêa (Rio de Janeiro, 1876 - Brussels, 1910), the present thesis aims to investigate the artist’s work that portray the female figure, especially his production of erotic inclination, curiously signed under the pseudonym H. Lemort . The research is dedicated to elaborate an iconographic analysis of the representation of the female body in Corrêa’s work, and branches out in some guiding subjects, such as: nudity, Femme Fatale and eroticism. The analysis of the tension of the representation of the naked body and/or the eroticized body in the artistic production of the second half of the 19th century is a point of profound interest here, which also results in the analysis of the arts system during the second brazilian oitocentos as well as the practice of teaching at the Imperial Academy of Fine Arts.Item Econarrativas visuais: o despertar de si como natureza(Universidade Federal de Goiás, 2021-11-08) Moreira, Ingrid Costa; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Andraus, Gazy; Miola, Gabriela Canale; Berardo, Rosa Maria; Freitas, Ana Elisa de CastroIn this research in art, I ask: how to create images from exercises of approximation between human beings and nature? Thus, the general objective of this master’s research was to investigate the processes of creating visual narratives elaborated from perceptions and experiences with the nature present in the surroundings of the neighborhood where I live, called Vila Itatiaia, located in the northern region of the city of Goiânia, in Goiás. Visual econarratives departed from the ‘econarrative’ concept brought by authors Peter Perreten and Melanie Pryor and are artistic propositions created in this research from crossings between experiences with nature and critical perspectives that put different fields of knowledge in dialogue, such as: ecology, feminism, art, decolonial studies and autobiographical studies. In dialogue with these themes, I used environmental and ecofeminist movements as a basis, as well as the authors Walter Mignolo, Michael Serres, Lenoble, Aníbal Quijano, Ailton Krenak, Elizabeth Beltrán and Vandana Shiva to understand and articulate a discussion about the relationships and understandings that were establishing itself temporally and spatially in relation to nature. As artistic references, Ana Mendieta, Fina Miralles, Vidi Descaves, Evan Cohen and Uýra Sodoma, are artists who brought an understanding and reflection on the potency of the idea of putting yourself as nature. In addition to these artists, Coletivo Oda Coletivo and artist Manoela Rodrigues, helped in reflections on socially engaged art and artistic approaches developed in the master’s, being them two workshops, a seminar and an exchange of letters with two residents of the Vila Itatiaia neighborhood. For the production of visual econarratives, the investigation adopted research based on artistic practice as a methodological support, with approaches to four poetic strategies: autobiography, with an emphasis on autobiogeography, walking, life narratives and mental maps. The articulation of these approaches was made through an artistic practice that was constituted from walks, collections, conversations, photographic records, digital collages, illustration, painting and embroidery, resulting in the proposition of the notion of visual econarratives and a series of productions, among them: 20 visual econarratives, actions developed with groups and an artist’s diary. The notion of visual econarrative started from the investigation of narratives that distance our existence from nature, in which I reflected and identified strategies to approach it, to then create visual econarratives that propose the integration of oneself as nature. Based on this notion, I understood that artistic practice, centered on the production of visual econarratives, is a means of articulating the narratives of self towards integration, which stimulates a change in perception by demonstrating that it is not enough to be close to nature, but it is necessary to have a systemic view of perceiving oneself as part of it. In this master’s thesis, I present the path that was being traced at each step of this investigative journey that took place together with nature and as nature. Finally, in a scenario of environmental crisis affected by the pandemic, the theme of this research proved to be relevant, urgent and necessary, as it reinforces the importance of recognizing ourselves as part of nature and, thus, seeking new perceptions about it, that is, about ourselves.Item Lembrar, narrar e desenhar: atravessamentos entre crianças e pessoas idosas(Universidade Federal de Goiás, 2021-09-27) Moreira, Nara Mendes; Abreu, Carla Luzia de; http://lattes.cnpq.br/1430560976125427; Abreu, Carla Luzia de; Suanno, Marilza Vanessa Rosa; Martins, Alice Fátima; Valdez, Diane; Ucker, LilianThe research Remembering, Narrating and Drawing: crossings between children and elderly people addresses the exchange of narratives and the sharing of experiences between five children from a Municipal Children's Education Center in Goiânia, and elderly people from their family contexts. The research took place remotely due to the COVID-19 pandemic and aimed to reflect on how children and elderly people perceive the age categories of childhood and old age, in addition to seeking to understand the role played by the imaginary within the narratives that transit between these phases of life. For this, a narrative research was built, with a participatory approach, in order to value the oralities and life stories of the people involved in this process. The study is theoretically based on authors who discuss age categories, memory and education in line with Visual Culture Studies. As part of the investigation process, semi-structured interviews were carried out with the participating people. The fieldwork also includes the dynamics between storytelling carried out by the elderly and the construction of visual narratives by children, who used drawing as a form of expression. The result obtained refers precisely to the convergence point of the study, the analysis of how and what children and elderly people learned together, through told stories and the production of visual narratives.