Programa de Pós-graduação em Arte e Cultura Visual

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goyania – outubro ou nada: arquivos, imaginação, montagem, filme-ensaio
(Universidade Federal de Goiás, 2023-08-23) Alves, Uliana Duarte; Berardo, Rosa Maria; http://lattes.cnpq.br/5933853765756576; Berardo, Rosa Maria; Silva, Sabrina Tenório Luna da; Borges, Rafael de Almeida Tavares; Rodrigues, Manoela dos Anjos Afonso; Jesus, Samuel José Gilbert de
The doctoral dissertation goyania – october sketches: archives, imagination, montage, essay film, is dedicated to investigate the creation process of the short film goyania – october sketches (2022), in which I performed the functions of researcher, screenwriter, producer, editor and director. During the long editing period, the work gradually molded itself to a different form than the one initially invented, requiring that the approach of its objects – my hometown, its history and its imagery – made a displacement towards my personal experience and the way I related to the archival images and sounds produced in different eras, media and with contrasting intentions. I rode among the archives inspired by a strong impulse to question these images and through them, at the same time that I was thinking over the very experience of drawing a different portrait of Goiânia than the one presented by classical historiography. The theoretical-practical nature of the research made it possible for the notions of imagination and montage, which structured the film, to be taken as starting points for its production. The theoretical and artistic references that inspired the film were also welcomed in this dissertation in a pragmatic way, to the point where it embraced an essayistic and somewhat insubordinate writing, wishing to answer both to the movement of thought that recalled the creation process, re-elaborating the concerns that constituted it and the commitment to building a knowledge in Art that contributes to the studies of essay film, found footage film, visual culture, history and image.
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 Afonso
This 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.
Tecituras e bordaduras: contextos, narrativas e práticas de bordado em cooperativas
(Universidade Federal de Goiás, 2024-03-28) Barbosa, Isabele Maria Geraldo; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Martins, Alice Fátima; Chaud, Eliane Maria
This research aimed to understand aspects present in the practice of embroidery within a cooperative setting. The investigation focused on the teaching and learning of embroidery, exploring the connections between the craft's practice, its propagation within a cooperative context, and its role as an instrument for socio-economic transformation. By considering embroidery as an artistic practice and an organizing tool for forms, content, thoughts, and feelings, the study paved the way to contemplate the experience of materializing creative processes by embroiderers. Furthermore, the research examined how experiences are shared, and through the exercise of embroidery, it explored the dynamics of communal living in the Bordana cooperative located in Goiânia, Goiás. The methodological approach involved narrative interviews to share experiences with this craft, considering the reasons that led individuals to pursue learning embroidery. Their learning and teaching histories were investigated, revealing differences and peculiarities in the processes. As a result, the research observed the social impacts promoted by the practice of embroidery, the stance of cooperative members in creative processes, and the role of Design as a collaborative mechanism in these processes. Among the authors of the works surveyed and their references, names such as Mariana Diniz de Carvalho (2017), Jean-Yves Durand (2016), and Maureen Daly Goggin (2009) stand out. Authors like Raimundo Martins and Irene Tourinho (2013, 2017) played a significant role as methodological foundations and opened doors to new references. It is considered that this study may contribute to forming a more attentive view of the significance of artistic practices within cooperative situations, especially the practice of artisanal embroidery as a means of community coexistence and a transformative element for individuals.
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 Barbosa
This 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).
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 Reis
This 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.
A poesia slam e suas des-margens
(Universidade Federal de Goiás, 2023-11-17) Boleão, Jossier Sales; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Andrade, Emile Cardoso; Santos, Michelle dos; Guimarães, Leda Maria de Barros; Meira, Elinaldo da Silva
This thesis is an exercise in looking at slam poetry, focusing on the movement in Brazil and making some reflections from the field of Visual Culture. Slam poetry emerged in the early 1980s in the United States and since then has spread to several countries. In Brazil, slam poetry arrived in 2008, the country being one of the references for the quantity and diversity of slam groups spread, in addition to other elements that make up many particularities of each group. The notes made in this text follow the trajectory that begins in the autobiographical path and expands in avenues when finding slam poetry, and understanding it as a poetic act, transfiguring itself into energy of resistance and occupation of seeing, hearing and feeling. The direction in which the thesis is constituted arose from the following questions: what visualities and countervisualities do slammers promote, summon and provoke, from the poems that overflow their bodies? Which narratives mobilize and want to propose? The consequences resulting from these inquiries originate in the investigative work that began in 2019, from the participation in poetic slam battles, in the city of Goiânia, in Goiás and, with the arrival of the covid19 pandemic, the research moved to the competitions that took place in the environment of digital platforms. Given this context, the material that drives the reflections presented here is diverse and comprises various nuances of what already exists in the systematization of slam poetry. That being said, the perspective addressed supported by visual culture covers the dimensions of the poetic act from a pedagogy of slam poetry, from its understanding as cirandas of knowledge anchored in popular education and in the politics of the word, in which the need becomes a voice and the poem becomes the terrain of revolution, since the event in the format of popular assemblies, adding the competitive element between artist poets. In addition, this thesis follows the paths of slam poetry as an insurgency through counterpoetry, in its decolonial exercise, since its aesthetics goes towards the sanación of colonial wounds, having as its power the poetic fabrication of the visual city, without losing the reflections of a pandemic poetics in a regime of denial in Brazil governed by the extreme rightwing, until the year 2022. It finally enters the conditions of this poetic work during longdistance connections by populating digital platforms with poetry and other sensitive exercises. The systematized elements are not intended to show fixed answers, but to point to other perspectives of looking at the slam poetry movement and at artists who reconfigure the scene in everyday life.
Mapa acima, rio abaixo: rastros e vestígios na construção do fotolivro Araguaia
(Universidade Federal de Goiás, 2024-12-09) Calaça, Mariana Capeletti; Martins, Alice Fátima; http://lattes.cnpq.br/2768377569632609; Martins, Alice Fátima; Guimarães, Leda Maria de Barros; Meira, Elinaldo da Silva; Oliveira, Wolney Fernandes de; Bueno, Murilo Gabriel Berardo
This research investigates the construction of the Araguaia photobook as a way of articulating memory and visual narrative about the Araguaia Guerrilla (1972-1974), one of the most brutal and silenced chapters of the military dictatorship in Brazil. From the perspective of a/r/tography, which integrates the practices of an artist, researcher and educator, the study explores how photography can be used to revisit collective memories, especially those marked by trauma and oppression. The project is based on images captured in the field, diaries and conversations with peasants who lived through this historic period. During the pandemic, by refocusing on the material already collected, the research found a methodology inspired by Aby Warburg and Walter Benjamin, where photographs, juxtaposed with historical documents, create a dialog between past and present. The photobook thus becomes a space to give voice to silenced memories, using photography not just as a record, but as an act of resistance and re-signification. The anachronistic montage challenges the linearity of official history, proposing a critical and sensory reading that connects the viewer with the stories and scars of a territory marked by state violence. By constructing this visual narrative, the work seeks not only to recover an erased past, but also to propose new forms of engagement with historical memory through art.
Cultura visual, vida digital e videoclipes do Youtube
(Universidade Federal de Goiás, 2024-03-21) Carvalho Júnior, Luiz Espíndola de; Silva, Thiago Fernando Sant Anna e; http://lattes.cnpq.br/9735682996647548; Guimarães, Leda Maria de Barros; http://lattes.cnpq.br/1491866271915819; Guimarães, Leda Maria de Barros; Silva, Thiago Fernando Sant Anna e; Arslan, Luciana Mourão; Guimarães, Alexandre José; Martins, Alice Fátima
This thesis presents the methodological design and results obtained in Visual Culture and Digital Life: A Discussion from YouTube Visualities. The objective was to analyze, under the scope of Visual Culture, the most accessed video clips on YouTube Rewind Brazil, in the time frame between 2018 and 2020, combined with interviews carried out with students from State´s College Dom Pedro I. The visualities observed were perceived from Discipline and Punish in conjunction with decolonial studies, used to support ideas that can result in curricula for teaching Art in an inclusive, anti-racist manner and away from the euro centrist bias. The results obtained point to the prevalence of university country music and ostentatious funk as visualities that encourage unbridled consumerism, based on cybernetic digital platforms, such as the YouTube, with educational impacts reflecting on aesthetics, sociology, Visual Culture, art teaching and the construction of digital simulacra that emulate reality in an individual, and transparent and liquid way (Metaverse). Cyberspace has become an “artificial oasis” where all desires can materialize in a customized way.
Nós, eu e o animal-memória
(Universidade Federal de Goiás, 2025-02-18) Crisóstomo, Gisele; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Oliveira, Wolney Fernandes de; Sacco, Helene Gomes
We, I and the memory-animal is an autobiographical research in art which seeks a place of belonging through the creation of artist's books, in a poetics of travel. When wondering where I belong, I looked through the family archive and realized that I wouldn't find a specific place of origin. From this gap, I developed the notion of autogeofabulation, braided from the concepts of inventorying, autobiogeography and critical fabulation. In the process, a presence emerged that guided me through internal landscapes, which I named memory-animal. The operational concepts of autogeofabular and memory-animal are results of this investigation. The movement — physical, identity, diasporic — and the word — oral, written, from the dictionary — sewed the fabric of memory through the threads of the autogeofabulation, traversing the traces of the archive, recognizing the internal landscapes and imagining what was erased. The memory-animal emerged along this path, blurring boundaries between archive and fable, in opposition to hegemonic narratives. The investigative path resulted in the creation of four artist books entitled: About us, The map of the ruins, At the margins of me and Fabled landscapes, made during the year 2024 and which give materiality to this search. This research is part of the line "Artistic Poetics and Creation Processes" of the Postgraduate Program in Art and Visual Culture (PPGACV) of the Faculty of Visual Arts (FAV) of the Federal University of Goiás (UFG) and in the line "Auto/Biographical Materialities and Immaterialities in Artistic Poetics and Creation Processes" from the Autobiographical Artistic Practices Research Group (NuPAA/UFG/CNPq).
Os modos de vestir das mulheres INỸ Karajá: origem, tradição e invenção
(Universidade Federal de Goiás, 2024-01-30) Di Calaça, Indyanelle Marçal Garcia; Andrade, Rita Morais de; http://lattes.cnpq.br/0652175469093010; Andrade, Rita Morais de; Pires, Ema Cláudia Ribeiro; Jesus, Samuel José Gilbert de; Cândido, Manuelina Maria Duarte; Nazareno , Elias
This thesis presents a study about the ways of dressing of Inỹ Karajá women in contemporary times. Although women are more contemplated in the history of fashion and dress, than men and children, for example, the choice made it easier for me to reflect the similarities and differences between the ways of dressing of Inỹ Karajá women and women in the territory that was once called Brazil. The guiding questions promote several reflections, such as: do Inỹ Karajá women's ways of dressing in contemporary times result in the maintenance of a tradition? Is there a difference in the way of dressing between women from the same village Santa Isabel do Morro/TO, considering age, social position, religion, etc? Is the use of traditional clothing by Inỹ Karajá women related to the feeling of belonging/identity? The methodological procedures adopted include a systematized bibliographic review with a concern for privileging the plurality of indigenous and Latin American authors with works of a transdisciplinary aspect, without a passive focus on European references. This research initially made use of Digital Ethnography for its realization, meeting the guidelines of the World Health Organization for the containment of covid-19 and recognizing the greater vulnerability of indigenous populations. The project was assessed and approved by the Research Ethics Committee of the Universidade Federal de Goiás, and the semi-structured interviews began, using technological resources that best suited the possibilities of the indigenous women collaborating. Subsequently, the Santa Isabel do Morro/TO village applied to the Fundação Nacional do Índio (FUNAI) to carry out the field research in person. The research, in general, involved the participation of several indigenous Karajá from different villages, but mainly from the aforementioned village, based on a project approved under the REFARM CRIA call for proposals, which promoted collaborative and horizontal data collection. There was also an analysis of images and visualities of museum collections and archives, based on the contribution of authors from the field of Visual Culture. The interest in indigenous dress may contribute to the production of the history of clothing in the country in the context of discussions on coloniality and decoloniality; besides promoting a mutual reflection, both by the researcher/mediator about my own naturalized conceptions, and by the female collaborators Inỹ Karajá about the transformations in their own culture.
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 de
This 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.
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 de
The 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.
Sob o véu de tule: latências e metamorfoses na fotografia post mortem
(Universidade Federal de Goiás, 2024-03-22) Mendes, Marina Muniz; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; ; Jesus, Samuel José Gilbert de; Silva, Guilherme Ghisoni da; Anjos Neto, João Dantas dos; Vilela, Ana Lúcia Oliveira; Beck, Ana Lúcia
This thesis presents the post-mortem portrait as its central theme. It develops the theme through three guiding axes: death, metamorphosis and photography. It investigates processes of construction of meaning centered on artistic images and visualities articulated with culture. It creates connections based on the author's personal history with the genre of post-mortem photography, starting with the photograph of the grandmother being veiled; including photo essays on dead and metamorphosed animals carried out on trips; until arriving at the book Ultima Thule, by Danish photographer Henrik Saxgren; Along the way, this thesis puts photographs from different collections into dialogue, grouping clippings from different historical periods and artists. Bibliographic and documentary research is used. Data examination is based on content analysis. The method is understanding-oriented qualitative research. The justification for the thesis is that in the search to understand life it is important to consider death. The objective of the research is interpretative. The thesis creates a poetic and authorial narrative. It develops creative writing. It is based on authors from the arts, humanities and applied social sciences, poems and literature, including fiction. The narrative strategy of the thesis makes use of morphological, semantic and social connections of the language. It ties together images-images, images-words, words-images, words-words. It stitches the analyzes using metaphors, latent images and imagination. It brings together entries from entomology, enhanced by analogies with the vocabulary universe relating to insects and analogies with the different phases of metamorphosis. Associations and contrasts also promote imagery associations between works. It is research with images, which structure a methodological perspective, not requested solely for their illustrative purposes. It is dedicated to collecting and curating for scientific purposes. It is inspired by the Atlas Mnemosyne by the German art historian, Aby Warburg (1866-1929). It creates a photographic exhibition drawn from four lines of force: candid post-mortem; death and monstrous masks; remote landscapes; and metamorphosed bodies of animals. It considers life, its transformations, reproductions and survivals. It acknowledges that in the search to understand life it is necessary to consider death.
Mulheres na taverna: processo criativo e prática artística sobre a representação feminina através de um jogo de visual novel
(Universidade Federal de Goiás, 2025-01-04) Paulo, Géssica Marques de; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Custódio, José Antônio Loures; Berardo, Rosa Maria
In this master's thesis I bring my creative process and artistic practice on female representation in digital games and the development of the game Mulheres na taverna. The main objectives are to analyze female representation in video games and correlate it with the concept of “beauty myth” by author Naomi Wolf using a practical and feminist approach, for this purpose, the author bell hooks is also used as a bibliographic reference. The game art game was created based on the plot of the book Noite na Taverna by Álvares de Azevedo. During the dissertation, the concepts of narrative, interactive narrative, games, game art and visual novel are explored. To improve the exploration of female representation in games, we analyzed games in the horror/horror genre, which are the focus of this research. And finally, detail the entire creative and artistic process behind the development of the game Mulheres na Taverna.
Mulheres na taverna: processo criativo e prática artística sobre a representação feminina através de um jogo de visual novel
(Universidade Federal de Goiás, 2025-04-01) Paulo, Géssica Marques de; Franco, Edgar Silveira; http://lattes.cnpq.br/8415486629956081; Franco, Edgar Silveira; Custódio, José Antônio Loures; Berardo, Rosa Maria
In this master's thesis I bring my creative process and artistic practice on female representation in digital games and the development of the game Mulheres na taverna. The main objectives are to analyze female representation in video games and correlate it with the concept of “beauty myth” by author Naomi Wolf using a practical and feminist approach, for this purpose, the author bell hooks is also used as a bibliographic reference. The game art game was created based on the plot of the book Noite na Taverna by Álvares de Azevedo. During the dissertation, the concepts of narrative, interactive narrative, games, game art and visual novel are explored. To improve the exploration of female representation in games, we analyzed games in the horror/horror genre, which are the focus of this research. And finally, detail the entire creative and artistic process behind the development of the game Mulheres na Taverna.
Eu também sou dona de casa: reimaginando a cozinha como lugar de memória, autonomia e expressão artística
(Universidade Federal de Goiás, 2025-03-26) Paz, Lívia Chagas da; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Donati, Luisa Angelica Paraguai; Macêdo, Silvana Barbosa
This artistic research emerges from the intersection of art, autobiogeography, and feminism to question the place of women artists in creative spaces. I center the kitchen as a focal point for reflections and practices, revisiting my trajectory, which begins with watercolor self-portraits and, years later, expands into ceramics. Throughout this process, I investigate how domestic logic—historically associated with women—can be redefined through artistic practice. In this context, I engage with authors and artists such as Virginia Woolf, Silvia Federici, bell hooks, Martha Rosler, and Mierle Ukeles to discuss memory, care, and the transmission of female knowledge. Drawing on Manoela dos Anjos Afonso Rodrigues, Lauren Fournier, and Gloria Anzaldúa, I develop a methodology that intertwines autobiogeography and autotheory within artistic research. The resulting ceramic works include Bolsa (2024), which examines self-representation; Conjugação (2024) and Casamento (2023), which explore the kitchen as a site of affective and power negotiations; and Quitandas (2024), in which I transform family recipes into ceramic pieces, activating memories and ancestral knowledge passed down through generations. Thus, I highlight the political and poetic potential of everyday practices, proposing the kitchen not only as a space of resistance but as a place for reinvention and expanded creation
O caderno de artista como processo artístico e poético
(Universidade Federal de Goiás, 2023-08-17) Pereira, Estêvão Parreiras; Jesus, Samuel José Gilbert de; http://lattes.cnpq.br/3589952430806659; Jesus; Jesus, Samuel José Gilbert de; Oliveira, Gregorio Soares Rodrigues de; Oliveira, Flávio Gomes de
The investigation is articulated around the production and thought about the artists' notebooks. As well as their recognition as a language of artistic and poetic construction of the artist in process. When investigating the object in question, we refer to a complex instrument of archive of experiences; it remains in the emanation of creation, perpetuated by the gathering of drawings, writings, among other means of expression.
Animando "Entressonho" - memórias e sonhos como referências imagéticas na criação de um curta-metragem de animação
(Universidade Federal de Goiás, 2025-03-26) Pimentel, Leandro Luiz de Abreu; Oliveira, Flávio Gomes de; http://lattes.cnpq.br/6251395246014220; Oliveira, Flávio Gomes de; Gualtieri , Nicolas Andrés; Rocha, Cláudio Aleixo
The presented theoretical-poetic research project explores, from an autobiographical perspective, how the repertoire of mental images transforms into material for the development of a visual poetics, using memories and dreams in the production of a 2D animation. The motivation for the research arises from the researcher’s own accounts of having stopped dreaming during a mental health crisis and subsequently managing to return to the world of dreams, which resonate in his new artistic productions. The search for answers guides the research path, starting with an interest in: understanding mental images through Visual Culture studies; investigating the relationship between capitalism, mental health, and dreams; analyzing the creative intersection between memory, dreams, and cinema; and exploring how the creative process originating from mental images transforms into a 2D animation. The theoretical framework is grounded in W.J.T. Mitchell's concept of "mental image" and in the Visual Culture studies of Anna María Guasch, Fernando Hernández, Georges Didi-Huberman, Jonathan Crary, Nicholas Mirzoeff, and Raimundo Martins. The theoretical-conceptual basis on the epistemology of dreams is grounded in the studies of Sidarta Ribeiro, and on cinema, in the studies of Arlindo Machado.
Tempo da bestage: poéticas autobiogeográficas de coexistência
(Universidade Federal de Goiás, 2024-12-20) Pinto, Bernardo de Morais; Rodrigues, Manoela dos Anjos Afonso; http://lattes.cnpq.br/7111235725963338; Rodrigues, Manoela dos Anjos Afonso; Brandão , Claudia Mariza Mattos; Meira, Elinaldo da Silva
This research establishes a dialogue between the fields of Art, Visual Culture, Autobiography, and Ecological Thought to artistically investigate the Anthropocene through autobiographical experiences in the northern Minas Gerais territory. Through an artistic practice guided by autobiogeography, I articulate ethical-political-aesthetic spaces as a counter-colonial action that processually maps what I call the "time of bestage." As outcomes of this investigation, I present a series of works created between 2020 and 2024, stemming from the poetic strategies I developed to inherit, without denying, the challenges of the ruins of our times.
Torre: gamearte por uma descensão ao real
(Universidade Federal de Goiás, 2024-02-06) Pires, João Pedro Teles; Oliveira, Flávio Gomes de; http://lattes.cnpq.br/6251395246014220; Oliveira, Flávio Gomes de; Rocha, Cláudio Aleixo; Ribeiro, Raquel de Paula
In this paper we propose the exploration of the process of creating the game art object entitled Turret. To do this, it is first necessary to establish the language used through the research. I find in essay writing (Adorno, 2003; Larrosa, 2003) a way of giving way to poetic and creative thinking that unites the process of creation and research work, a way of understanding these works as a single effort, and questioning, from the field of Art, some precepts and values of the academic production of knowledge. In sequence, we seek to update the concept of game with some of the prominent authors such as Huizinga (2000), Caillois (2017) and McGonigal (2011) in order to find the meanings of game as a significant cultural artifact for the human experience. In this discussion, we pay attention to the notion that games and players are violent or disseminators of uncritical violence, questioning it from the perspective of Visual Culture and the hypervisualization of images (Martins, 2006;2010). From this perspective, we think about the occurrence of violence in and around games and digital communities, and how this manifests and acts in both directions between the digital world and the real world (De Abreu, 2014a; 2014b). Through language, memes are established as ideological disseminators (Chagas, 2018) that help in the emergence of digital communities of the most diverse natures. We then turn to the act of playing, and how this becomes indicative of different human-machine interactions that focus on the cognitive and interpretative capabilities of games beyond uncritical entertainment (Majkowski, 2017), affirming that there are several paths between the minds of the creator and the player (Leino, 2012) and that these relationships can be anticipated, established or ignored between them, which makes games a powerful storytelling tool (Murray, 2003). Finally, the creative process is scrutinized (Salles, 2004) and thought on how it appropriates concepts from self-writing (Smith and Watson, 2002; Faedrich, 2015) and game art (Venturelli, 2006, 2019), to contemplate the path between the artist’s notebooks (Cirillo, 2011) to the digital medium, and how this gesture of creating art communicates with emotions (Sartre, 2006), more specifically with pain, ecstasy and the transcendence of human experience (Bataille, 1988), referring to the literature that addresses self-injurious behaviors (Araújo, 2019) and how these behaviors refer to social networks and digital environments (Silva, Souza and Faria, 2019).

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