PPGAV https://repositorio.ufpb.br/jspui/handle/tede/3881 2026-07-14T06:23:07Z 2026-07-14T06:23:07Z Lima, Ariana Nuala Reithler Pereira de https://repositorio.ufpb.br/jspui/handle/123456789/38241 2026-06-27T06:13:14Z 2025-04-30T00:00:00Z

Título: Mata museu mata Autor(es): Lima, Ariana Nuala Reithler Pereira de Orientador: Fonseca, Carolina Ferreira da Abstract: This dissertation spans the period from 2020 to 2024, during which the Oficina Francisco Brennand established itself as a fertile space for the dissemination of visual arts in Recife, Pernambuco. It examines the institutional relationship between the museum and the Atlantic Forest reserve that surrounds its territory that was once part of the former quilombo of Catucá (1817–1930). From this connection, a reflection on the “art of escape” is proposed, grounded in the thoughts of Dénètem Touam Bona, Fred Moten, and Stefano Harney. The overlap between the construction of the museum and the memory of the quilombo reveals how artists and thinkers align their practices with this narrative, which, although absent from the institution’s earlier official records, now permeates the daily actions of its artistic, educational, and collection sectors. This shift away from the museum’s previous image seeks to surface stories that have remained silenced until now. The research adopts a non-linear approach, offering a fluid reflection on the escapes and deviations that define this institutional period. Editor: Universidade Federal da Paraíba Tipo: Dissertação

2025-04-30T00:00:00Z Borges, Adriano Araujo https://repositorio.ufpb.br/jspui/handle/123456789/37540 2026-02-07T06:06:55Z 2025-02-27T00:00:00Z

Título: O Corpo no despir-vestir performático Autor(es): Borges, Adriano Araujo Orientador: Assumpção, Flora Romanelli Abstract: This artistic project investigates the body and the creative process in performance, highlighting the power of wearable art and its dialogues with space and the audience. The research stems from the need to understand how creative processes in performance develop in relation to wearable art, using the artist's personal trajectory as the central axis of the investigation. Throughout the study, themes such as lived experiences, daily life, affective memories, and the maternal laundry space are explored as poetic triggers. Methodologically, the research adopts an experimental approach, integrating processual records, performative experimentations, and reflections on artistic practice. The methods developed throughout the investigation enable the conceptualization and activation of performance through the body and clothing, understanding wearable art as a guiding element of performative actions. Although it engages in dialogue with fashion, wearable art is approached from a poetic and conceptual perspective, distancing itself from market-driven logic-an aspect that aligns with one of the essential characteristics of performance art. The study's findings reveal that each investigated process presents unique dynamics and singularities, reinforcing the notion that performative creation is inherently subjective and relational. Thus, this research navigates the contexts and concepts of performance, emphasizing the significance of poetic investigations within the field of visual arts. Editor: Universidade Federal da Paraíba Tipo: Dissertação

2025-02-27T00:00:00Z Câmara, Andrew Anderson Chagas https://repositorio.ufpb.br/jspui/handle/123456789/37218 2026-05-08T06:07:01Z 2025-07-25T00:00:00Z

Título: Gravuras do Nordeste Holandez do artista visual Nivalson Miranda e os brasões do seiscentismo nassoviano Autor(es): Câmara, Andrew Anderson Chagas Orientador: Zaccara, Madalena de Fátima Pequeno Abstract: The images from the print series known as NORDESTE HOLANDEZ were created between 1972 and 1993 by the contemporary graphic artist from Paraíba, Nivalson Miranda (1927–2013). The woodcuts in this series are part of the collection at the Pinacoteca of the Universidade Federal da Paraíba. In his work, Miranda employed heraldic drawings to build his visual discourse, centered on the 17th-century theme of resistance struggles in Brazil against the troops of the Dutch West India Company, which took place in regions of the Northeast. This research seeks to analyze the visual discourse created by the artist through an analytical and critical lens, using the image-reading and interpretation methods developed by art theorist and historian Erwin Panofsky. A bibliographic review was adopted here, covering authors, theorists, and historical themes related to the images that are the object of this study. The coats of arms that spatially identify regions of the Northeast, and that appear in Miranda’s work, were originally created by the Dutch artist Frans Post (1612–1680). These illustrate engravings published in Gaspar Barléu’s Rerum per octennium in Brasilia (1647), a work about the eight-year governance of Maurice of Nassau in Brazil. These graphic marks form a central element of the object of this Art History study, focusing on the connection between images created by Nivalson Miranda and Frans Post. The aim is to understand the author's visual discourse expressed by the Paraíba-born artist through heraldic symbols that emerged during one of the most significant moments in the history and visual arts of the region, images that echo the visuality of the artists in the entourage of Maurício de Nassau and the graphic language of blasons. In this sense, this work seeks to expand the critical perspective on coats of arms and engravings as influential media in shaping the historical space and regional identity in the visual discourse of NORDESTE HOLANDEZ. Editor: Universidade Federal da Paraíba Tipo: Dissertação

2025-07-25T00:00:00Z Cunha, Isabelle Silva Morais Carneiro da https://repositorio.ufpb.br/jspui/handle/123456789/37143 2025-12-30T06:04:27Z 2025-08-20T00:00:00Z

Título: Bloco carnavalesco cafuçu e (contra)visualidades femininas das rainhas hors concours Autor(es): Cunha, Isabelle Silva Morais Carneiro da Orientador: Freitas, Sicília Calado Abstract: Without much preamble—going straight to the point, as one follows the carnival procession—this dissertation traces its path alongside the street carnival bloco Cafuçu, held in the city of João Pessoa, Paraíba, Brazil. The research focuses on clues found in the visualities and (counter)visualities expressed in the performances of the hors concours queens—those who are beyond any contest, considered better than the competition—in order to understand (or not!) the visual representations of the cafuceta revelers who performed in the bloco between 2023 and 2025. To this end, the work called upon the collaboration (the HELP ME!) of notable thinkers who reflect on the concepts of carnival, such as Ferreira (2004, 2005), Bakhtin (1987), DaMatta (1990), Queiroz (1992), Minois (2003), Sodré and Paiva (2002), and Bergson (1987), the latter three embraced for their contributions to the understanding of laughter and the grotesque in festive contexts. It also draws on reflections on the concept of cafuçu (França, 2013; Soares, 2012; Magalhães, 2022), peripheral subjects (D’Andrea, 2013), and feminist theories (Butler, 2018, 2020; Hollanda, 2020). Through immersion as a participant in the bloco and analysis of images available on YouTube, various symbolic artifacts and modes of feminine expression within the Cafuçu were mapped and analyzed, revealing tensions between transgressive and normative dimensions that shape the bloco as a space of symbolic dispute. Drawing on a cafuçucartographic approach, this work interweaves images, documents, memories, sounds, and lived experiences, reimagining—both visually and textually, in light of Mizoerff’s perspective—the right to look at the Cafucetas. The study concludes that carnivals constitute territories of symbolic and bodily freedom, but also expose and reinforce social prejudices and norms rooted in a still-hierarchical society. In this context, the hors concours queens produce and parade plural (counter)visualities that defy singular or definitive interpretations. Editor: Universidade Federal da Paraíba Tipo: Dissertação

2025-08-20T00:00:00Z