A poética da existência nas margens: percursos de uma museóloga-poeta pelos circuitos artísticos da "Lisboa africana"
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2018
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Esta tese, intitulada A poética da existência nas margens: percursos de uma museólogapoeta
pelos circuitos artísticos da “Lisboa-Africana”, apresenta os itinerários trilhados
para conhecer que arte africana contemporânea é essa apresentada nas galerias de arte
da capital portuguesa. Acredito que a ciência deve ser feita com honestidade,
humanidade e responsabilidade social. Por isso, tudo o que está escrito aqui é fruto do
meu labor no intenso exercício do pensar e escrever em diálogos verbalizados e
silenciosos com outras pessoas, textos e imagens. Em Lisboa, há um interesse pelas
produções artísticas africanas contemporâneas no campo das artes visuais, por parte de
acadêmicos, curadores e galeristas, porém esses trabalhos artísticos ainda ficam restritos
ao nicho das galerias de arte com o seu público seleto. Os resquícios coloniais
atravessam o que se vê e o que se consome de arte africana contemporânea, muitas
vezes, escamoteando o racismo e a xenofobia presentes na sociedade portuguesa. Nesta
escrita acadêmico-científica, não me isentei enquanto investigadora-pessoa e
transformei as minhas vivências em conhecimento. Fui além de uma amostragem
quantitativa de obras no cubo branco galerístico. Entrelacei-me no tecido social urbano,
desvelando Lisboa a partir do meu olhar de mulher negra, estrangeira e diaspórica na
encruzilhada atlântica.
This thesis, entitled A poética da existência nas margens: percursos de uma museólogapoeta pelos circuitos artísticos da “Lisboa Africana” (In English: “The poetics of existence on the margins: routes of a museologist-poet through the artistic circuits of the ‘African Lisbon’”), presents the itineraries I went through in order to know which contemporary African art is presented in the art galleries of the Portuguese capital. I believe that science must be done with honesty, humanity and social responsibility. Hence, everything that is written here is the result of my work in the intense exercise of thinking and writing in verbal and silent dialogues with other people, texts, and images. In Lisbon, there is an interest by academics, curators and gallerists in contemporary African artistic productions in the field of visual arts, but these artistic works are still restricted to the niche of art galleries with their select audience. The colonial remains traverse what is seen and what is consumed of contemporary African art, many times disguising the racism and the xenophobia present in the Portuguese society. In this academic-scientific writing, I did not exempt myself as a person-researcher and then I transformed my experiences into knowledge. I went beyond a quantitative sampling of works in the white, galeristic cube. I got myself interlaced with the urban social fabric, unveiling Lisbon through my look as a Black, foreign and diasporic woman at the Atlantic crossroads.
This thesis, entitled A poética da existência nas margens: percursos de uma museólogapoeta pelos circuitos artísticos da “Lisboa Africana” (In English: “The poetics of existence on the margins: routes of a museologist-poet through the artistic circuits of the ‘African Lisbon’”), presents the itineraries I went through in order to know which contemporary African art is presented in the art galleries of the Portuguese capital. I believe that science must be done with honesty, humanity and social responsibility. Hence, everything that is written here is the result of my work in the intense exercise of thinking and writing in verbal and silent dialogues with other people, texts, and images. In Lisbon, there is an interest by academics, curators and gallerists in contemporary African artistic productions in the field of visual arts, but these artistic works are still restricted to the niche of art galleries with their select audience. The colonial remains traverse what is seen and what is consumed of contemporary African art, many times disguising the racism and the xenophobia present in the Portuguese society. In this academic-scientific writing, I did not exempt myself as a person-researcher and then I transformed my experiences into knowledge. I went beyond a quantitative sampling of works in the white, galeristic cube. I got myself interlaced with the urban social fabric, unveiling Lisbon through my look as a Black, foreign and diasporic woman at the Atlantic crossroads.
Descrição
Orientação:Marcelo Nascimento Bernardo da Cunha
Palavras-chave
DOUTORAMENTO EM MUSEOLOGIA, MUSEOLOGIA, ARTE AFRICANA, GALERIAS DE ARTE, LISBOA, MUSEOLOGY, AFRICAN ART, ART GALLERIES, LISBON