Coordinadoras
Ph.D. University of Chicago. Professor of art history at the College of Social Sciences and Humanities, Universidad San Francisco de Quito. She has published several studies on historiography and colonial art, including “Reflections on Painting in Colonial Quito,” in The Art of Painting in Colonial Quito (Philadelphia: St. Joseph University Press, 2012); “Following in the Footsteps of Christ: Uses of the Via Crucis in Colonial Quito,” in Aesthetic Theology in the Franciscan Tradition: The Senses and the Experience of God in Art (Routledge, 2019). She is co-author of the book Arte colonial Quiteño: Renovado enfoque y nuevos actores. Biblioteca Básica de Quito 14 (Quito: FONSAL, 2007); together as Verónica Salles- Reese, she edited the volume Autores y Actores del Mundo Colonial: Nuevos Enfoques Multidisciplinarios (Quito: USFQ, Georgetown University, and CASO: 2008). During the fall semester of 2015 he was Robert F. Kennedy Visiting Professor in the Department of Art History at Harvard University. In relation to the seminar topic he published his latest book Encounters and Disencounters with the Imperial Frontier: The Church of the Society of Jesus in Quito and the Mission in the Amazon (seventeenth century) (Vervuert, 2018) and the chapter “Jesuit Missionary Work in the Imperial Frontier: Mapping the Amazon in Seventeenth-Century Quito,” in Religious Transformations in the Early Modern Americas (Philadelphia: Penn University Press, 2014).
Ph.D. University of Hamburg. Professor of art history at the State University of Rio de Janeiro. Specializes in the artistic practices of Italy and the Iberian Peninsula from the 15th to the 17th century, cultural history, the globalization of early modernity, and intellectual exchange in the Atlantic world. She is currently researching the history of French Antarctica, the global image of indigenous Tupinamba communities, as well as the relationship between art, disease, and conversion processes in the Atlantic world. Her projects, both individually and collectively, have been supported by the Getty Foundation, Villa i Tatti, DAAD Germany, the National Institute of Art History (INHA-Paris), and the Brazilian funding agencies Fapesp, Faperj, CNPq, and Capes. In 2012, together with Roberto Conduru and Vera Siqueira, she coordinated the project sponsored by the Connecting Art Histories initiative entitled “Unfolding Art History in Latin America” in which both the Universidad San Francisco de Quito and the Universidad de Los Andes participated.
Ph.D. Rutgers University. Associate Professor in the Department of Art History at the Universidad de Los Andes in Bogotá (Colombia), and Dean of the Faculty of Arts and Humanities at the same university between 2015 and 2021. In addition to having created the first undergraduate degree in art history in Colombia (2010), she is a founding member of the Colombian chapter of the Comité International d’Histoire de l’Art (CIHA) and part of the steering committee of the Transregional Academy on Latin American Art of the Deutsches Forum für Kunstgeschichte (2019-2022). Her fields of study include Latin American colonial art, Global Renaissance art, the reception of the classical tradition in the colonial context, printmaking history, and portraiture. His recent publications include a diachronic study of Andean cacicazgo representations entitled “Narratives of Sacrifice in the Nuevo Reino de Granada: Doubting Sugamuxi and Muisca Conversion in a Colonial Context” in Sacrifice and Conversion in the Early Modern Atlantic World (Harvard Press, 2022); two chapters and an article apropos of the reinterpretation of classical tradition by humanist circles in Lima and Cuzco in the seventeenth century, one of them published in Re-inventing Ovid’s Metamorphoses, 1300-1700 (Brill, 2020). He has also explored the classical subject matter of sixteenth-century secular murals in Tunja (Historia y Sociedad n.36, 2019).
Asistente del proyecto
Ph.D. Boston University. His research focuses on Latin American Art with emphasis on the 19th and 20th century. She is currently working on the founding of art academies in Colombia, Ecuador, and Venezuela, in relation to art institutions in Paris and Rome. Before joining Boston University he was working on several research and curatorial projects in Colombia. Graduated from Universidad de los Andes (2007), with emphasis in visual arts and art history and theory, and thanks to a Fulbright scholarship, he completed the M.A. program in Visual Culture at Illinois State University (2012). He worked as head curator of the art collection of the Museo Nacional de Colombia, circulation coordinator of the Galería Santa Fe, and advisor to the Plastic Arts Management of the Instituto Distrital de la Artes (IDARTES). In 2009, he was the winner of the National Art Criticism Award (Ministry of Culture and Universidad de los Andes) with an essay on the work Perfomola by Carlos Monroy. Carlos Monroy’s work Perfomola, in 2012 winner of the grant for monographic research on Colombian artists (Ministry of Culture) from which he published the book “No me hagas preguntas y no te diré mentiras” (Don’t ask me questions and I won’t tell you lies) about the work of Juan Mejía. In 2017, scholarship recipient of the Summer Institute for Technical Studies in Art (Andrew W. Mellon Foundation, Harvard University Museum of Art), in 2019, pre-doctoral fellow of the Humanities Without Walls Consortium (Andrew W. Mellon Foundation, University of Illinois), and in 2021-22, graduate intern of the Getty Foundation.
Colaboradores
Ph.D. Leiden University. Assistant professor of anthropology at the Universidad San Francisco de Quito. In addition to a Ph.D. and M.A. in archaeology from the same university she has a second M.A. in archaeology and forensic anthropology from Cranfield University. Until August 2022 she was director of the National Institute of Cultural Heritage, and between 2018 and 2020, curator of the Casa del Alabado Museum. Her work in the formation and uses of collections with human remains in the Andean region and Western Europe. She has been guest curator at the Museo Nacional del Ecuador (MUNA), at the Museo Jijón y Caamaño, and at Leiden, Museum of World Cultures (formerly known as Rijksmuseum voor Volkenkunde).
PhD. University College London. Assistant Professor in the Department of Art History at the Universidad de Los Andes where she teaches pre-Columbian and colonial art in the Amazon, petroglyphs, and pre-Hispanic ceramics. She has directed and participated in archaeological excavations and curatorial projects in Colombia, Puerto Rico, Venezuela, and England. His research focuses on the late pre-Hispanic and early colonial periods, in particular, on interethnic relations and exchanges, the identification of identities in material culture and historical documents. His recent publications include: Lozada-Mendieta and Carvalho, “En tierra de caimanes: Imaginarios geográficos, imperialismo y tropicalidad en las obras de Jules Crevaux (1883) y Jean Chaffanjon (1889)” (Historia Crítica, 2022), Lozada-Mendieta, N. and Oliver, J.R. “The archaeology of the Mighty Orinoco in the 21st century: A synthesis” in Oxford Handbook of South American Archaeology (2022), Arroyo-Kalin, M. Morcote-Ríos, G. Lozada-Mendieta, N. & L. Veal “Between La Pedrera and Araracuara the archaeology of the middle Caquetá River”. La Plata Museum Journal 4 (2019), and Riris, P; J. R. Oliver & N. Lozada Mendieta. “Missing the point: re-evaluating the earliest lithic technology in the Middle Orinoco”, Royal Society Open Science, 5 (2018).
Jens Baumgarten is Professor for Art History at the Federal University of São Paulo (Universidade Federal de São Paulo). He studied Art History and History in Hamburg and Florence. After his post-doctorate fellowships in Dresden, Germany, Mexico City and Campinas, Brazil, he established one of the first autonomous departments of Art History in Brazil. In 2010, he was Visiting Scholar at the Getty Research Institute and at the Kunsthistorisches Institut in Florence in 2016/2017. He is a member of the Brazilian Committee of Art History (CBHA). He specializes in early modern art history of Latin America and Europe as well as in historiography of art, visual culture and its theoretical and methodological contexts. Baumgarten has authored the book ‘Image, Confession, and Power’ (in German, 2004), several articles, and is preparing a book on ‘Visual systems in Colonial Brazil’ and another about comparisons between Brazilian and Filipino art history.
2024-2025
Tamia Viteri Toledo is an archaeologist graduated from the Pontificia Universidad Católica del Ecuador and holds a master’s degree in cultural heritage management and museology. She is currently pursuing her PhD in Archaeology of the Americas at the University of Bonn, Germany. She has worked as a researcher at the School of Anthropology at PUCE and is currently a research associate at the Group of Excellence “Center for Dependency and Slavery Studies” at the University of Bonn. Her research specializes in Amazonian archaeological studies from a multidisciplinary perspective with emphasis on iconographic, ceramic and ethnoarchaeological analysis. Her project for the seminar focuses on the iconographic and technological study of Amazonian Kichwa ceramics from the Pastaza-Ecuador basin, in order to explore the web of social relations between various agents, beyond human relations, that allow the reproduction and updating of their social practices and their ceramic production. Likewise, it seeks to analyze Kichwa ceramics, not only from its artifactual functionality and discursive construction, but also from its capacity for agency, resilience and performativity. In this sense, they are not only considered as objects of imagination and representation, but also as places of social practices as agents, mediators or intermediaries of human and non-human interactions.
Cathryn Jijon is a doctoral candidate in art history at the Graduate Center, City University of New York, where she specializes in modern and contemporary art of the Americas. She researches representations of the Amazon in the early to mid-twentieth century in the Andean-Amazon region. She is currently a Mellon-Marron Research Consortium Fellow at the Museum of Modern Art (MoMA), New York. Prior to beginning her PhD, her research on contemporary Ecuadorian art was supported by the Fulbright Student Program. Her seminar project examines how artists in Ecuador, Peru, and Brazil represented the Amazon in the early and mid-twentieth century from an ecocritical and decolonial perspective.
Miluska Guzmán Ruiz (San Martín-Peru, 1992). She is currently a PhD candidate in Latin American literature at Purdue University. During the last three years of doctoral studies with a specialization in Ecocriticism and Amazonia, she has focused on the collection and analysis of Amazonian literary works from Loreto and San Martin (Peru). His doctoral dissertation is currently being expanded to include the use of digital humanities, in order to preserve and give the necessary importance to Peruvian Amazonian literature. Her seminar project focuses on Latin American Ecocriticism. This work consists of critically confronting Western paradigms through a decolonial reading, tracing the evolution of ecocriticism through three seminal Amazonian novels. This study exposes the profound interaction between environmental narrative and decolonial critique in Amazonian literature, showing the influence of Amazonian narratives on decolonial thought and ecological consciousness.
Renata Utsunomiya is a PhD candidate in Environmental Science at the University of São Paulo and has academic and professional experience with indigenous peoples and traditional communities, mainly in the Amazon region. She advises on socio-environmental and cultural heritage projects using participatory methodologies and her interests include: environmental and territorial management, cultural heritage, socio-biodiversity, research methods with visual arts, among others. She is also a visual artist and graphic facilitator. Her doctoral research is currently being carried out with the Arara indigenous people of the Arara Indigenous Land of the Volta Grande do Xingu in the Brazilian Amazon. Part of the research involved analyzing the works of indigenous artists, how they portray coexistence with the Xingu River and the changes taking place in the socio-ecological system. For the second year of the international seminar, her project aims to look at the Volta Grande do Xingu region from two perspectives. The first is based on historical records from the 19th and 20th centuries, such as the travelers Coudreau and Von den Steinen. The second is related to contemporary indigenous art produced by the Arara indigenous people of the Arara Indigenous Land of the Volta Grande do Xingu, as well as oral stories connected to locations of cultural importance to this people. Thus, the project will tell stories of places, describing the “time of the ancients” from historical records and from the point of view of the Arara indigenous people who inhabit this unique ethno-landscape of the Volta Grande do Xingu.
Próspero Carbonell Cabrales (Cartagena, 1988) is an art historian and visual artist, graduated from the Universidad de los Andes in Bogotá. He is currently pursuing his PhD in Art History at the University of Southern California Dornsife, Los Angeles, specializing in the interaction between visual culture, artistic exchange, knowledge systems, imperial power and the natural world in Colombia, Ecuador, Peru and Brazil, adopting ecocritical and postcolonial approaches. He has worked as a mediator at the National Museum of Colombia and his forthcoming paper analyzes how visual representations of the Amazon Basin in botanical illustrations, cartographies and allegories, from the sixteenth to the eighteenth century, have perpetuated colonial and patriarchal ideologies, contributing to the exploitation of the region. In her seminar project, Carbonell explores the interaction between cartography, heraldry and colonial chronicles in the Amazon during early modernity, highlighting their impact on the configuration of territorial image and control over populations. Her research focuses on how coats of arms and moral emblems reflect power dynamics, negotiated identities and consolidation of authorities in the geographical representations of tropical South America. Carbonell’s analysis delves into the mythification and exoticization of the region, examining the relationship between visual representation, chivalric values and colonial power in the American territories under the Spanish crown, along with the impact of Portuguese heraldry in the assertion of sovereignty over Brazil, demonstrating its role in the construction of the colonial social structure.
Susana Restrepo Díaz is a sociologist with emphasis in philosophy, master in art history and master in plastic, electronic and time arts. She participated for 10 years in the seedbed “the visual pyramid: evolution of a conceptual instrument” of the Research Group in Logic, Epistemology and Philosophy of Science (PHILOGICA) of the Universidad del Rosario and the Universidad de los Andes. Her research continues with her master’s thesis Mediaciones del modelo kepleriano en la pintura de los Países Bajos (Mediations of the Keplerian model in Dutch painting), which resulted in her work Mediaciones críticas (Critical mediations). She was curator of the exhibitions Oír al Río at the Museo Casa de la Memoria in Medellín (2023) and Amazonía espiritual (2020) at the Planetarium in Bogotá. She currently teaches Seminar II: Anatomy of the Image in the Faculty of Design and Architecture at the Universidad de los Andes. Her project for the seminar investigates how the Amazon constitutes a paradigm of the ecological vision in the conception of the New World from cartographies and Iberian chronicles during the sixteenth and seventeenth centuries that reinterpret pre-colonial monuments. His research covers the iconography of the Amazonian landscape as a fundamental way for the understanding of its borders during early modernity; from the rock shelters with pictograms where the knowledge of the communities about the fluvial empire of this geography is expressed to the chronicles that the Jesuit missionaries sent to Maynas and Pará who came to exalt this ingenuity. These limits are explored as cultural artifacts and symbols of exchange whose mobilizing power involves multiple dynamics on the imagined body of the Amazon.
Juan David Parra is an art historian from Universidad Jorge Tadeo Lozano and holds a master’s degree in art history from Universidad de los Andes in Bogotá. He is currently a second year PhD student in Hispanic Studies at the State University of New York at Stony Brook. Her work focuses on the history of art and visual culture in the Spanish-American colonial world, especially painting in the New Kingdom of Granada and transatlantic dialogues. Her seminar project focuses on the question of the scopic regimes of the Amazon and their interpretations in the production of paintings, prints and other visual devices during early modernity in America and Europe. For this purpose, a comparative review of some visual and written sources such as exploration chronicles and prints of the sixteenth and seventeenth centuries will be carried out. This, in order to establish the limits of visual mediation, intertextuality and openness to spaces of otherness for a possible decolonial reading of these reproductions.
José Gabriel Dávila (Bogotá, 1996) holds a master’s degree in art history from the Universidad de los Andes and is a doctoral candidate in Amazonian Studies at the Universidad Nacional de Colombia, Amazon branch. His research interest condenses the relationship between corporeality and material culture, especially from semiotics and ethnography. Currently his research delves into the indigenous corporeality of the Caquetá-Putumayo interfluve, where he works together with the Murui, Bora and Okaina communities. Her latest published book is Piel tumbaga (2022). His project for the seminar focuses on the woven fishing traps of the Murui communities, known throughout the Igara-Parana River for mastering this beautiful art. They are complex objects designed to circulate the vital energy of the river and the forest because they are textile technologies that keep the trophic ecologies of nutrition and fertility flowing: the traps are a fundamental part of the care of the Murui body. Knowing how to weave these volumetries implies knowing how to prepare plant fibers from vines, as well as knowledge of aquatic reproductive cycles. She considers that, as fishing arts are increasingly hybridized with contemporary textile and sculptural arts, the Murui tradition of trap weaving deserves to be documented theoretically and patrimonially.
Doris Waira Jacanamijoy Mutumbajoy is a leader of the Inga people of the Yurayaco community in San José del Fragua. She is a sound and performance artist. Her work focuses on the promotion of indigenous human rights, as well as pedagogical, artistic, communicative, cultural and environmental values. She has a degree in community and intercultural education from the National Pedagogical University of Colombia, a technical degree in Ecological Agricultural Systems from the National Learning Service (SENA) of the Technological Center of the Amazon and has a diploma in Ethno-education from the University of the Amazon and a diploma for capacity building in dialogue and non-violent conflict transformation from the Institute of Nonviolence and Citizen Action for Peace (INNOVAPAZ). She is currently a pedagogical advisor, researcher of contemporary indigenous arts and environmental/territorial defender of the communities of Caquetá and Putumayo. She has been developing the research project “Frontiers of Peace” (with Clément Roux), which seeks to highlight the cross-cultural hybridization of knowledge in the communities of Caquetá and questions the narrative of war that has marked this territory since the beginning of the colonial era. PRA (Participatory Action Research), a methodology to which she is particularly attached, seems to her to be the best way to achieve this, especially when combined with communication initiatives and different forms of expression. In the seminar he seeks not only to put into practice the research project he has been developing in Caquetá, but also to establish links with researchers from other traditions and other countries, in order to advance together towards a reconnection of the Amazon as a territory of environmental peace.
Sigrid Castañeda is a historian from the Pontificia Universidad Javeriana, with a Master’s degree in History from the Universidad de los Andes. A specialist in Ibero-American baroque and its influence on the shaping of the contemporary image, Sigrid focuses her interests on the relationship between the curatorial profession and mediation in museum institutions. She has developed collaborative projects for the Colombian Ministry of Culture. Between 2008 and 2010, she served as coordinator of the education area of the Santa Clara and Colonial museums. From 2010 to 2022, she was curator of the Art and Numismatic Collections of the Banco de la República, coordinating and curating important national and international exhibitions at the Museo de Arte Miguel Urrutia – MAMU. Currently, she is head of the Education area of the Art and Numismatic Collections of the Banco de la República. Her research for the seminar will focus on how the vision of the Amazon as an earthly Paradise has evolved and affected the contemporary perception of this territory. She will explore the transition from an idyllic ideal to a feared and exploited territory, and its relevance to current environmental conservation, using as a starting point Antonio de León Pinelo’s book “El Paraíso en el Nuevo Mundo”, written in the mid-17th century. In this work, Pinelo proposed the Amazon rainforest as the location of the earthly Paradise. Although it was not published at the time, the work compiles theories of numerous authors and reflects the mythical-religious beliefs of the time about the Amazon.
Luiza Proença is a PhD candidate in Philosophy at PUC-RIO, with an emphasis on aesthetics and the environmental question. She is a member of Terranias – Núcleo Transdisciplinar de Pensamento Ecológico (PUC-Rio/CNPq) and the organization of the Anthropocene Campus through the project “A terra e nós” (The Earth and Us) (PUC-Rio/CNPq). She was resident curator at the Akademie Schloss Solitude in Stuttgart and at the Centrum Sztuki Współczesnej Zamek Ujazdowski in Warsaw and has worked on the curatorial teams of the São Paulo Museum of Art, the 31st São Paulo Biennial, the 9th Mercosul Biennial, and bauhaus imaginista (HKW), among others. He has organized several publications such as “Museum Futures” (with Leonhard Emmerling, Latika Gupta and Memory Biwa; Turia + Kant, 2021) and “Concrete and crystal: the MASP collection on Lina Bo Bardi’s easels” (with Adriano Pedrosa; Cobogó, 2015). Her project for the Seminar is focused on the realization that, due to illegal deforestation, the Amazon rainforest is approaching what scientists call the “point of no return”, the critical limit marked by abrupt changes in the landscape and ecosystem of the forest, with drastic consequences for the planet as well. The aim is to analyze the implication of art in the processes of primitive accumulation during early modernity and to map artistic actions that recover the ontological plurality of the Amazon basin, thinking of art as a narrative and political device for composing divergent practices and worldviews. Therefore, engendering multiple points of view/life in response to the threat of a single critical point of no return.
Gabriela Saenger Silva is a visual arts educator and researcher specializing in biennial studies, socially engaged art and decolonial practices. Her work focuses on collaborative processes and strategies for reflecting on collaboration and climate change through art and education. She is currently a PhD candidate at the Exhibition Research Lab at Liverpool John Moores University, where her research focuses on educational and public processes in international biennials. Gabriela is also a member of the community curators’ collective at the International Slavery Museum in Liverpool and the urban reforestation cooperative Scouse Flowerhouse. Her work combines academic research and practical action, with the aim of connecting art, education and social activism.
Moisés Oliveira is an anthropologist with a degree in Social Sciences and a master’s degree in Social Anthropology from the Federal University of Alagoas. He is currently studying for a PhD in Anthropology Four Fields at the Federal University of Pará. He is a teacher in the Modular Teaching Organization System in traditional communities in the west of Pará, for the State Department of Education. He is an associate member of the Brazilian Anthropology Association and a full member of the Brazilian Archaeology Society. He has experience as a researcher with indigenous peoples and traditional communities in the North and Northeast of Brazil. He develops research based on human ecology, material culture and cosmology. The project proposed for the seminar deals with aspects of material culture, through the manufacture of artifacts that serve various purposes, through the traditional peoples and populations of the Lower Amazon in western Pará, observing technological development in relation to the seasonal variations characteristic of the respective ecosystems, or even the transformations and adaptations to climate change, overcoming climatic and geographical determinism through technological development and the knowledge systems of the peoples who have inhabited the region for a long time, using travelers’ accounts, aspects of human ecology and everyday life through ethnographic studies.
Odanilde Freitas Escobar, also identified as Adana in the Baré indigenous ethnic group, was born in the Ilha de Camanaus Community (Duraka), located on an island on the banks of the Rio Negro, in the municipality of São Gabriel da Cachoeira, Amazonas State, in an environment deeply rooted in Baré cultural traditions and practices. She holds a bachelor’s degree in Archaeology from the State University of Amazonas-UEA (2018), and is a Master’s student in the Graduate Program in Sociocultural Diversity PPGDS at the Emílio Goeldi Museum of Pará, in Belém, Brazil. Since 2019, she has been conducting research on the polishers and sharpeners in São Gabriel da Cachoeira, Upper Rio Negro, bringing the point of view of indigenous peoples, the importance of these places that are considered sacred, which must be respected, not only by indigenous peoples but also by non-indigenous peoples. Her project aims to collaborate with the seminar “Connecting the Amazonian frontier: artistic and cultural fluidity in early modernity” by discussing the impact caused by the arrival of colonizers in the Upper Rio Negro, and how attempts are being made to rescue indigenous cultures today. The focus is mainly on adornments, clothing and body painting, which, despite no longer being used during this period, remain very strong in the memory of the indigenous peoples of the upper Rio Negro. They are currently being taken up again by different people and places, such as in schools, in the research of indigenous people who go to university, by the population who are strongly involved in this revival and even with the support of religious people in the celebrations and openings of important occasions in the Catholic Church. I believe that this exchange of dialog and knowledge strengthens us and serves as a basis for future research.
Brenda de Oliveira, born in Belém, Pará, is a doctoral student in Aesthetics and Art History at the University of São Paulo, with a sandwich doctorate at Stony Brook University in New York. She is a member of the Abya-Yala study group and the Quintas Ameríndias culture and outreach program, both linked to FAPESP’s Phase 2 Young Researcher Project, entitled “Barroco-Açu. Portuguese America in the Artistic Geography of the Global South.” For the second year, she is taking part in the project “The Amazon Basin as Connecting Borderland,” where she is investigating the series “Entre Rios e Mocambos,” by Joelington Rios, a young visual artist from Maranhão, in opposition to the historical concept of Amazonian visuality formulated in the 1980s.
Joana Neves Teixeira holds a bachelor’s degree in History and Political Science (2022) and a master’s degree in Early Modern History from the University of Oxford, UK (2024). She is currently studying for a PhD in History at the same institution. Her main research interest is the study of the indigenous history(s) of the Americas, with an emphasis on environmental and gender history in the early modern period. She developed her bachelor’s thesis on the environment of Mexico Tenochtitlán, investigating the cosmopolitics of the Aztec capital’s hydrography between 1428-1521, and was awarded the Hermila Galindo prize for best thesis on Latin America at Oxford University in 2022. During her master’s degree, Joana wrote her thesis on the accounts and experiences of childbirth among indigenous women on the Brazilian coast in the 16th and 17th centuries, questioning the narratives of European chroniclers of the time from anthropological perspectives and textual re-readings. Her project at the Seminar focuses on the study of Barniz de Pasto (Mopa-Mopa) artifacts from southwest Colombia and northern Ecuador in the 17th and 18th centuries, from a socio-environmental perspective. The project analyzes ethnohistorical sources and material culture to trace the characteristics and Amazonian trajectories of this artistic typology.
Lesly García Soto is a graduate of the Universidad Nacional Mayor de San Marcos (Peru), Bachelor in Social Sciences with a major in Archaeology. She is currently a student of the Master in Anthropology of the Americas at the University of Bonn (Germany), where she has been working for two years as a research assistant and member of the project “Heritage and Territoriality: Past, present, and future perceptions among the Tacana, Tsimane’, Mosetén and Waiwai”. In Peru, she is a member of the study group “Amazonia rumbo al bicentenario” of the Riva Agüero PUCP Institute and has worked on archaeological projects in the Llanos de Moxos (Bolivia) since 2019 and in the Peruvian Amazon since 2015. Her project in this seminar seeks to give continuity to her undergraduate studies on archaeological ceramics of the Huallaga basin, focusing now the research on ethno-archaeological studies with ceramists of the Shawi people, in the sub-basins of the Huallaga and Marañón rivers. The objective of her project is based on the documentation of the Shawi people’s ceramic chain of operations, with the intention of highlighting the importance of the use of ethnographic and collaborative methodologies in archaeological studies. The objective is to show that these practices allow not only to answer questions posed by archaeology but also contribute to the production of tools that indigenous communities, and particularly indigenous women, can use for the preservation and dissemination of their cultural practices.
2023-2024
É atualmente Doutorando do Programa de Pós-graduação em Desenvolvimento Sustentável do Trópico-Úmido do Núcleo de Altos Estudos Amazônicos da Universidade Federal do Pará/Brasil, tendo como estudo as formas de musealizações em ambientes museais e não museais da região amazônica, buscando discutir estas instituições sob a ótica da decolonialidade. Formado em Museologia pela Universidade Federal do Pará/Brasil, tem experiência profissional em instituições como o Museu Paraense Emílio Goeldi em Belém do Pará/ Brasil e acadêmica no Programa de Pós-graduação em Desenvolvimento Sustentável do Trópico Úmido do Núcleo de Altos Estudos Amazônicos da Universidade Federal do Pará (Brasil), onde fez seu mestrado sobre narrativas da modernidade em museus históricos da cidade de Belém do Pará/Brasil. Sua participação no seminário se dará a partir de seu projeto que busca fazer uma análise e comparação das musealizações das instituições museais latinoamericanas, mais especificamente dos museus amazônicos Equatorianos e Brasileiros. A partir disso, a pesquisa se dará por uma perspectiva da análise crítica do discurso, levando em consideração que a modernidade imposta à região amazônica é marcada pela implementação de um ideal de progresso, de um melhoramento da sociedade e da busca de um bem-estar social que menosprezou a diversidade local, tanto na biodiversidade quanto da cultural. Logo, a ideia do projeto é discorrer como as musealizações desses museus estudados fazem um discurso decolonial, sendo uma ação que luta contra uma lógica de dominação e seus efeitos materiais, epistêmicos e simbólicos da colonização que são mantidos na atualidade
Atua como pesquisador, produtor e curador independente de projetos de arte que abarcam visualidades, musicalidades, saberes e fazeres artesanais, tecnologias digitais e ancestrais, festas, celebrações e religiosidades. Doutorando do Programa de Pós-graduação em História da Arte, na Universidade do Estado do Rio de Janeiro, integra a equipe de pesquisadores do Núcleo de Cultura Popular (UERJ) e do Laboratório de Arte e Políticas da Alteridade (UERJ), onde desenvolve pesquisas sobre os percursos dos patrimônios culturais, com especial interesse para a produção da cultura material e imaterial das Irmandades religiosas negras no período colonial e na contemporaneidade brasileira. As irmandades religiosas são grupos de devotos “leigos” que têm como objetivo a manutenção de um culto ou devoção. Modelo tradicional que permaneceu como forma dominante do catolicismo brasileiro por mais de 300 anos, as irmandades detinham a posse dos santuários e beneficiavam-se econômica e politicamente dos eventos relacionados ao santo padroeiro. As Irmandades negras atuavam na assistência financeira e de serviços aos irmãos negros e escravizados, sendo um espaço de negociação – violentas dada a estrutura da sociedade colonial, de natureza e origem escravista – em uma modernidade pautada pela colonialidade. Foram importantes agenciadoras da arte no período colonial no Brasil, e na contemporaneidade observam-se formas e expressões artísticas provenientes destas organizações. No Pará, Estado brasileiro com destacada presença negra devido sua ocupação colonial extrativista, concentram-se narrativas, tradições e tecnologias amazônicas de resistências produzidas por Irmandades Negras. A pesquisa pretenderá investigar a produção visual, expressões artísticas e festividades oriundas destas organizações no Pará, Brasil, do século XVIII.
Brasileña, natural de la ciudad de Belém, en Pará. Actualmente, estárealizando un doctorado en Estética e Historia del Arte en el Museo de Arte Contemporáneo dela Universidad de São Paulo (PGEHA MAC USP). Académicamente, se dedica a la interrelaciónentre el Arte y el Medio Ambiente, a través de estudios en artes visuales y al desarrollo de unproyecto agroecológico en una zona rural en la Amazonía. Su investigación de doctoradopropone una revisión crítica al concepto de «visualidad amazónica», señalando que en el centrode esta formulación se encuentra lo que ella ha llamado «equatorialidad», es decir, la forma enque el legado colonial perpetuó el uso de las características naturales y geográficas propias dela Amazonía ecuatorial como metodologías de análisis de las expresiones culturales enmovimiento en la región. Para ello, realiza el análisis de la producción del artista JoelingtonRios, más específicamente la serie «Entre Rios e Mocambos», confrontando estas proposicionesconceptuales de visualidad amazónica. Joelington Rios es un joven artista visual nacido en elQuilombo Jamary dos Pretos, en el municipio de Turiaçu, al norte del estado de Maranhão, partede la denominada Amazonía maranhense.
É Engenheira Ambiental e Doutoranda em Ciência Ambiental pela Universidade de São Paulo (São Paulo-SP, Brasil) e atua como consultora de projetos socioambientais, sobretudo nas áreas de gestão ambiental e territorial e patrimônio cultural material e imaterial, além de realizar trabalhos em artes visuais (ilustração, design e facilitação gráfica). Trabalha desde 2014 com povos indígenas na Amazônia e atualmente realiza sua pesquisa na Terra Indígena Arara da Volta Grande do Xingu, analisando impactos de hidrelétricas em povos indígenas na Amazônia brasileira. A participação no seminário se dará por meio de projeto, parte da tese de doutorado, utilizando métodos de pesquisa com base em artes, com objetivo de descrever a resiliência socioecológica e as conexões bioculturais com o território sob perspectiva do conhecimento local indígena, através de métodos de pesquisa com artes visuais junto a artistas indígenas Arara, de forma a narrar as mudanças no sistema socioecológico ao longo da história.
Egresado del pregrado en Arte de la Universidad de Los Andes del año 2011 y en el 2019 recibió el título de magíster en Historia del Arte con la tesis “Pinturas murales de la casa del fundador de Tunja: marcas de hidalguía neogranadina vistas desde el Renacimiento global”. Posteriormente, en el 2020 recibió el grado de la Maestría en Artes Plásticas, Electrónicas y del Tiempo también de la Universidad de Los Andes con el proyecto Un hombre no puede ser más grande que una montaña. Actualmente trabaja como profesor de catedra de Historia del Arte para el pregrado en Gestión Cultural de la Universidad EAN en Bogotá. En el 2022, participó en el X Simposio de Historia del Arte de la Universidad de Los Andes con la presentación “Del Yangtsé a los Andes: la migración de la pintura de paisaje en la obra de Gonzalo Ariza”, en la que propone entender al pintor andino como un proto-ambientalista preocupado por la conservación de la flora y fauna colombiana. Adicionalmente, ese proyecto también fue discutido en octubre del mismo año durante la Transregional Academy on Latin American Art IV, Plural Temporalities: Theories and Practices of Time, organizada conjuntamente por el Centro Alemán de Historia del Arte (FK Paris), la Bibliotheca Hertziana – Max-Planck Instituto de Historia del Arte, Roma, y la Universidad de los Andes con colaboración con Forum Transregionale Studien, Berlín. La intención de este proyecto es profundizar sobre el trabajo del artista nonuya del medio río Caquetá, Fabián Moreno, quien pinta paisajes amazónicos en marcadores, acuarelas y óleos en los que condensa las historias tradicionales y las memorias de su comunidad, asociadas a saberes y ritmos de la vida en la selva. Su trabajo artístico visibiliza la importancia del conocimiento ancestral en la conservación del bosque húmedo tropical, e invita a reflexionar acerca de la interconectividad e interdependencia entre los diferentes elementos que componen el paisaje amazónico y, al mismo tiempo, permite resaltar su fragilidad frente a los procesos extractivistas que empezaron desde el siglo XVII que aun azotan la Panamazonia. De esta forma, la propuesta es analizar producciones visuales desde la época precolombina hasta la actualidad, prestando especial atención al intercambio entre culturas del territorio para así comprender cómo esos encuentros han afectado las representaciones de la Amazonía postcolonial.
Soy Socióloga por la Pontificia Universidad Católica del Ecuador. Al presente, estudio en el Master Applied Museum and Heritage Studies por la Reinwardt Academy en Ámsterdam, soy beneficiaria del Talent Grant Cohort 2022-2023 y formo parte de la VR Academy de esta institución con un proyecto que explora arqueología, paisaje y arquitectura. He trabajado por cinco años en el Museo Casa del Alabado, tanto en el área educativa con iniciativas que van de la educación no formal a la mediación comunitaria, así como con el area de investigación en la curaduría de la exhibición temporal “Sonidos y Danzantes: una experiencia contemplativa y sensorial” (2020-2021). Adicional a esto, me desempeño como aprendiz de investigación en la Rijksdienst voor het Cultureel Erfgoed (Agencia Nacional de Patrimonio) de los Países Bajos e investigo museos comunitarios de países del sur global en busca del mapeo de sus estrategias de contestación frente a narrativas históricas oficiales. Además, participo como co-editora del número 16 de El Futuro del Pasado, Revista electrónica de Historia bajo la temática “Museos: objetos, comunidades y nuevas narrativas” a publicarse en 2025 por la Universidad de Salamanca. Enfocaré mi investigación en la subtemática “collecting practices and exhibition of objects from the Amazon region in South America and Europe”. Esta propuesta nace del supuesto de que la magnitud de la cuenca amazónica – como territorio, ecosistema, región supranacional e intercultural, entre otros – genera ciertas percepciones particulares que aportan a su comprensión desde varias esferas del conocimiento. Esta propuesta tomará algunos criterios que forman parte de esa imaginaria totalidad amazónica que opera en actores externos a la misma: lo desconocido, lo intangible y lo no evidente. En el acto de colección, aquellos objetos que provienen del ecosistema amazónico y se trasladan a colecciones patrimoniales, enfrentan una ruptura en la cual adquieren una especie de doble permanencia y, por ende, dobles sentidos. Sucede del mismo modo con los registros escritos que registran la amazonía, a la vez que informan sobre aquellos que la observan. Para abordar las temáticas propuestas se analizarán objetos de colecciones y registros de archivo de Sudamérica y Europa, con el fin de examinar de qué manera se construyen estos elementos narrativos en torno a este territorio explorado pero nunca enteramente conocido. Se espera realizar todos estos abordajes desde una perspectiva transtemporal que refiera a los puntos de encuentro entre el pasado precolombino, la colonia y la modernidad. En este sentido, es posible que también se develen supuestos, choques o preconcepciones que alteran las ideas que operan en la conexión entre la amazonía y aquellos que no la habitan.
Candidata doctoral en historia del arte en el Centro de Posgrados de la Universidad de la Ciudad de Nueva York (CUNY). Formada en la Universidad San Francisco de Quito y la Universidad de Tulane, Carrión se especializa en el arte decimonónico de las Américas, con un enfoque en la historia de la fotografía, la indigenidad y el ecocriticismo. Su trabajo ha recibido apoyado de la Biblioteca Huntington, las fundaciones Terra, Mellon, y Phelps de Cisneros, el Centro del Oeste (Buffalo Bill) y el Centro Stone de Estudios Latinoamericanos. Carrión ha dictado clases en Baruch College y la Escuela del Instituto de Arte de Chicago (SAIC), y ha trabajado en el Rijksmuseum, la Galería James, el Museo y Biblioteca Morgan, y el Museo de Arte de Nueva Orleans. Su proyecto para “Conectar la frontera amazónica” examinará las articulaciones ecocríticas en el arte ecuatoriano, comenzando en el siglo XIX y terminando en el presente. El proyecto indaga las formas en que el arte ha posicionado la Amazonía ecuatoriana como una región para la extracción de recursos naturales y/o criticado estas prácticas, particularmente con relación a la industria petrolera y al activismo de los pueblos y nacionalidades indígenas de la región. Algunos de los artistas que el proyecto discute son Pablo Cardoso, Amaru Cholango, Paulo Tavares, y Rafael Troya.
Becaria curatorial de la colección de arte virreinal de la Fundación Thoma. Verónica es doctora en Historia del Arte por la Universidad de California, Berkeley, y magíster por el Institute of Fine Arts de la Universidad de Nueva York. Su proyecto de investigación reescribe la historia colonial tardía de la creación artística en el Valle del Mantaro (Perú) mediante el análisis de fuentes de archivo inéditas y nuevas interpretaciones de fuentes primarias y crónicas coloniales. El proyecto se divide en dos casos de estudio. El primero se centra en una pintura inédita donde convergen dos géneros artísticos raramente practicados en el Virreinato del Perú, el paisaje y el retrato eclesiástico, para presentar las negociaciones de poder entre dos de las autoridades coloniales más prominentes de la región: el fraile dominico Joseph de Castilla y el curaca Don Blas de Astocuri. El segundo caso de estudio explora los relatos que subyacen en la producción de la serie pictórica que coloquialmente se conoce como «Los martirios de Ocopa». Producida hacia 1770 por un artista local y su taller en el valle del Mantaro, la serie narra las vicisitudes y la violencia experimentadas por los misioneros franciscanos en la selva central en su intento de conservar las misiones que perdieron en las rebeliones de Juan Santos Atahualpa y Runcato (1742-1768). La investigación de Verónica demuestra cómo estas importantes rebeliones amazónicas, además de desmantelar por completo la red de misiones del Instituto Apostólico, representaron una notable victoria para las naciones Asháninka y Yanesha, quienes a partir de entonces disfrutaron de libertad y autonomía durante el resto de la época colonial. A pesar del derramamiento de sangre sufrido por los misioneros durante las décadas de 1740 y 1760, los franciscanos de Ocopa hicieron público el fracaso absoluto de su labor apostólica a través de crónicas y pinturas como la serie analizada, para forjar la idea de que, en el interior de la Amazonía, la Orden estaba viviendo una segunda edad de oro que recordaba la conquista espiritual del siglo XVI.
I am an Assistant Professor of World Literature at California State University, Fresno’s Department of English. I have a Ph.D. from Columbia University’s Department of Latin American and Iberian Cultures, Institute for Comparative Literature and Society, and Medieval and Renaissance Studies. I specialize in the Early Modern art histories and literatures of the Indigenous Americas. My interdisciplinary research examines a broad corpus of pre-Columbian myths, objects, and constructions, Early Modern visual arts, cartographical sources, and printed and manuscript texts in Classical, Indigenous, and Romance languages. As part of the “Amazon Basin as Connecting Borderland” research seminar, I will develop a chapter of my first monograph project titled Ancha Ñaupa Pacha: The Andean Invention of a Global Antiquity. My book will be the first study to build and theorize a corpus of pre-Columbian visual and material elements interpreted in the Early Modern period to sustain novel global ancient histories that connected parts of the world never before thought of together. The chapter ‘Yunga-Paradise’ focuses on three visual imaginings of the Amazon by Guamán Poma de Ayala in his ‘mapamundi del reino de las Indias’ found in folios 1001-1002 of his Nueva Corónica y Buen Gobierno (1615), Martín de Murúa in Folio 1v of his Origen y genealogia (1580), and Antonio de León Pinelo’s map ‘Continents Paradisi’ in his Paraíso en el Nuevo Mundo (c.1650). I argue that the sylvatic landscape east of the Andes was understood as an answer to new questions about the most ancient times of the world, the origins, as seen from the Americas that each scholar creatively solved by reinterpreting pre-Columbian and biblical myths.
Historiadora del arte y artista con énfasis en proyectos culturales de la Universidad de los Andes de Bogotá. Actualmente cursa la maestría en Museología y Gestión del Patrimonio de la Universidad Nacional de Colombia. Cuenta con experiencia en investigación del patrimonio colombiano y latinoamericano, especialmente aquel producido en el periodo colonial neogranadino y en el siglo XIX. Ha trabajado de la mano de varias instituciones colombianas, entre ellas el Instituto Caro y Cuervo, el Museo Colonial, el Museo de la Universidad del Rosario y el Programa de Fortalecimiento de Museos, instancia del Ministerio de Cultura de Colombia. El proyecto de investigación que desarrollará a lo largo del seminario buscará estudiar las colecciones y la falta de representación indígena, y en específico de los grupos poblacionales que habitan la región amazónica colombiana, desde tres casos de estudio o colecciones específicas albergadas en la capital colombiana, creados en periodos históricos distintos y bajo intereses y políticas variadas: un primer caso será el del Instituto Caro y Cuervo, relacionada con el proyecto para la conformación del Atlas Lingüístico- Etnográfico de Colombia (ALEC), llevado a cabo entre 1950 y 1982; el Museo Nacional será otra de las instituciones estudiadas, la cual se conformó desde 1823 bajo la idea de construir un ideal de nación y de patria; un tercer caso es el del Museo Colonial, un museo histórico que ha buscado abordar el tema de la Colonia en la Nueva Granada.
Soy candidato a doctor en Historia de la Universidad Nacional de Colombia. Desde el prisma de la cultura visual y las humanidades digitales me he interesado por las relaciones entre la historia de las imágenes, la historia de la ciencia, la historia intelectual de lo político y la historia cultural en los siglos XVIII – XIX. Estoy interesado en el uso de las herramientas digitales para la investigación, en especial en el desarrollo web, la programación creativa y la visualización de datos. Actualmente me encuentro terminando mi tesis de doctorado denominada “Se dice andar sobre hombres como sobre caballos. Circulación de imágenes de cargueros de hombres en el siglo XIX”, la cual será presentada en el segundo semestre del año en curso. La tesis se pregunta por la circularon de las imágenes de cargueros de hombres y cuáles fueron los sentidos que movilizaron al interactuar con diferentes actores y escenarios en el siglo XIX. En la colección de imágenes recolectadas para la tesis se encuentran varios elementos de finales del siglo XVIII referentes a cargueros de hombres de la región amazónica. Estos fueron producidos en el contexto de las exploraciones científicas, la administración burocrática y la ilustración criolla en período borbón. Estas imágenes me parecen particularmente interesantes porque la disposición del cuerpo del sujeto cargado es diferente a la de otras imágenes referentes al paso del Quindío, el Chocó o Antioquia en los ramales de los Andes de la Nueva Granada. La propuesta de investigación que quisiera llevar a cabo en el seminario “Conectar la frontera amazónica: fluidez artística y cultural en la modernidad temprana”, está relacionada con profundizar acerca de estas imágenes. En general, me interesa preguntarme por las prácticas de circulación de imágenes, objetos y personas entre los espacios y comunidades que son conectados por la región amazónica. En particular, si las disposiciones corporales de los cargados en estas imágenes y sus semejanzas con imágenes de otros períodos, son un indicio para explorar la existencia de conexiones entre las prácticas de circulación de objetos, personas e ideas en diferentes grupos y lugares de la región. Y en este mismo sentido, si los modos distintivos de llevar a cabo la práctica de los cargueros de hombres en la región amazónica permiten trazar continuidades y discontinuidades con la manera como esta se realiza en otros lugares (como es el caso de los ramales de Andes de la Nueva Granada).
Soy estudiante de primer año del PhD en Estudios Amazónicos de la Universidad Nacional de Colombia, en la sede Amazonia. Me especializo en la línea de investigación de Historias y culturas amazónicas, de mutua alimentación con el Instituto Amazónico de Investigaciones IMANI. Mi interés de investigación condensa las relaciones entre corporalidad, lenguas nativas y cultura material desde el campo multidisciplinar de la historia del arte, la antropología, la lingüística semántica y las ciencias del patrimonio. Anteriormente, durante la maestría, mi trabajo se concentró en las relaciones entre el patrimonio arqueológico precolombino Tumaco-La Tolita (en la frontera colombo ecuatoriana) y las violencias extractivas en el litoral pacífico, combinando la historia del arte con la ecología política para tratar el problema de la guaquería de figuras cerámicas (looting). El proyecto profundiza sobre la corporalidad y las lenguas nativas como fuente de investigación de la cultura material, específicamente, bancos de pensamiento’ y los ‘chinchorros’ en las comunidades murui y tukano oriental del medio río Caquetá, en el noroeste amazónico. Se plantea una historiografía del arte que abra paso a nuevos criterios lingüísticos, semánticos y corporales para calibrar los índices de valoración y apropiación de Patrimonio Cultural Inmaterial desde los sistemas perceptivos y estéticos nativos. Esto con el fin de descentralizar los paradigmas artesanales para la valoración integral de los sistemas culturales indígenas, posibilitando una nueva museografía que encarne experiencias patrimoniales desde los modelos sensitivos, cognitivos y creativos indígenas.
Possui bacharelado e licenciatura em História com ênfase em História da Arte pela Universidade Estadual de Campinas (2013). É mestre em História da Arte pela mesma instituição (2017). Atualmente, é doutoranda em História da Arte no programa RASC/a: Rhetorics of Art, Space, and Culture, na Southern Methodist University (Dallas, Texas, Estados Unidos). Sua pesquisa de doutorado examina as respostas críticas de artistas à rápida expansão territorial e à exploração da Amazônia promovida pela ditadura militar no Brasil (1970-1985). Seu trabalho aborda a política do espaço na relação entre a arte e seu espaço expositivo e o nexo com a Amazônia, além da história da visualidade da Amazônia construída por meio de mapas, anúncios na imprensa e propaganda oficial e sua avaliação crítica pela arte contemporânea. Seu trabalho dialoga com campos do conhecimento variados, como a História da Arte, Cultura Visual, Ecologia e as Ciências Sociais, combinando conceitos e ferramentas de análise da História da Arte, Ecologia Política, estudos espaciais pós-estruturalistas, Antropologia e estudos pós-coloniais e decoloniais. Para este seminário, sua proposta é investigar de que maneira o modelo de urbanização portuguesa da Amazônia consolidou as bases ideológicas que condicionaram a forma como se pensa, representa e produz o espaço amazônico nos períodos posteriores. Como mapas, traçados urbanos e desenhos continuamente construíram e reafirmaram a noção da Amazônia como um imenso vazio civilizacional, ou terra nullius, que deveria ser ocupado e domesticado? Buscando responder esses questionamentos, a pesquisa examinará um conjunto iconográfico produzido no primeiro período de urbanização na Amazônia no século XVIII, mais especificamente os materiais referentes às vilas constituídas ao longo do curso do rio Amazonas e seus afluentes. Também, as representações visuais em uma obra coetânea, o Viagem Filosófica pelas Capitanias do Grão-Pará, Rio Negro, Mato Grosso e Cuiabá (1783-1792), de autoria do naturalista baiano Alexandre Rodrigues Ferreira. Em um segundo momento, combinando etno-história e análise visual, a pesquisa pretende investigar de que forma as práticas espaciais indígenas emergem na documentação colonial, produzindo um contraponto à retórica oficial sobre a região.
Historiador de la Pontificia Universidad Javeriana (2005) con estudios de maestría en Historia del Arte de la Universidad Nacional de Colombia (2009) y en Literatura Comparada de la Universidad del Sur de California (2020). Cursó el doctorado en Historia con énfasis en Historia del Arte en la Universidade Estadual de Campinas (2019). En el 2022, la editorial de la Universidad del Rosario publicó su libro producto de su tesis doctoral bajo el titulo Constelaciones Visuales. La mirada del viajero durante el siglo XIX en Colombia. Actualmente es candidato al doctorado en Literatura Comparada en la Universidad del Sur de California. Sus intereses académicos se centran en las intersecciones entre el pensamiento poscolonial y decolonial, los estudios indígenas, los estudios visuales y los estudios medioambientales. Su actual investigación actual hace hincapié en un estudio teórico, histórico y comparativo amplio que incluye la botánica, la historia del arte y los conocimientos indígenas en diversas fuentes tanto visuales, escritas como materiales. En esta pesquisa se quiere incorporar y discutir conceptos tradicionales de la primera modernidad sobre botánica e historia natural e historia del arte con debates contemporáneos sobre las plantas, el posthumanismo, las teorías decoloniales, estudios visuales y trabajos recientes sobre indigenismo. En el seminario “Conectar la frontera Amazónica”, su interés está puesto en la exploración de archivos visuales y materiales en manuscritos, escritos sobre plantas nativas y sus relaciones con las comunidades indígenas tanto en la región amazónica como en otras zonas del continente. De la misma manera, existe un intereses amplio de discutir con todos los y las participantes nuevas aproximaciones teóricas e históricas en proyectos de orden transdisciplinar y transregional en el que hacer de la investigación en las humanidades en la actualidad.
Aluna de doutorado em cotutela entre o Programa de Pós-graduação Interunidades em Estética e História da Arte da Universidade de São Paulo (PGEHA USP) e o Departamento de História da Arte da Universidade Westfälische Wilhelms de Münster, na Alemanha, iniciado em 2021. Sou bolsista CAPES PSDE neste momento. Sou bacharel e licenciada em História pela Universidade de São Paulo. Realizei mestrado junto ao PGEHA USP com financiamento da Fundação de Amparo à Pesquisa do Estado de São Paulo. Em 2014, participei do seminário “Exhibting and Narrating Latin American/Latino Art”, realizado na Universidad Turcuato di Tella, em Buenos Aires, com financiamento da Conecting Art Histories da Getty Foundation. Trabalhei como pesquisadora em algumas instituições como o MAC USP, a Pinacoteca de São Paulo e o Museu Afro Brasil. Minha pesquisa de doutorado discute conexões entre arte e antropologia por meio de análises de diferentes concepções de xamã e de artista presentes nos trabalhos de alguns artistas envolvidos na cena experimental da segunda metade do século XX. Assim, a investigação problematiza epistemologias estruturadas em diferentes realidades, opondo e relativizando contextos culturais oriundos do Sul e do Norte globais. Questões do contexto amazônico são abordadas em vários momentos da pesquisa, como nos trabalhos da fotógrafa Claudia Andujar, que consta entre os artistas analisados. Para este Seminário apresento uma proposta de estudo, que surgiu a partir da pesquisa de doutorado, sobre as reverberações locais, entre os indígenas Yanomami, do trabalho coletivo empreendido pela fotógrafa, em parceria com lideranças Yanomami como Davi Kopenawa, o antropólogo Bruce Albert e o missionário Carlo Zacquini, em defesa dos direitos desse povo, com a Comissão pela Criação do Parque Yanomami. Arte e luta política uniram-se nas iniciativas estabelecidas por esse grupo, conectando partes de territórios amazônicos e suas culturas locais ao mundo, através de conferências, ações políticas e exposições das fotografias de Andujar. Impressões e interpretações acerca de costumes e do cotidiano desse povo foram captadas nessas fotografias. Andujar entende que tais obras podem ser uma forma de preservação de momentos da história desse povo, para as futuras gerações. Assim, intenciona-se analisar como os Yanomami relacionam-se com tais registros e pensam a respeito do seu uso em suas lutas.
Candidata a doctorado en historia del arte en Rutgers University, Nueva Jersey. Se enfoca en el arte moderno y contemporáneo de Latinoamérica con énfasis en la región andino- amazónica. Ha trabajado con temas relacionados a los intercambios culturales transnacionales durante finales del siglo XIX y principios del XX, la construcción de identidades nacionales y las percepciones e imaginarios sobre la región andino-amazónica. Diana aborda su práctica en historia del arte y la fotografía de manera interdisciplinar, en diálogo con las humanidades ambientales y la eco-crítica. En su disertación doctoral examina las representaciones visuales de la región amazónica en Ecuador y Perú durante finales del siglo XIX y el siglo XXI, contemplando diferentes perspectivas y constantes transformaciones culturales y ambientales y el papel que han jugado los proyectos coloniales en esta región. Antes de comenzar su doctorado, Diana realizó pasantías en el Museo de arte de Philadelphia y trabajó como investigadora en el Institute for Studies on Latin American Art (ISLAA) en Nueva York. Completó su pregrado en Educación en la USFQ y su maestría en Historia del Arte en Tyler School of Art, Temple University, en Philadelphia, Pennsylvania.
Postdocs
Erêndira Oliveira. Profa. colaboradora – Programa de Pós-graduação em Diversidade Sociocultural (PPGDS). Erêndira Oliveira es licenciada en Artes Visuales por el Centro Universitario Belas Artes de São Paulo (2009), máster y doctora en Arqueología por el Museo de Arqueología y Etnología de la Universidad de São Paulo, Brasil, habiendo obtenido sus títulos en 2016 y 2022, respectivamente. Actualmente es investigadora y profesora colaboradora en el Programa de Postgrado en Diversidad Sociocultural del Museu Paraense Emílio Goeldi, en Belém do Pará, Brasil. Desde 2011 investiga el lenguaje iconográfico de la cerámica amazónica precolonial, con especial atención a la Tradición Policroma de la Amazonia, que es un estilo cerámico con decoraciones complejas, combinaciones cromáticas y modelado antropomorfo y zoomorfo. Las cerámicas de esta tradición se encuentran a lo largo de grandes ríos como el Amazonas y el Negro, y datan de entre los siglos VII y XVIII. Su línea de investigación se basa en un diálogo con la Etnografía y la Antropología del Arte para analizar la iconografía amazónica precolonial desde el punto de vista del Arte Indígena y desde la perspectiva de la historia indígena a largo plazo. Su proyecto con el Seminario se centra en el estudio de fuentes etnohistóricas, buscando relatos de tecnologías y artes indígenas y, a partir de ahí, observando elementos del estilo y de la iconografía de la cerámica amazónica precolonial tardía y colonial, en busca de elementos de transformación y resistencia al proceso de colonización. El objetivo es pensar las artes indígenas de la modernidad temprana como testimonios materiales de estrategias para mantener ontologías particulares a través de un diálogo entre la historia del arte y la arqueología. Erêndira Oliveira holds a bachelor’s degree in Visual Arts from the Centro Universitário Belas Artes de São Paulo (2009), a master’s degree and a PhD in Archaeology from the Museum of Archaeology and Ethnology of the University of São Paulo, Brazil, having obtained her degrees in 2016 and 2022, respectively. She is currently a researcher and collaborating professor in the Postgraduate Program in Sociocultural Diversity at the Museu Paraense Emílio Goeldi, in Belém do Pará, Brazil. Since 2011 she has been researching the iconographic language of pre-colonial Amazonian ceramics, with a focus on the Polychrome Tradition of the Amazon, which is a ceramic style with complex decorations, chromatic combinations and anthropomorphic and zoomorphic models. The ceramics of this tradition are found along major rivers such as the Amazon and the Negro, and date from between the 7th and 18th centuries. Her line of research is based on a dialogue with Ethnography and the Anthropology of Art to analyze pre-colonial Amazonian iconography from the point of view of Indigenous Art and within a perspective of long-term indigenous history. Her project with the Seminar focuses on the study of ethnohistorical sources, in search of accounts of indigenous technologies and arts and, from there, to observe elements of the style and iconography of late pre-colonial and colonial Amazonian ceramics, in search of elements of transformation and resistance in the face of the colonization process. The aim is to think of the indigenous arts of early modernity as material testimonies of strategies for maintaining particular ontologies through a dialog between art history and archaeology.
Gabriela Germaná is an art historian and independent curator based in Lima, Peru. She holds a PhD in Art History and Criticism from Florida State University. She specializes in modern and contemporary Andean art with an emphasis on indigenous and rural aesthetics and their critical relationship to the global art context. She is co-editor of the special issue of Arts “Rethinking Contemporary Latin American Art”. She is currently a member of the Academic Committee of the Museo de Arte de Lima, of the Acquisitions Committee of the Museo de Arte de San Marcos and a lecturer at the Universidad Ricardo Palma and the Pontificia Universidad Católica del Perú. His project for the seminar addresses the indigenous Amazonian arts produced in the 20th and 21st centuries in the Peruvian area. Drawing on indigenous ecologies and materialisms, she analyzes how objects such as textiles, ceramics and masks refer to the fluid relationship between humans and non-humans and the agencies of different beings in nature. He also demonstrates how many contemporary Amazonian artists, while following Western conventions in their paintings, still refer to the sacred and animistic perspectives they inherited from their native communities and create works that negotiate indigenous epistemologies in a new context.
Architect and Urban Planner from the Federal University of Pará (FAU-UFPA). PhD in Art History from the University of Lisbon (FL-UL), with an academic exchange period at the Faculty of Architecture and Urbanism of the University of São Paulo (FAU-USP). Integrated Researcher at the Art History Institute of the University of Lisbon (ARTIS IHA-UL). Member-researcher of the Landi Forum (FAU-UFPA). Professor at the São Paulo Museum of Art (MASP), where he coordinated and taught the courses “Brazilian Baroque: 17th and 18th centuries” (2022), “Brazilian Baroque: trans-historical readings” (2022), “Contemporary art from Pará: hybridisms, images and poetics” (2021) and “Contemporary art from Pará: hybrid writings and readings” (2023). Volunteer researcher on the project “Barroco-Açu. A América Portuguesa na Geografia Artística do Sul Global” (2022) and the project ‘Barroco Cifrado: Pluralidade Cultural na Arte e na Arquitetura das Missões Jesuíticas no território do Estado de São Paulo (1549-1759)’ (2020-2021), both at FAU USP, funded by FAPESP. Her research focuses predominantly on 17th and 18th century architecture in Belém; artistic and imagistic dynamics between Lisbon, Bologna and Belém in the 18th century; hybridity and cultural exchanges in the context of the artistic and architectural production of the Jesuits in Colonial Amazonia and of Antônio José Landi (1713-1791); image theory and art history theory. The research aims to investigate the circulation of images of architectural traditions between territories under Portuguese rule in Amazonia and Asia – especially in the state of Pará, in Brazil, and Goa, in India – in the second half of the 18th century, based on the analysis of the production of the Bolognese architect Antônio José Landi (1713-1791). It seeks to understand how these traditions were received, reworked and radiated in very different socio-cultural scenarios by the traveling artist – since he was initially hired by the Portuguese empire as a draughtsman, not as an architect -although politically governed by the colonial expansionism of the Portuguese Crown, connecting the realities of Goa and Pará, with the Amazon as the protagonist.