{"id":211,"date":"2023-02-03T11:04:56","date_gmt":"2023-02-03T16:04:56","guid":{"rendered":"https:\/\/amazon.uniandes.edu.co\/?page_id=211"},"modified":"2024-10-04T15:14:38","modified_gmt":"2024-10-04T20:14:38","slug":"participantes","status":"publish","type":"page","link":"https:\/\/amazon.uniandes.edu.co\/en\/participantes\/","title":{"rendered":"Participants"},"content":{"rendered":"\n

Coordinadoras<\/h4>\n\n\n
\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tCarmen Fern\u00e1ndez-Salvador<\/span><\/div>

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 \u201cReflections on Painting in Colonial Quito,\u201d in The Art of Painting in Colonial Quito (Philadelphia: St. Joseph University Press, 2012); \u201cFollowing in the Footsteps of Christ: Uses of the Via Crucis in Colonial Quito,\u201d 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 Quite\u00f1o: Renovado enfoque y nuevos actores. Biblioteca B\u00e1sica de Quito 14 (Quito: FONSAL, 2007); together as Ver\u00f3nica 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 \u201cJesuit Missionary Work in the Imperial Frontier: Mapping the Amazon in Seventeenth-Century Quito,\u201d in Religious Transformations in the Early Modern Americas (Philadelphia: Penn University Press, 2014).<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tMaria Berbara<\/span><\/div>

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 \u201cUnfolding Art History in Latin America\u201d in which both the Universidad San Francisco de Quito and the Universidad de Los Andes participated.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tPatricia Zalamea<\/span><\/div>

Ph.D. Rutgers University. Associate Professor in the Department of Art History at the Universidad de Los Andes in Bogot\u00e1 (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 Comit\u00e9 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 f\u00fcr 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 \u201cNarratives of Sacrifice in the Nuevo Reino de Granada: Doubting Sugamuxi and Muisca Conversion in a Colonial Context\u201d 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).<\/p><\/div><\/div><\/div>\n\n\n

Asistente del proyecto<\/h4>\n\n\n
\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJulian Serna<\/span><\/div>

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 Galer\u00eda 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.\r\nCarlos 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 \u201cNo me hagas preguntas y no te dir\u00e9 mentiras\u201d (Don’t ask me questions and I won’t tell you lies) about the work of Juan Mej\u00eda. 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.<\/p><\/div><\/div><\/div>\n\n\n

Colaboradores<\/h4>\n\n\n
\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tMar\u00eda Patricia Ord\u00f3\u00f1ez<\/span><\/div>

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 Jij\u00f3n y Caama\u00f1o, and at Leiden, Museum of World Cultures (formerly known as Rijksmuseum voor Volkenkunde).<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tNatalia Lozada<\/span><\/div>

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, \u201cEn tierra de caimanes: Imaginarios geogr\u00e1ficos, imperialismo y tropicalidad en las obras de Jules Crevaux (1883) y Jean Chaffanjon (1889)\u201d (Historia Cr\u00edtica, 2022), Lozada-Mendieta,\r\nN. and Oliver, J.R. \u201cThe archaeology of the Mighty Orinoco in the 21st century: A synthesis\u201d in Oxford Handbook of South American Archaeology (2022), Arroyo-Kalin,\r\nM. Morcote-R\u00edos, G. Lozada-Mendieta, N. & L. Veal \u201cBetween La Pedrera and Araracuara the archaeology of the middle Caquet\u00e1 River\u201d. La Plata Museum Journal 4 (2019), and Riris, P; J. R. Oliver & N. Lozada Mendieta. \u201cMissing the point: re-evaluating the earliest lithic technology in the Middle Orinoco\u201d, Royal Society Open Science, 5 (2018).<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJens Baumgarten<\/span><\/div>

Jens Baumgarten<\/strong>\u00a0is Professor for Art History at the Federal University of S\u00e3o Paulo (Universidade Federal de S\u00e3o 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 \u2018Image, Confession, and Power\u2019 (in German, 2004), several articles, and is preparing a book on \u2018Visual systems in Colonial Brazil\u2019 and another about comparisons between Brazilian and Filipino art history.<\/p><\/div><\/div><\/div>\n\n\n

2024-2025<\/h4>\n\n\n
\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tTamia Viteri<\/u><\/span><\/div>

Tamia Viteri Toledo is an archaeologist graduated from the Pontificia Universidad Cat\u00f3lica 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 \u201cCenter for Dependency and Slavery Studies\u201d at the University of Bonn. Her research specializes in Amazonian archaeological studies from a multidisciplinary perspective with emphasis on iconographic, ceramic and ethnoarchaeological analysis.\r\n\r\n \r\n\r\nHer 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tCathryn Jij\u00f3n<\/u><\/span><\/div>

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.\r\n\r\n \r\n\r\nHer 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tMiluska Guzm\u00e1n<\/span><\/div>

Miluska Guzm\u00e1n Ruiz (San Mart\u00edn-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.\r\n\r\n \r\n\r\nHer 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tRenata Utsunomiya<\/span><\/div>

Renata Utsunomiya is a PhD candidate in Environmental Science at the University of S\u00e3o 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.\r\n\r\n \r\n\r\nFor 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 \u201ctime of the ancients\u201d 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tPr\u00f3spero Carbonell<\/span><\/div>

Pr\u00f3spero Carbonell Cabrales (Cartagena, 1988) is an art historian and visual artist, graduated from the Universidad de los Andes in Bogot\u00e1. 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.\r\n\r\n \r\n\r\nIn 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tSusana Restrepo D\u00edaz<\/span><\/div>

Susana Restrepo D\u00edaz 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 \u201cthe visual pyramid: evolution of a conceptual instrument\u201d 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 Pa\u00edses Bajos (Mediations of the Keplerian model in Dutch painting), which resulted in her work Mediaciones cr\u00edticas (Critical mediations). She was curator of the exhibitions O\u00edr al R\u00edo at the Museo Casa de la Memoria in Medell\u00edn (2023) and Amazon\u00eda espiritual (2020) at the Planetarium in Bogot\u00e1. She currently teaches Seminar II: Anatomy of the Image in the Faculty of Design and Architecture at the Universidad de los Andes.\r\n\r\n \r\n\r\nHer 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 Par\u00e1 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJuan David Parra C\u00e1rdenas<\/span><\/div>

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 Bogot\u00e1. 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.\r\n\r\n \r\n\r\nHer 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJose Gabriel D\u00e1vila Romero<\/span><\/div>

Jos\u00e9 Gabriel D\u00e1vila (Bogot\u00e1, 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 Caquet\u00e1-Putumayo interfluve, where he works together with the Murui, Bora and Okaina communities. Her latest published book is Piel tumbaga (2022).\r\n\r\n \r\n\r\nHis 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tDoris Jacanamijoy Mutumbajoy<\/span><\/div>

Doris Waira Jacanamijoy Mutumbajoy is a leader of the Inga people of the Yurayaco community in San Jos\u00e9 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 Caquet\u00e1 and Putumayo.\r\n\r\n \r\n\r\nShe has been developing the research project \u201cFrontiers of Peace\u201d (with Cl\u00e9ment Roux), which seeks to highlight the cross-cultural hybridization of knowledge in the communities of Caquet\u00e1 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 Caquet\u00e1, 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tSigrid\u00a0Casta\u00f1eda<\/span><\/div>

Sigrid Casta\u00f1eda 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 Rep\u00fablica, 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 Rep\u00fablica.\r\n\r\n \r\n\r\nHer 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 Le\u00f3n Pinelo’s book \u201cEl Para\u00edso en el Nuevo Mundo\u201d, 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tLuiza Proenca<\/span><\/div>

Luiza Proen\u00e7a is a PhD candidate in Philosophy at PUC-RIO, with an emphasis on aesthetics and the environmental question. She is a member of Terranias – N\u00facleo Transdisciplinar de Pensamento Ecol\u00f3gico (PUC-Rio\/CNPq) and the organization of the Anthropocene Campus through the project \u201cA terra e n\u00f3s\u201d (The Earth and Us) (PUC-Rio\/CNPq). She was resident curator at the Akademie Schloss Solitude in Stuttgart and at the Centrum Sztuki Wsp\u00f3\u0142czesnej Zamek Ujazdowski in Warsaw and has worked on the curatorial teams of the S\u00e3o Paulo Museum of Art, the 31st S\u00e3o Paulo Biennial, the 9th Mercosul Biennial, and bauhaus imaginista (HKW), among others. He has organized several publications such as \u201cMuseum Futures\u201d (with Leonhard Emmerling, Latika Gupta and Memory Biwa; Turia + Kant, 2021) and \u201cConcrete and crystal: the MASP collection on Lina Bo Bardi’s easels\u201d (with Adriano Pedrosa; Cobog\u00f3, 2015).\r\n\r\n \r\n\r\nHer project for the Seminar is focused on the realization that, due to illegal deforestation, the Amazon rainforest is approaching what scientists call the \u201cpoint of no return\u201d, 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tGabriela Saenger Silva<\/span><\/div>

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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJos\u00e9 Mois\u00e9s Oliveira Silva<\/span><\/div>

Mois\u00e9s 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 Par\u00e1. He is a teacher in the Modular Teaching Organization System in traditional communities in the west of Par\u00e1, 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.\r\n\r\n \r\n\r\nThe 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 Par\u00e1, 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tOdanilde Freitas Escobar<\/span><\/div>

Odanilde Freitas Escobar, also identified as Adana in the Bar\u00e9 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 S\u00e3o Gabriel da Cachoeira, Amazonas State, in an environment deeply rooted in Bar\u00e9 cultural traditions and practices.\r\n\r\nShe 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 Em\u00edlio Goeldi Museum of Par\u00e1, in Bel\u00e9m, Brazil. Since 2019, she has been conducting research on the polishers and sharpeners in S\u00e3o 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.\r\n\r\n \r\n\r\nHer project aims to collaborate with the seminar \u201cConnecting the Amazonian frontier: artistic and cultural fluidity in early modernity\u201d 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tBrenda de Oliveira<\/span><\/div>

Brenda de Oliveira, born in Bel\u00e9m, Par\u00e1, is a doctoral student in Aesthetics and Art History at the University of S\u00e3o 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 Amer\u00edndias culture and outreach program, both linked to FAPESP’s Phase 2 Young Researcher Project, entitled \u201cBarroco-A\u00e7u. Portuguese America in the Artistic Geography of the Global South.\u201d\r\n\r\n \r\n\r\nFor the second year, she is taking part in the project \u201cThe Amazon Basin as Connecting Borderland,\u201d where she is investigating the series \u201cEntre Rios e Mocambos,\u201d by Joelington Rios, a young visual artist from Maranh\u00e3o, in opposition to the historical concept of Amazonian visuality formulated in the 1980s.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJoana Neves Teixeira<\/span><\/div>

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 Tenochtitl\u00e1n, 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.\r\n\r\n \r\n\r\nHer 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tLesly Garc\u00eda Soto<\/span><\/div>

Lesly Garc\u00eda 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 \u201cHeritage and Territoriality: Past, present, and future perceptions among the Tacana, Tsimane’, Moset\u00e9n and Waiwai\u201d. In Peru, she is a member of the study group \u201cAmazonia rumbo al bicentenario\u201d of the Riva Ag\u00fcero PUCP Institute and has worked on archaeological projects in the Llanos de Moxos (Bolivia) since 2019 and in the Peruvian Amazon since 2015.\r\n\r\n \r\n\r\nHer 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 Mara\u00f1\u00f3n 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.<\/p><\/div><\/div><\/div>\n\n\n

2023-2024<\/h4>\n\n\n
\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tAndrey Le\u00e3o<\/u><\/span><\/div>

\u00c9 atualmente Doutorando do Programa de P\u00f3s-gradua\u00e7\u00e3o em Desenvolvimento Sustent\u00e1vel do Tr\u00f3pico-\u00damido do N\u00facleo de Altos Estudos Amaz\u00f4nicos da Universidade Federal do Par\u00e1\/Brasil, tendo como estudo as formas de musealiza\u00e7\u00f5es em ambientes museais e n\u00e3o museais da regi\u00e3o amaz\u00f4nica, buscando discutir estas institui\u00e7\u00f5es sob a \u00f3tica da decolonialidade. Formado em Museologia pela Universidade Federal do Par\u00e1\/Brasil, tem experi\u00eancia profissional em institui\u00e7\u00f5es como o Museu Paraense Em\u00edlio Goeldi em Bel\u00e9m do Par\u00e1\/ Brasil e acad\u00eamica no Programa de P\u00f3s-gradua\u00e7\u00e3o em Desenvolvimento Sustent\u00e1vel do Tr\u00f3pico \u00damido do N\u00facleo de Altos Estudos Amaz\u00f4nicos da Universidade Federal do Par\u00e1 (Brasil), onde fez seu mestrado sobre narrativas da modernidade em museus hist\u00f3ricos da cidade de Bel\u00e9m do Par\u00e1\/Brasil.\r\n\r\nSua participa\u00e7\u00e3o no semin\u00e1rio se dar\u00e1 a partir de seu projeto que busca fazer uma an\u00e1lise e compara\u00e7\u00e3o das musealiza\u00e7\u00f5es das institui\u00e7\u00f5es museais latinoamericanas, mais especificamente dos museus amaz\u00f4nicos Equatorianos e Brasileiros. A partir disso, a pesquisa se dar\u00e1 por uma perspectiva da an\u00e1lise cr\u00edtica do discurso, levando em considera\u00e7\u00e3o que a modernidade imposta \u00e0 regi\u00e3o amaz\u00f4nica \u00e9 marcada pela implementa\u00e7\u00e3o 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 \u00e9 discorrer como as musealiza\u00e7\u00f5es desses museus estudados fazem um discurso decolonial, sendo uma a\u00e7\u00e3o que luta contra uma l\u00f3gica de domina\u00e7\u00e3o e seus efeitos materiais, epist\u00eamicos e simb\u00f3licos da coloniza\u00e7\u00e3o que s\u00e3o mantidos na atualidade<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tBernardo Marques-Baptista<\/u><\/span><\/div>

Atua como pesquisador, produtor e curador independente de projetos de arte que abarcam visualidades, musicalidades, saberes e fazeres artesanais, tecnologias digitais e ancestrais, festas, celebra\u00e7\u00f5es e religiosidades. Doutorando do Programa de P\u00f3s-gradua\u00e7\u00e3o em Hist\u00f3ria da Arte, na Universidade do Estado do Rio de Janeiro, integra a equipe de pesquisadores do N\u00facleo de Cultura Popular (UERJ) e do Laborat\u00f3rio de Arte e Pol\u00edticas da Alteridade (UERJ), onde desenvolve pesquisas sobre os percursos dos patrim\u00f4nios culturais, com especial interesse para a produ\u00e7\u00e3o da cultura material e imaterial das Irmandades religiosas negras no per\u00edodo colonial e na contemporaneidade brasileira.\r\n\r\nAs irmandades religiosas s\u00e3o grupos de devotos \u201cleigos\u201d que t\u00eam como objetivo a manuten\u00e7\u00e3o de um culto ou devo\u00e7\u00e3o. Modelo tradicional que permaneceu como forma dominante do catolicismo brasileiro por mais de 300 anos, as irmandades detinham a posse dos santu\u00e1rios e beneficiavam-se econ\u00f4mica e politicamente dos eventos relacionados ao santo padroeiro. As Irmandades negras atuavam na assist\u00eancia financeira e de servi\u00e7os aos irm\u00e3os negros e escravizados, sendo um espa\u00e7o de negocia\u00e7\u00e3o \u2013 violentas dada a estrutura da sociedade colonial, de natureza e origem escravista \u2013 em uma modernidade pautada pela colonialidade. Foram importantes agenciadoras da arte no per\u00edodo colonial no Brasil, e na contemporaneidade observam-se formas e express\u00f5es art\u00edsticas provenientes destas organiza\u00e7\u00f5es. No Par\u00e1, Estado brasileiro com destacada presen\u00e7a negra devido sua ocupa\u00e7\u00e3o colonial extrativista, concentram-se narrativas, tradi\u00e7\u00f5es e tecnologias amaz\u00f4nicas de resist\u00eancias produzidas por Irmandades Negras.\r\n\r\nA pesquisa pretender\u00e1 investigar a produ\u00e7\u00e3o visual, express\u00f5es art\u00edsticas e festividades oriundas destas organiza\u00e7\u00f5es no Par\u00e1, Brasil, do s\u00e9culo XVIII.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tBrenda de Oliveira<\/span><\/div>

Brasile\u00f1a, natural de la ciudad de Bel\u00e9m, en Par\u00e1. Actualmente, est\u00e1realizando un doctorado en Est\u00e9tica e Historia del Arte en el Museo de Arte Contempor\u00e1neo dela Universidad de S\u00e3o Paulo (PGEHA MAC USP). Acad\u00e9micamente, se dedica a la interrelaci\u00f3nentre el Arte y el Medio Ambiente, a trav\u00e9s de estudios en artes visuales y al desarrollo de unproyecto agroecol\u00f3gico en una zona rural en la Amazon\u00eda. Su investigaci\u00f3n de doctoradopropone una revisi\u00f3n cr\u00edtica al concepto de \u00abvisualidad amaz\u00f3nica\u00bb, se\u00f1alando que en el centrode esta formulaci\u00f3n se encuentra lo que ella ha llamado \u00abequatorialidad\u00bb, es decir, la forma enque el legado colonial perpetu\u00f3 el uso de las caracter\u00edsticas naturales y geogr\u00e1ficas propias dela Amazon\u00eda ecuatorial como metodolog\u00edas de an\u00e1lisis de las expresiones culturales enmovimiento en la regi\u00f3n. Para ello, realiza el an\u00e1lisis de la producci\u00f3n del artista JoelingtonRios, m\u00e1s espec\u00edficamente la serie \u00abEntre Rios e Mocambos\u00bb, confrontando estas proposicionesconceptuales de visualidad amaz\u00f3nica. Joelington Rios es un joven artista visual nacido en elQuilombo Jamary dos Pretos, en el municipio de Turia\u00e7u, al norte del estado de Maranh\u00e3o, partede la denominada Amazon\u00eda maranhense.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tRenata Utsunomiya<\/span><\/div>

\u00c9 Engenheira Ambiental e Doutoranda em Ci\u00eancia Ambiental pela Universidade de S\u00e3o Paulo (S\u00e3o Paulo-SP, Brasil) e atua como consultora de projetos socioambientais, sobretudo nas \u00e1reas de gest\u00e3o ambiental e territorial e patrim\u00f4nio cultural material e imaterial, al\u00e9m de realizar trabalhos em artes visuais (ilustra\u00e7\u00e3o, design e facilita\u00e7\u00e3o gr\u00e1fica). Trabalha desde 2014 com povos ind\u00edgenas na Amaz\u00f4nia e atualmente realiza sua pesquisa na Terra Ind\u00edgena Arara da Volta Grande do Xingu, analisando impactos de hidrel\u00e9tricas em povos ind\u00edgenas na Amaz\u00f4nia brasileira. A participa\u00e7\u00e3o no semin\u00e1rio se dar\u00e1 por meio de projeto, parte da tese de doutorado, utilizando m\u00e9todos de pesquisa com base em artes, com objetivo de descrever a resili\u00eancia socioecol\u00f3gica e as conex\u00f5es bioculturais com o territ\u00f3rio sob perspectiva do conhecimento local ind\u00edgena, atrav\u00e9s de m\u00e9todos de pesquisa com artes visuais junto a artistas ind\u00edgenas Arara, de forma a narrar as mudan\u00e7as no sistema socioecol\u00f3gico ao longo da hist\u00f3ria.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tPr\u00f3spero Carbonell<\/span><\/div>

Egresado del pregrado en Arte de la Universidad de Los Andes del a\u00f1o 2011 y en el 2019 recibi\u00f3 el t\u00edtulo de mag\u00edster en Historia del Arte con la tesis \u201cPinturas murales de la casa del fundador de Tunja: marcas de hidalgu\u00eda neogranadina vistas desde el Renacimiento global\u201d. Posteriormente, en el 2020 recibi\u00f3 el grado de la Maestr\u00eda en Artes Pl\u00e1sticas, Electr\u00f3nicas y del Tiempo tambi\u00e9n de la Universidad de Los Andes con el proyecto Un hombre no puede ser m\u00e1s grande que una monta\u00f1a. Actualmente trabaja como profesor de catedra de Historia del Arte para el pregrado en Gesti\u00f3n Cultural de la Universidad EAN en Bogot\u00e1. En el 2022, particip\u00f3 en el X Simposio de Historia del Arte de la Universidad de Los Andes con la presentaci\u00f3n \u201cDel Yangts\u00e9 a los Andes: la migraci\u00f3n de la pintura de paisaje en la obra de Gonzalo Ariza\u201d, en la que propone entender al pintor andino como un proto-ambientalista preocupado por la conservaci\u00f3n de la flora y fauna colombiana. Adicionalmente, ese proyecto tambi\u00e9n fue discutido en octubre del mismo a\u00f1o durante la Transregional Academy on Latin American Art IV, Plural Temporalities: Theories and Practices of Time, organizada conjuntamente por el Centro Alem\u00e1n de Historia del Arte (FK Paris), la Bibliotheca Hertziana \u2013 Max-Planck Instituto de Historia del Arte, Roma, y la Universidad de los Andes con colaboraci\u00f3n con Forum Transregionale Studien, Berl\u00edn.\r\n\r\nLa intenci\u00f3n de este proyecto es profundizar sobre el trabajo del artista nonuya del medio r\u00edo Caquet\u00e1, Fabi\u00e1n Moreno, quien pinta paisajes amaz\u00f3nicos en marcadores, acuarelas y \u00f3leos 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 art\u00edstico visibiliza la importancia del conocimiento ancestral en la conservaci\u00f3n del bosque h\u00famedo tropical, e invita a reflexionar acerca de la interconectividad e interdependencia entre los diferentes elementos que componen el paisaje amaz\u00f3nico 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 \u00e9poca precolombina hasta la actualidad, prestando especial atenci\u00f3n al intercambio entre culturas del territorio para as\u00ed comprender c\u00f3mo esos encuentros han afectado las representaciones de la Amazon\u00eda postcolonial.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJimena Muhlethaler-Chango<\/span><\/div>

Soy Soci\u00f3loga por la Pontificia Universidad Cat\u00f3lica del Ecuador. Al presente, estudio en el Master Applied Museum and Heritage Studies por la Reinwardt Academy en \u00c1msterdam, soy beneficiaria del Talent Grant Cohort 2022-2023 y formo parte de la VR Academy de esta instituci\u00f3n con un proyecto que explora arqueolog\u00eda, paisaje y arquitectura. He trabajado por cinco a\u00f1os en el Museo Casa del Alabado, tanto en el \u00e1rea educativa con iniciativas que van de la educaci\u00f3n no formal a la mediaci\u00f3n comunitaria, as\u00ed como con el area de investigaci\u00f3n en la curadur\u00eda de la exhibici\u00f3n temporal \u201cSonidos y Danzantes: una experiencia contemplativa y sensorial\u201d (2020-2021). Adicional a esto, me desempe\u00f1o como aprendiz de investigaci\u00f3n en la Rijksdienst voor het Cultureel Erfgoed (Agencia Nacional de Patrimonio) de los Pa\u00edses Bajos e investigo museos comunitarios de pa\u00edses del sur global en busca del mapeo de sus estrategias de contestaci\u00f3n frente a narrativas hist\u00f3ricas oficiales. Adem\u00e1s, participo como co-editora del n\u00famero 16 de El Futuro del Pasado, Revista electr\u00f3nica de Historia bajo la tem\u00e1tica \u201cMuseos: objetos, comunidades y nuevas narrativas\u201d a publicarse en 2025 por la Universidad de Salamanca.\r\n\r\nEnfocar\u00e9 mi investigaci\u00f3n en la subtem\u00e1tica \u201ccollecting practices and exhibition of objects from the Amazon region in South America and Europe\u201d. Esta propuesta nace del supuesto de que la magnitud de la cuenca amaz\u00f3nica \u2013 como territorio, ecosistema, regi\u00f3n supranacional e intercultural, entre otros \u2013 genera ciertas percepciones particulares que aportan a su comprensi\u00f3n desde varias esferas del conocimiento. Esta propuesta tomar\u00e1 algunos criterios que forman parte de esa imaginaria totalidad amaz\u00f3nica que opera en actores externos a la misma: lo desconocido, lo intangible y lo no evidente.\r\n\r\nEn el acto de colecci\u00f3n, aquellos objetos que provienen del ecosistema amaz\u00f3nico 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 amazon\u00eda, a la vez que informan sobre aquellos que la observan. Para abordar las tem\u00e1ticas propuestas se analizar\u00e1n objetos de colecciones y registros de archivo de Sudam\u00e9rica y Europa, con el fin de examinar de qu\u00e9 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 tambi\u00e9n se develen supuestos, choques o preconcepciones que alteran las ideas que operan en la conexi\u00f3n entre la amazon\u00eda y aquellos que no la habitan.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tMar\u00eda Beatriz H. Carri\u00f3n<\/span><\/div>

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, Carri\u00f3n se especializa en el arte decimon\u00f3nico de las Am\u00e9ricas, con un enfoque en la historia de la fotograf\u00eda, 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. Carri\u00f3n ha dictado clases en Baruch College y la Escuela del Instituto de Arte de Chicago (SAIC), y ha trabajado en el Rijksmuseum, la Galer\u00eda James, el Museo y Biblioteca Morgan, y el Museo de Arte de Nueva Orleans.\r\n\r\nSu proyecto para \u201cConectar la frontera amaz\u00f3nica\u201d examinar\u00e1 las articulaciones ecocr\u00edticas 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 Amazon\u00eda ecuatoriana como una regi\u00f3n para la extracci\u00f3n de recursos naturales y\/o criticado estas pr\u00e1cticas, particularmente con relaci\u00f3n a la industria petrolera y al activismo de los pueblos y nacionalidades ind\u00edgenas de la regi\u00f3n. Algunos de los artistas que el proyecto discute son Pablo Cardoso, Amaru Cholango, Paulo Tavares, y Rafael Troya.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tVer\u00f3nica Mu\u00f1oz-N\u00e1jar Luque<\/span><\/div>

Becaria curatorial de la colecci\u00f3n de arte virreinal de la Fundaci\u00f3n Thoma. Ver\u00f3nica es doctora en Historia del Arte por la Universidad de California, Berkeley, y mag\u00edster por el Institute of Fine Arts de la Universidad de Nueva York. Su proyecto de investigaci\u00f3n reescribe la historia colonial tard\u00eda de la creaci\u00f3n art\u00edstica en el Valle del Mantaro (Per\u00fa) mediante el an\u00e1lisis de fuentes de archivo in\u00e9ditas y nuevas interpretaciones de fuentes primarias y cr\u00f3nicas coloniales. El proyecto se divide en dos casos de estudio. El primero se centra en una pintura in\u00e9dita donde convergen dos g\u00e9neros art\u00edsticos raramente practicados en el Virreinato del Per\u00fa, el paisaje y el retrato eclesi\u00e1stico, para presentar las negociaciones de poder entre dos de las autoridades coloniales m\u00e1s prominentes de la regi\u00f3n: 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 producci\u00f3n de la serie pict\u00f3rica que coloquialmente se conoce como \u00abLos martirios de Ocopa\u00bb. 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 investigaci\u00f3n de Ver\u00f3nica demuestra c\u00f3mo estas importantes rebeliones amaz\u00f3nicas, adem\u00e1s de desmantelar por completo la red de misiones del Instituto Apost\u00f3lico, representaron una notable victoria para las naciones Ash\u00e1ninka y Yanesha, quienes a partir de entonces disfrutaron de libertad y autonom\u00eda durante el resto de la \u00e9poca colonial. A pesar del derramamiento de sangre sufrido por los misioneros durante las d\u00e9cadas de 1740 y 1760, los franciscanos de Ocopa hicieron p\u00fablico el fracaso absoluto de su labor apost\u00f3lica a trav\u00e9s de cr\u00f3nicas y pinturas como la serie analizada, para forjar la idea de que, en el interior de la Amazon\u00eda, la Orden estaba viviendo una segunda edad de oro que recordaba la conquista espiritual del siglo XVI.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJuan Carlos G Mantilla<\/span><\/div>

I am an Assistant Professor of World Literature at California State University, Fresno\u2019s Department of English. I have a Ph.D. from Columbia University\u2019s 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.\r\n\r\nAs part of the \u201cAmazon Basin as Connecting Borderland\u201d research seminar, I will develop a chapter of my first monograph project titled Ancha \u00d1aupa 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 \u2018Yunga-Paradise\u2019 focuses on three visual imaginings of the Amazon by Guam\u00e1n Poma de Ayala in his \u2018mapamundi del reino de las Indias\u2019 found in folios 1001-1002 of his Nueva Cor\u00f3nica y Buen Gobierno (1615), Mart\u00edn de Mur\u00faa in Folio 1v of his Origen y genealogia (1580), and Antonio de Le\u00f3n Pinelo\u2019s map \u2018Continents Paradisi\u2019 in his Para\u00edso 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tMar\u00eda Isabel T\u00e9llez Colmenares<\/span><\/div>

Historiadora del arte y artista con \u00e9nfasis en proyectos culturales de la Universidad de los Andes de Bogot\u00e1. Actualmente cursa la maestr\u00eda en Museolog\u00eda y Gesti\u00f3n del Patrimonio de la Universidad Nacional de Colombia. Cuenta con experiencia en investigaci\u00f3n 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.\r\n\r\nEl proyecto de investigaci\u00f3n que desarrollar\u00e1 a lo largo del seminario buscar\u00e1 estudiar las colecciones y la falta de representaci\u00f3n ind\u00edgena, y en espec\u00edfico de los grupos poblacionales que habitan la regi\u00f3n amaz\u00f3nica colombiana, desde tres casos de estudio o colecciones espec\u00edficas albergadas en la capital colombiana, creados en periodos hist\u00f3ricos distintos y bajo intereses y pol\u00edticas variadas: un primer caso ser\u00e1 el del Instituto Caro y Cuervo, relacionada con el proyecto para la conformaci\u00f3n del Atlas Ling\u00fc\u00edstico- Etnogr\u00e1fico de Colombia (ALEC), llevado a cabo entre 1950 y 1982; el Museo Nacional ser\u00e1 otra de las instituciones estudiadas, la cual se conform\u00f3 desde 1823 bajo la idea de construir un ideal de naci\u00f3n y de patria; un tercer caso es el del Museo Colonial, un museo hist\u00f3rico que ha buscado abordar el tema de la Colonia en la Nueva Granada.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJuan Felipe Urue\u00f1a Calder\u00f3n<\/span><\/div>

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 im\u00e1genes, la historia de la ciencia, la historia intelectual de lo pol\u00edtico y la historia cultural en los siglos XVIII \u2013 XIX. Estoy interesado en el uso de las herramientas digitales para la investigaci\u00f3n, en especial en el desarrollo web, la programaci\u00f3n creativa y la visualizaci\u00f3n de datos. Actualmente me encuentro terminando mi tesis de doctorado denominada \u201cSe dice andar sobre hombres como sobre caballos. Circulaci\u00f3n de im\u00e1genes de cargueros de hombres en el siglo XIX\u201d, la cual ser\u00e1 presentada en el segundo semestre del a\u00f1o en curso. La tesis se pregunta por la circularon de las im\u00e1genes de cargueros de hombres y cu\u00e1les fueron los sentidos que movilizaron al interactuar con diferentes actores y escenarios en el siglo XIX.\r\n\r\nEn la colecci\u00f3n de im\u00e1genes recolectadas para la tesis se encuentran varios elementos de finales del siglo XVIII referentes a cargueros de hombres de la regi\u00f3n amaz\u00f3nica. Estos fueron producidos en el contexto de las exploraciones cient\u00edficas, la administraci\u00f3n burocr\u00e1tica y la ilustraci\u00f3n criolla en per\u00edodo borb\u00f3n. Estas im\u00e1genes me parecen particularmente interesantes porque la disposici\u00f3n del cuerpo del sujeto cargado es diferente a la de otras im\u00e1genes referentes al paso del Quind\u00edo, el Choc\u00f3 o Antioquia en los ramales de los Andes de la Nueva Granada. La propuesta de investigaci\u00f3n que quisiera llevar a cabo en el seminario \u201cConectar la frontera amaz\u00f3nica: fluidez art\u00edstica y cultural en la modernidad temprana\u201d, est\u00e1 relacionada con profundizar acerca de estas im\u00e1genes. En general, me interesa preguntarme por las pr\u00e1cticas de circulaci\u00f3n de im\u00e1genes, objetos y personas entre los espacios y comunidades que son conectados por la regi\u00f3n amaz\u00f3nica. En particular, si las disposiciones corporales de los cargados en estas im\u00e1genes y sus semejanzas con im\u00e1genes de otros per\u00edodos, son un indicio para explorar la existencia de conexiones entre las pr\u00e1cticas de circulaci\u00f3n de objetos, personas e ideas en diferentes grupos y lugares de la regi\u00f3n. Y en este mismo sentido, si los modos distintivos de llevar a cabo la pr\u00e1ctica de los cargueros de hombres en la regi\u00f3n amaz\u00f3nica 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).<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tJose Gabriel D\u00e1vila<\/span><\/div>

Soy estudiante de primer a\u00f1o del PhD en Estudios Amaz\u00f3nicos de la Universidad Nacional de Colombia, en la sede Amazonia. Me especializo en la l\u00ednea de investigaci\u00f3n de Historias y culturas amaz\u00f3nicas, de mutua alimentaci\u00f3n con el Instituto Amaz\u00f3nico de Investigaciones IMANI. Mi inter\u00e9s de investigaci\u00f3n condensa las relaciones entre corporalidad, lenguas nativas y cultura material desde el campo multidisciplinar de la historia del arte, la antropolog\u00eda, la ling\u00fc\u00edstica sem\u00e1ntica y las ciencias del patrimonio. Anteriormente, durante la maestr\u00eda, mi trabajo se concentr\u00f3 en las relaciones entre el patrimonio arqueol\u00f3gico precolombino Tumaco-La Tolita (en la frontera colombo ecuatoriana) y las violencias extractivas en el litoral pac\u00edfico, combinando la historia del arte con la ecolog\u00eda pol\u00edtica para tratar el problema de la guaquer\u00eda de figuras cer\u00e1micas (looting).\r\n\r\nEl proyecto profundiza sobre la corporalidad y las lenguas nativas como fuente de investigaci\u00f3n de la cultura material, espec\u00edficamente, bancos de pensamiento\u2019 y los \u2018chinchorros\u2019 en las comunidades murui y tukano oriental del medio r\u00edo Caquet\u00e1, en el noroeste amaz\u00f3nico. Se plantea una historiograf\u00eda del arte que abra paso a nuevos criterios ling\u00fc\u00edsticos, sem\u00e1nticos y corporales para calibrar los \u00edndices de valoraci\u00f3n y apropiaci\u00f3n de Patrimonio Cultural Inmaterial desde los sistemas perceptivos y est\u00e9ticos nativos. Esto con el fin de descentralizar los paradigmas artesanales para la valoraci\u00f3n integral de los sistemas culturales ind\u00edgenas, posibilitando una nueva museograf\u00eda que encarne experiencias patrimoniales desde los modelos sensitivos, cognitivos y creativos ind\u00edgenas.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tGabriela Paiva de Toledo<\/span><\/div>

Possui bacharelado e licenciatura em Hist\u00f3ria com \u00eanfase em Hist\u00f3ria da Arte pela Universidade Estadual de Campinas (2013). \u00c9 mestre em Hist\u00f3ria da Arte pela mesma institui\u00e7\u00e3o (2017). Atualmente, \u00e9 doutoranda em Hist\u00f3ria 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 cr\u00edticas de artistas \u00e0 r\u00e1pida expans\u00e3o territorial e \u00e0 explora\u00e7\u00e3o da Amaz\u00f4nia promovida pela ditadura militar no Brasil (1970-1985). Seu trabalho aborda a pol\u00edtica do espa\u00e7o na rela\u00e7\u00e3o entre a arte e seu espa\u00e7o expositivo e o nexo com a Amaz\u00f4nia, al\u00e9m da hist\u00f3ria da visualidade da Amaz\u00f4nia constru\u00edda por meio de mapas, an\u00fancios na imprensa e propaganda oficial e sua avalia\u00e7\u00e3o cr\u00edtica pela arte contempor\u00e2nea. Seu trabalho dialoga com campos do conhecimento variados, como a Hist\u00f3ria da Arte, Cultura Visual, Ecologia e as Ci\u00eancias Sociais, combinando conceitos e ferramentas de an\u00e1lise da Hist\u00f3ria da Arte, Ecologia Pol\u00edtica, estudos espaciais p\u00f3s-estruturalistas, Antropologia e estudos p\u00f3s-coloniais e decoloniais.\r\n\r\nPara este semin\u00e1rio, sua proposta \u00e9 investigar de que maneira o modelo de urbaniza\u00e7\u00e3o portuguesa da Amaz\u00f4nia consolidou as bases ideol\u00f3gicas que condicionaram a forma como se pensa, representa e produz o espa\u00e7o amaz\u00f4nico nos per\u00edodos posteriores. Como mapas, tra\u00e7ados urbanos e desenhos continuamente constru\u00edram e reafirmaram a no\u00e7\u00e3o da Amaz\u00f4nia como um imenso vazio civilizacional, ou terra nullius, que deveria ser ocupado e domesticado? Buscando responder esses questionamentos, a pesquisa examinar\u00e1 um conjunto iconogr\u00e1fico produzido no primeiro per\u00edodo de urbaniza\u00e7\u00e3o na Amaz\u00f4nia no s\u00e9culo XVIII, mais especificamente os materiais referentes \u00e0s vilas constitu\u00eddas ao longo do curso do rio Amazonas e seus afluentes. Tamb\u00e9m, as representa\u00e7\u00f5es visuais em uma obra coet\u00e2nea, o Viagem Filos\u00f3fica pelas Capitanias do Gr\u00e3o-Par\u00e1, Rio Negro, Mato Grosso e Cuiab\u00e1 (1783-1792), de autoria do naturalista baiano Alexandre Rodrigues Ferreira. Em um segundo momento, combinando etno-hist\u00f3ria e an\u00e1lise visual, a pesquisa pretende investigar de que forma as pr\u00e1ticas espaciais ind\u00edgenas emergem na documenta\u00e7\u00e3o colonial, produzindo um contraponto \u00e0 ret\u00f3rica oficial sobre a regi\u00e3o.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tAlejandro Garay Celeita<\/span><\/div>

Historiador de la Pontificia Universidad Javeriana (2005) con estudios de maestr\u00eda en Historia del Arte de la Universidad Nacional de Colombia (2009) y en Literatura Comparada de la Universidad del Sur de California (2020). Curs\u00f3 el doctorado en Historia con \u00e9nfasis en Historia del Arte en la Universidade Estadual de Campinas (2019). En el 2022, la editorial de la Universidad del Rosario public\u00f3 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 acad\u00e9micos se centran en las intersecciones entre el pensamiento poscolonial y decolonial, los estudios ind\u00edgenas, los estudios visuales y los estudios medioambientales. Su actual investigaci\u00f3n actual hace hincapi\u00e9 en un estudio te\u00f3rico, hist\u00f3rico y comparativo amplio que incluye la bot\u00e1nica, la historia del arte y los conocimientos ind\u00edgenas en diversas fuentes tanto visuales, escritas como materiales. En esta pesquisa se quiere incorporar y discutir conceptos tradicionales de la primera modernidad sobre bot\u00e1nica e historia natural e historia del arte con debates contempor\u00e1neos sobre las plantas, el posthumanismo, las teor\u00edas decoloniales, estudios visuales y trabajos recientes sobre indigenismo. En el seminario \u201cConectar la frontera Amaz\u00f3nica\u201d, su inter\u00e9s est\u00e1 puesto en la exploraci\u00f3n de archivos visuales y materiales en manuscritos, escritos sobre plantas nativas y sus relaciones con las comunidades ind\u00edgenas tanto en la regi\u00f3n amaz\u00f3nica como en otras zonas del continente. De la misma manera, existe un intereses amplio de discutir con todos los y las participantes nuevas aproximaciones te\u00f3ricas e hist\u00f3ricas en proyectos de orden transdisciplinar y transregional en el que hacer de la investigaci\u00f3n en las humanidades en la actualidad.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tAdriana Amosso Dolci Leme Palma<\/span><\/div>

Aluna de doutorado em cotutela entre o Programa de P\u00f3s-gradua\u00e7\u00e3o Interunidades em Est\u00e9tica e Hist\u00f3ria da Arte da Universidade de S\u00e3o Paulo (PGEHA USP) e o Departamento de Hist\u00f3ria da Arte da Universidade Westf\u00e4lische Wilhelms de M\u00fcnster, na Alemanha, iniciado em 2021. Sou bolsista CAPES PSDE neste momento. Sou bacharel e licenciada em Hist\u00f3ria pela Universidade de S\u00e3o Paulo. Realizei mestrado junto ao PGEHA USP com financiamento da Funda\u00e7\u00e3o de Amparo \u00e0 Pesquisa do Estado de S\u00e3o Paulo. Em 2014, participei do semin\u00e1rio \u201cExhibting and Narrating Latin American\/Latino Art\u201d, realizado na Universidad Turcuato di Tella, em Buenos Aires, com financiamento da Conecting Art Histories da Getty Foundation. Trabalhei como pesquisadora em algumas institui\u00e7\u00f5es como o MAC USP, a Pinacoteca de S\u00e3o Paulo e o Museu Afro Brasil.\r\n\r\nMinha pesquisa de doutorado discute conex\u00f5es entre arte e antropologia por meio de an\u00e1lises de diferentes concep\u00e7\u00f5es de xam\u00e3 e de artista presentes nos trabalhos de alguns artistas envolvidos na cena experimental da segunda metade do s\u00e9culo XX. Assim, a investiga\u00e7\u00e3o problematiza epistemologias estruturadas em diferentes realidades, opondo e relativizando contextos culturais oriundos do Sul e do Norte globais. Quest\u00f5es do contexto amaz\u00f4nico s\u00e3o abordadas em v\u00e1rios momentos da pesquisa, como nos trabalhos da fot\u00f3grafa Claudia Andujar, que consta entre os artistas analisados.\r\n\r\nPara este Semin\u00e1rio apresento uma proposta de estudo, que surgiu a partir da pesquisa de doutorado, sobre as reverbera\u00e7\u00f5es locais, entre os ind\u00edgenas Yanomami, do trabalho coletivo empreendido pela fot\u00f3grafa, em parceria com lideran\u00e7as Yanomami como Davi Kopenawa, o antrop\u00f3logo Bruce Albert e o mission\u00e1rio Carlo Zacquini, em defesa dos direitos desse povo, com a Comiss\u00e3o pela Cria\u00e7\u00e3o do Parque Yanomami. Arte e luta pol\u00edtica uniram-se nas iniciativas estabelecidas por esse grupo, conectando partes de territ\u00f3rios amaz\u00f4nicos e suas culturas locais ao mundo, atrav\u00e9s de confer\u00eancias, a\u00e7\u00f5es pol\u00edticas e exposi\u00e7\u00f5es das fotografias de Andujar. Impress\u00f5es e interpreta\u00e7\u00f5es acerca de costumes e do cotidiano desse povo foram captadas nessas fotografias. Andujar entende que tais obras podem ser uma forma de preserva\u00e7\u00e3o de momentos da hist\u00f3ria desse povo, para as futuras gera\u00e7\u00f5es. Assim, intenciona-se analisar como os Yanomami relacionam-se com tais registros e pensam a respeito do seu uso em suas lutas.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tDiana Iturralde<\/span><\/div>

Candidata a doctorado en historia del arte en Rutgers University, Nueva Jersey. Se enfoca en el arte moderno y contempor\u00e1neo de Latinoam\u00e9rica con \u00e9nfasis en la regi\u00f3n andino- amaz\u00f3nica. Ha trabajado con temas relacionados a los intercambios culturales transnacionales durante finales del siglo XIX y principios del XX, la construcci\u00f3n de identidades nacionales y las percepciones e imaginarios sobre la regi\u00f3n andino-amaz\u00f3nica. Diana aborda su pr\u00e1ctica en historia del arte y la fotograf\u00eda de manera interdisciplinar, en di\u00e1logo con las humanidades ambientales y la eco-cr\u00edtica. En su disertaci\u00f3n doctoral examina las representaciones visuales de la regi\u00f3n amaz\u00f3nica en Ecuador y Per\u00fa 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 regi\u00f3n. Antes de comenzar su doctorado, Diana realiz\u00f3 pasant\u00edas en el Museo de arte de Philadelphia y trabaj\u00f3 como investigadora en el Institute for Studies on Latin American Art (ISLAA) en Nueva York. Complet\u00f3 su pregrado en Educaci\u00f3n en la USFQ y su maestr\u00eda en Historia del Arte en Tyler School of Art, Temple University, en Philadelphia, Pennsylvania.<\/p><\/div><\/div><\/div>\n\n\n

Postdocs<\/h4>\n\n\n
\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tEr\u00eandira Oliveira<\/span><\/div>

Er\u00eandira Oliveira. Profa. colaboradora – Programa de P\u00f3s-gradua\u00e7\u00e3o em Diversidade Sociocultural (PPGDS).\r\n\r\n \r\n\r\n \r\n\r\nEr\u00eandira Oliveira es licenciada en Artes Visuales por el Centro Universitario Belas Artes de S\u00e3o Paulo (2009), m\u00e1ster y doctora en Arqueolog\u00eda por el Museo de Arqueolog\u00eda y Etnolog\u00eda de la Universidad de S\u00e3o Paulo, Brasil, habiendo obtenido sus t\u00edtulos en 2016 y 2022, respectivamente. Actualmente es investigadora y profesora colaboradora en el Programa de Postgrado en Diversidad Sociocultural del Museu Paraense Em\u00edlio Goeldi, en Bel\u00e9m do Par\u00e1, Brasil. Desde 2011 investiga el lenguaje iconogr\u00e1fico de la cer\u00e1mica amaz\u00f3nica precolonial, con especial atenci\u00f3n a la Tradici\u00f3n Policroma de la Amazonia, que es un estilo cer\u00e1mico con decoraciones complejas, combinaciones crom\u00e1ticas y modelado antropomorfo y zoomorfo. Las cer\u00e1micas de esta tradici\u00f3n se encuentran a lo largo de grandes r\u00edos como el Amazonas y el Negro, y datan de entre los siglos VII y XVIII. Su l\u00ednea de investigaci\u00f3n se basa en un di\u00e1logo con la Etnograf\u00eda y la Antropolog\u00eda del Arte para analizar la iconograf\u00eda amaz\u00f3nica precolonial desde el punto de vista del Arte Ind\u00edgena y desde la perspectiva de la historia ind\u00edgena a largo plazo.\r\n\r\n \r\n\r\nSu proyecto con el Seminario se centra en el estudio de fuentes etnohist\u00f3ricas, buscando relatos de tecnolog\u00edas y artes ind\u00edgenas y, a partir de ah\u00ed, observando elementos del estilo y de la iconograf\u00eda de la cer\u00e1mica amaz\u00f3nica precolonial tard\u00eda y colonial, en busca de elementos de transformaci\u00f3n y resistencia al proceso de colonizaci\u00f3n. El objetivo es pensar las artes ind\u00edgenas de la modernidad temprana como testimonios materiales de estrategias para mantener ontolog\u00edas particulares a trav\u00e9s de un di\u00e1logo entre la historia del arte y la arqueolog\u00eda.\r\n\r\n \r\n\r\nEr\u00eandira Oliveira holds a bachelor’s degree in Visual Arts from the Centro Universit\u00e1rio Belas Artes de S\u00e3o Paulo (2009), a master’s degree and a PhD in Archaeology from the Museum of Archaeology and Ethnology of the University of S\u00e3o 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 Em\u00edlio Goeldi, in Bel\u00e9m do Par\u00e1, 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.\r\n\r\n \r\n\r\nHer 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tGabriela German\u00e1 Roquez (2024-2025)<\/u><\/span><\/div>

Gabriela German\u00e1 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 \u201cRethinking Contemporary Latin American Art\u201d. 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 Cat\u00f3lica del Per\u00fa.\r\n\r\n \r\n\r\nHis 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.<\/p><\/div><\/div>

\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t<\/path><\/svg>\n\t\t\t\t\t\t\t<\/span>\n\t\t\tMateus Carvalho Nunes (2023-2024)<\/u><\/span><\/div>

Architect and Urban Planner from the Federal University of Par\u00e1 (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 S\u00e3o 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 S\u00e3o Paulo Museum of Art (MASP), where he coordinated and taught the courses \u201cBrazilian Baroque: 17th and 18th centuries\u201d (2022), \u201cBrazilian Baroque: trans-historical readings\u201d (2022), \u201cContemporary art from Par\u00e1: hybridisms, images and poetics\u201d (2021) and \u201cContemporary art from Par\u00e1: hybrid writings and readings\u201d (2023). Volunteer researcher on the project \u201cBarroco-A\u00e7u. A Am\u00e9rica Portuguesa na Geografia Art\u00edstica do Sul Global\u201d (2022) and the project \u2018Barroco Cifrado: Pluralidade Cultural na Arte e na Arquitetura das Miss\u00f5es Jesu\u00edticas no territ\u00f3rio do Estado de S\u00e3o Paulo (1549-1759)\u2019 (2020-2021), both at FAU USP, funded by FAPESP. Her research focuses predominantly on 17th and 18th century architecture in Bel\u00e9m; artistic and imagistic dynamics between Lisbon, Bologna and Bel\u00e9m 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 Ant\u00f4nio Jos\u00e9 Landi (1713-1791); image theory and art history theory.\r\n\r\nThe 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 Par\u00e1, 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 Ant\u00f4nio Jos\u00e9 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\r\n\r\n-although politically governed by the colonial expansionism of the Portuguese Crown, connecting the realities of Goa and Par\u00e1, with the Amazon as the protagonist.<\/p><\/div><\/div><\/div>\n\n\n

\n
Ver convocatoria<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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The Amazon Basin as Connecting Borderland: Examining Cultural and Artistic Fluidities in the Early Modern Period<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/amazon.uniandes.edu.co\/en\/participantes\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Participants - The Amazon Basin as Connecting Borderland: Examining Cultural and Artistic Fluidities in the Early Modern Period\" \/>\n<meta property=\"og:description\" content=\"Coordinadoras Asistente del proyecto Colaboradores 2024-2025 2023-2024 Postdocs\" \/>\n<meta property=\"og:url\" content=\"https:\/\/amazon.uniandes.edu.co\/en\/participantes\/\" \/>\n<meta property=\"og:site_name\" content=\"The Amazon Basin as Connecting Borderland: Examining Cultural and Artistic Fluidities in the Early Modern Period\" \/>\n<meta property=\"article:modified_time\" content=\"2024-10-04T20:14:38+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data1\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/amazon.uniandes.edu.co\\\/en\\\/participantes\\\/\",\"url\":\"https:\\\/\\\/amazon.uniandes.edu.co\\\/en\\\/participantes\\\/\",\"name\":\"Participants - 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