{"id":186,"date":"2023-02-03T11:02:58","date_gmt":"2023-02-03T16:02:58","guid":{"rendered":"https:\/\/amazon.uniandes.edu.co\/?page_id=186"},"modified":"2024-09-11T16:56:57","modified_gmt":"2024-09-11T21:56:57","slug":"equipo","status":"publish","type":"page","link":"https:\/\/amazon.uniandes.edu.co\/pt-pt\/equipo\/","title":{"rendered":"\u00a0Equipe"},"content":{"rendered":"\n
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Project Leaders :<\/h3>\n\n\n\n
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Carmen Fern\u00e1ndez-Salvador<\/strong><\/strong> (PhD, University of Chicago) \u00e9 professora de Hist\u00f3ria da Arte na Universidad San Francisco de Quito. Publicou v\u00e1rios estudos em arte e historiografia coloniais, entre os quais \u201cReflections on Painting in Colonial Quito\u201d, em The Art of Painting in Colonial Quito <\/em>(Philadelphia: St. Joseph University Press, 2012); \u201cFollowing in the Footsteps of Christ: Uses of the Via Crucis in Colonial Quito\u201d, em Aesthetic Theology in the Franciscan Tradition: The Senses and the Experience of God in Art <\/em>(Routledge, 2019); \u201cUses of Tridentine Artistic Theory in Spanish America: Imaging the Christian painter in colonial hagiography\u201d, em Hispanic Research Journal <\/em>(2020); \u201cImages and Landscape: the (Dis)ordering of Colonial Territory (Quito in the Eighteenth Century)\u201d, in Arts<\/em> (2021) e \u201cPrints Crossing Genres: Sixteenth-Century Iconographies of Old World Martyrdom and New World Sacrifice\u201d, in Sacrifice and Conversion in the Early Modern Atlantic World<\/em>, Maria Berbara, org. (Harvard University Press, 2022). \u00c9 co-autora do livro Arte colonial Quite\u00f1o: Renovado enfoque y nuevos actores<\/em>. Biblioteca B\u00e1sica de Quito 14 (Quito: FONSAL, 2007); com Ver\u00f3nica Salles-Reese, editou o volume Autores y Actores del Mundo Colonial: Nuevos Enfoques Multidisciplinarios <\/em>(Quito: USFQ, Georgetown University e CASO: 2008). Na segunda metade de 2015 foi professora visitante, na categoria Robert F. Kennedy, na Universidade de Harvard. Em conex\u00e3o ao tema deste projeto, publicou \u201cJesuit Missionary Work in the Imperial Frontier: Mapping the Amazon in Seventeenth-Century Quito\u201d, Religious Transformations in the Early Modern Americas <\/em>(Filad\u00e9lfia: Penn University Press, 2014) e Encuentros y desencuentros con la frontera imperial: la iglesia de la Compa\u00f1\u00eda de Jes\u00fas de Quito y la misi\u00f3n en el Amazonas (siglo diecisiete) <\/em>(Vervuert, 2018).<\/p>\n<\/div>\n\n\n\n

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Maria Berbara<\/strong> <\/strong>\u00e9 doutora pela Universidade de Hamburgo (Alemanha) e professora de Hist\u00f3ria da Arte na Universidade do Estado do Rio de Janeiro. Especializou-se em arte italiana e ib\u00e9rica produzida entre os s\u00e9culos XV e XVII, assim como em hist\u00f3ria cultural, globalismo na Primeira \u00c9poca Moderna e interc\u00e2mbios intelectuais no mundo atl\u00e2ntico. Atualmente pesquisa a hist\u00f3ria da Fran\u00e7a Ant\u00e1rtica, a imagem global dos Tupinamb\u00e1 e a rela\u00e7\u00e3o entre arte, doen\u00e7as e processos de convers\u00e3o no mundo atl\u00e2ntico durante a primeira modernidade. Seus projetos individuais e coletivos de pesquisa foram financiados pela Funda\u00e7\u00e3o Getty e pelo Getty Research Institute; Villa I Tatti -The Harvard University Center for Italian Renaissance; DAAD\/Alemanha, INHA\/Paris, e pelas institui\u00e7\u00f5es brasileiras Fapesp, Faperj, CNPq e Capes. Entre outras publica\u00e7\u00f5es recentes, participou como autora e organizou os livros Fran\u00e7a Ant\u00e1rtica – Ensaios Interdisciplinares<\/em> (com Sheila Hue e Renato Menezes. Campinas: Editora da Unicamp, 2021) e Sacrifice and Conversion in the Early Modern Atlantic World<\/em> (Floren\u00e7a: Harvard University Press e Officina Libraria, 2022).<\/p>\n<\/div>\n\n\n\n

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Patricia Zalamea<\/strong><\/strong> (PhD, Rutgers University) \u00e9 professora associada de Hist\u00f3ria da Arte na Universidad de Los Andes em Bogot\u00e1 (Col\u00f4mbia), onde foi diretora do Centro de Artes e Humanidades entre 2015 e 2021. Al\u00e9m de ter desenvolvido o primeiro programa de gradua\u00e7\u00e3o em hist\u00f3ria da arte na Col\u00f4mbia (2010), ela \u00e9 uma das fundadoras do Comit\u00ea Colombiano de Hist\u00f3ria da Arte (CCHA), filiado ao Comit\u00e9 International d\u2019Histoire de l\u2019Art <\/em>(CIHA), e foi membro do comit\u00ea diretivo da Transregional Academy on Latin American Art <\/em>do Deutsches Forum f\u00fcr Kunstgeschichte <\/em>entre 2019 e 2022. Seus campos de estudo incluem arte colonial latino-americana, arte do Renascimento Global, a recep\u00e7\u00e3o do cl\u00e1ssico em contexto colonial, hist\u00f3ria da gravura e retrat\u00edstica. Publica\u00e7\u00f5es recentes incluem um estudo diacr\u00f4nico da representa\u00e7\u00e3o de um l\u00edder andino, intitulado \u201cNarratives of Sacrifice in the Nuevo Reino de Granada: Doubting Sugamuxi and Muisca Conversion in a Colonial Context\u201d, em Sacrifice and Conversion in the Early Modern Atlantic World <\/em>(Harvard University Press, 2022); dois cap\u00edtulos e um artigo sobre a interpreta\u00e7\u00e3o da tradi\u00e7\u00e3o cl\u00e1ssica em c\u00edrculos humanistas em Lima e Cuzco no s\u00e9culo XVII, um dos quais foi publicado em Re-inventing Ovid\u2019s Metamorphoses<\/em>, 1300-1700 <\/em>(Brill, 2020). Tamb\u00e9m explorou elementos cl\u00e1ssicos em pinturas murais seculares do s\u00e9culo XVI em Tunja, Col\u00f4mbia (Historia y Sociedad <\/em>n.36, 2019).<\/p>\n<\/div>\n<\/div>\n\n\n\n

Project Assistant:<\/h3>\n\n\n\n
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Julian Serna<\/strong><\/strong> \u00e9 doutorando em Hist\u00f3ria da Arte e Arquitetura na Universidade de Boston. Sua \u00e1rea de pesquisa \u00e9 arte latino-americana, com \u00eanfase nos s\u00e9culos XIX e XX. Atualmente trabalha sobre a funda\u00e7\u00e3o das academias de arte na Col\u00f4mbia, Equador e Venezuela e sua rela\u00e7\u00e3o com as institui\u00e7\u00f5es art\u00edsticas de Paris e Roma. Antes de unir-se \u00e0 Universidade de Boston, trabalhou em diversos projetos de investiga\u00e7\u00e3o e curadoria na Col\u00f4mbia. Ap\u00f3s concluir gradua\u00e7\u00e3o em Artes, com \u00eanfase em artes pl\u00e1sticas e hist\u00f3ria e teoria da arte na Universidad de Los Andes (2007), e gra\u00e7as a uma bolsa Fullbright, fez mestrado em Cultura Visual na Illinois State University (2012). Trabalhou como chefe de curadoria na cole\u00e7\u00e3o de arte do Museu Nacional da Col\u00f4mbia; coordenador de circula\u00e7\u00e3o da Galer\u00eda Santa Fe, e acessor da ger\u00eancia de artes pl\u00e1sticas do Instituto Distrital de Artes (IDARTES). Em 2009, venceu o Pr\u00eamio Nacional de Cr\u00edtica de Arte (Ministerio de Cultura y Universidad de los Andes) com um ensaio da obra Performola de Carlos Monroy. Em 2012, recebeu uma bolsa de pesquisa monogr\u00e1fica sobre artistas colombianos (Minist\u00e9rio da Cultura), gra\u00e7as \u00e0 qual publicou o livro \u201cNo me hagas preguntas y no te dir\u00e9 mentiras\u201d, sobre a obra de Juan Mej\u00eda. Em 2017, recebeu bolsa do instituto de ver\u00e3o de estudos t\u00e9cnicos de arte (Funda\u00e7\u00e3o Andrew W. Mellon, Museu de Arte da Universidade de Harvard); em 2019, recebeu bolsa pr\u00e9-doc do Humanities Without Walls Consortium (Funda\u00e7\u00e3o Andrew W. Mellon, Universidade de Illinois),e, em 2021 e 2022, foi estagi\u00e1rio na Funda\u00e7\u00e3o Getty.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Project Partners:<\/strong><\/h3>\n\n\n\n
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Jens Baumgarten<\/strong><\/strong> \u00e9 professor de hist\u00f3ria da arte na Universidade Federal de S\u00e3o Paulo (Unifesp). Estudou Hist\u00f3ria e Hist\u00f3ria da Arte em Hamburgo e Floren\u00e7a. Depois te ter obtido bolsas p\u00f3s-doutorais em Dresden (Alemanha), Cidade do M\u00e9xico e Campinas (Brasil), estabeleceu um dos primeiros programas aut\u00f4nomos de hist\u00f3ria da arte no Brasil. Em 2010 foi pesquisador visitante no Getty Research Institute; em 2013, do Institut National de l\u2019Histoire de l\u2019Art, e, e, 2016\/2017, do Kunsthistorisches Institut de Floren\u00e7a. Entre 2011 e 2016 coordenou o projeto \u201cNew Art Histories: Relating Ideas, Objects and Institutions in the Latin American World and Global Baroque\u201d em colabora\u00e7\u00e3o com a Universidade de Z\u00fcrich, financiado pela Getty Foundation, e desde 2022 coordena o projeto \u201cArt and Power \u2013 Decolonizing Art History\u201d em colabora\u00e7\u00e3o com o Museu de Arte Contempor\u00e2neo, Universidade de S\u00e3o Paulo (MAC- USP), Universidade do Estado do Rio de Janeiro (UERJ) e a Bibliotheca Hertziana em Roma, tamb\u00e9m financiado pela Getty Foundation. Especializou-se em arte europeia e latino-americana da primeira modernidade, neobarroco, assim como em historiografia da arte, cultura visual, contextos te\u00f3ricos e metodol\u00f3gicos, e, mais recentemente, em quest\u00f5es de arte e ecologia.<\/p>\n<\/div>\n\n\n\n

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Mar\u00eda Patricia Ord\u00f3\u00f1ez<\/strong> (PhD, Universidade de Leiden) \u00e9 professora assistente de Antropologia na Universidad San Francisco de Quito. Al\u00e9m do seu doutorado em Antropologia pela Universidade de Leiden, obteve mestrado em Arqueologia pela mesma universidade (2014) e mestrado em Antropologia e Arqueologia Forense pela<\/p>\n\n\n\n

Cranfield University (2011). Foi diretora de pesquisa e inova\u00e7\u00e3o no Instituto Nacional de Patrim\u00f4nio Cultural at\u00e9 agosto de 2022 e curadora do Museu Casa del Alabado entre 2018 e 2020. Seu trabalho centra-se na forma\u00e7\u00e3o e uso de cole\u00e7\u00f5es de restos humanos na regi\u00e3o andina e na Europa central. Foi curadora convidada no Museu Nacional do Equador (MUNA); no Museu Jij\u00f3n y Caama\u00f1o e no Museum of World Cultures (anteriormente Rijksmuseum voor Volkenkunde) em Leiden.<\/p>\n<\/div>\n\n\n\n

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Natalia Lozada<\/strong><\/strong> (PhD, University College London) \u00e9 professora assistente de Hist\u00f3ria da Arte na Universidad de Los Andes, Col\u00f4mbia, onde ensina arte pr\u00e9-colombiana e colonial amaz\u00f4nica, petr\u00f3glifos e cer\u00e2mica pr\u00e9-hisp\u00e2nica. Coordenou e participou de escava\u00e7\u00f5es arqueol\u00f3gicas e projetos de curadoria na Col\u00f4mbia, Puerto Rico, Venezuela e Inglaterra. Suas pesquisas centram-se no per\u00edodo pr\u00e9-hisp\u00e2nico tardio e no primeiro per\u00edodo colonial, com particular \u00eanfase em rela\u00e7\u00f5es e interc\u00e2mbios inter\u00e9tnicos, identidades na cultura material e em documentos hist\u00f3ricos. Publica\u00e7\u00f5es recentes incluem: Lozada-Mendieta, N e Carvalho, D., \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<\/em>, 2022); Lozada-Mendieta, N. e Oliver, J.R., “The archaeology of the Mighty Orinoco in the 21st century: A synthesis”, em Oxford Handbook of South American Archaeology<\/em> (2022); Arroyo-Kalin, M., Morcote-R\u00edos, G. e Lozada-Mendieta, N. & L. Veal, \u201cEntre La Pedrera y Araracuara la arqueolog\u00eda del medio r\u00edo Caquet\u00e1\u201d. Revista del Museo de La Plata <\/em>4 (2019); e Riris, P; J. R. Oliver and N. Lozada Mendieta, \u201cMissing the point: reevaluating the earliest lithic technology in the Middle Orinoco\u201d, Royal Society Open Science<\/em>, 5 (2018).<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

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Contact: amazonbasingconnecting@gmail.com<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Project Leaders : Carmen Fern\u00e1ndez-Salvador (PhD, University of Chicago) \u00e9 professora de Hist\u00f3ria da Arte na Universidad San Francisco de Quito. Publicou v\u00e1rios estudos em arte e historiografia coloniais, entre os quais \u201cReflections on Painting in Colonial Quito\u201d, em The Art of Painting in Colonial Quito (Philadelphia: St. Joseph University Press, 2012); \u201cFollowing in the […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-186","page","type-page","status-publish","hentry"],"yoast_head":"\n\u00a0Equipe - 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\/pt-pt\/equipo\/\" \/>\n<meta property=\"og:locale\" content=\"pt_PT\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00a0Equipe - The Amazon Basin as Connecting Borderland: Examining Cultural and Artistic Fluidities in the Early Modern Period\" \/>\n<meta property=\"og:description\" content=\"Project Leaders : Carmen Fern\u00e1ndez-Salvador (PhD, University of Chicago) \u00e9 professora de Hist\u00f3ria da Arte na Universidad San Francisco de Quito. Publicou v\u00e1rios estudos em arte e historiografia coloniais, entre os quais \u201cReflections on Painting in Colonial Quito\u201d, em The Art of Painting in Colonial Quito (Philadelphia: St. Joseph University Press, 2012); \u201cFollowing in the […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/amazon.uniandes.edu.co\/pt-pt\/equipo\/\" \/>\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=\"2024-09-11T21:56:57+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2023\/02\/PHOTO-2023-02-06-16-07-36.jpg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Tempo estimado de leitura\" \/>\n\t<meta name=\"twitter:data1\" content=\"8 minutos\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/amazon.uniandes.edu.co\\\/pt-pt\\\/equipo\\\/\",\"url\":\"https:\\\/\\\/amazon.uniandes.edu.co\\\/pt-pt\\\/equipo\\\/\",\"name\":\"\u00a0Equipe - 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