Mestrado em Artes
URI Permanente para esta coleção
Nível: Mestrado Acadêmico
Ano de início: 2006
Conceito atual na CAPES: 4
Ato normativo:Portaria MEC nº 2.000, publicada no D.O.U. de 21/12/2006, Seção 1, pág. 35
Periodicidade de seleção: Anual
Área(s) de concentração:Arte e Cultura
Url do curso: https://artes.ufes.br/pt-br/pos-graduacao/PPGA/detalhes-do-curso?id=1396
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- ItemPresença e representação dos povos indígenas na arte pública capixaba(Universidade Federal do Espírito Santo, 2025-04-09) Oliveira, Jaqueline Torquatro de; Cirillo, Aparecido José; https://orcid.org/0000-0001-6864-3553; http://lattes.cnpq.br/6252535690546666; https://orcid.org/0009-0002-3914-1911; http://lattes.cnpq.br/2601386393048834; Frade, Isabela Nascimento; https://orcid.org/0000-0001-5224-6633; http://lattes.cnpq.br/0576968930348730; Araújo, Oriana Maria Duarte de; https://orcid.org/0009-0002-4957-0007; http://lattes.cnpq.br/7982763946400047This dissertation, presented to the Graduate Program in Arts at UFES, aims to analyze the presence and modes of representation of various Indigenous ethnic groups in public art in Espírito Santo. The research investigates the arrival of Europeans in Latin America and the impacts of colonization and the actions of the Catholic Church, highlighting the processes of transculturation resulting from memoricide, genocide, and ethnocide. These factors contributed to the modification of cultural identity and the erasure of pre-Columbian Indigenous traditions. Furthermore, the study discusses how the development of art in Brazil, shaped by European influences, has affected society’s perception of Indigenous peoples. Since colonization, Indigenous individuals have been represented according to the imagination of European settlers and clergy, which has influenced how their identities have been constructed and disseminated in the public sphere. The research analyzed artworks present in public spaces in Espírito Santo, classifying them into categories such as Indianist, pre-Indigenist, Indigenist, and others, with the latter suggested for future investigations. The study covers Indigenous representations from the artistic period dominated by the Jesuits (1557–1759) to the presence of mythologized figures and allegories in neoclassical-style monuments that began to be incorporated into public spaces from 1868 onward. Finally, this dissertation proposes an in-depth analysis of these categories, seeking to break away from the hegemonic perspective that has dominated Brazilian art since colonization and to contribute to a critical reading of Indigenous representation in public art in Espírito Santo.
- ItemTatuagem: uma linguagem corporal/visual(Universidade Federal do Espírito Santo, 2024-10-31) Soares, Luan Daniel Coelho; Silva, Claudia Maria França da; https://orcid.org/0000-0001-6971-6363; http://lattes.cnpq.br/3462886315780014; https://orcid.org/0000-0001-8247-1313; http://lattes.cnpq.br/4812825240136075; Pfützenreuter, Edson do Prado; https://orcid.org/0000-0002-3331-3420; http://lattes.cnpq.br/2012558187992063; Mello, Júlia Almeida de; https://orcid.org/0000-0001-8454-2453; http://lattes.cnpq.br/2648924540669238The presented research offers a comprehensive analysis of tattooing, exploring its evolution from an ancestral cultural expression to its incorporation into contemporary art and individual artistic practice. Tattooing is examined as a multifaceted phenomenon that reflects identity, history, and social transformations over time. Initially, tattooing is contextualized in its traditional role across various cultures, where it serves as a rite of passage, a status symbol, and a form of healing. The influence of European sailors and the subsequent marginalization of tattooing are discussed, as well as its forced and dehumanizing use during the Holocaust. The transition to contemporary art is marked by the redefinition of tattooing as a form of artistic expression, with artists exploring its possibilities in contexts of Body Art and bodily modifications. Wim Delvoye’s work “Tim” and Santiago Sierra’s interventions exemplify this phase, challenging notions of commercialization and objectification of the body. Finally, the research culminates with a personal reflection on the practice of tattooing as an artist and tattooist, highlighting the creation of works that utilize the aesthetics of tattooing to express individual memories and experiences. The project “192 Needles: Transversal Narratives” symbolizes this approach, transforming used tattoo needles into elements of an artistic installation that narrates personal and collective stories.
- ItemThat's what she said (1978): uma análise audiotátil do scat singing de Flora Purim(Universidade Federal do Espírito Santo, 2024-11-29) Nogueira, Jennifer Soares; Costa, Fabiano Araújo; https://orcid.org/0000-0002-7386-3320; http://lattes.cnpq.br/7101979822731454; https://orcid.org/0009-0008-0992-6981 ; http://lattes.cnpq.br/0448605139195861; Freitas, Alexandre Siqueira de; https://orcid.org/0000-0002-4989-352X; http://lattes.cnpq.br/4616788871589192; Reis, Doriana Mendes; https://orcid.org/0000-0002-5107-9156; http://lattes.cnpq.br/9430461924452717This dissertation analyzes Scat singing in the work of Flora Purim, with an emphasis on the uniqueness, aesthetics, and technique of her improvisation and extemporization between the years 1964 and 1978. To this end, historical, aesthetic, and technical factors of Jazz singing in the Swing, Bebop, and Fusion eras were demonstrated. Subsequently, the interpretative keys of the Theory of Audiotactile Music (TMA) were incorporated to understand the phenomena of improvisation, evaluating the aesthetic-cultural musical value in the analyzed works, focusing on audiotactile aspects such as groove, swing, improvisation, and extemporization. From this perspective, Flora Purim's works were analyzed based on TMA concepts, which provided the creation of Scat singing models in the Fusion period, highlighting the structuring forms of her composition and execution present in her artistic practice
- ItemDa escultura tradicional à modelagem 3D: aspectos históricos, técnicos e patrimoniais da arte pública(Universidade Federal do Espírito Santo, 2024-10-04) Fernandes, João Victor Silva; Cirilo, Aparecido José; https://orcid.org/0000-0001-6864-3553; Mello, Júlia Almeida de; Castilho, LilianaThis dissertation investigates the relationship between techniques, the evolution of tools, and new technologies that permeate the classical and contemporary sculptural process, while exploring connections between art and cultural memory within the urban ecosystems of Espírito Santo, with an emphasis on the Centro-Oeste region. This work is rooted in the extension project "Urban Ecosystems and Culture: Between Memory, Art, and History in the Training of Basic Education Teachers in the Centro-Oeste of Espírito Santo," which, over a year, promoted various educational actions focused on preserving local history. Based on the digital recreation of monuments through 3D modeling and printing, and the adaptation of these elements into pedagogical tools, such as the thematic chessboard, the study seeks to deepen the connection between the miniatures produced and the regional cultural heritage, promoted by the practice of collecting. Moreover, the research also addresses the impact of these initiatives on the transmission of heritage values and the strengthening of regional identity, reflecting on how art, combined with objects of affection, can serve as a link between past and present, valuing the cultural diversity and collective memory of Espírito Santo.
- ItemOpavivará!: modos de vida na arte contemporânea(Universidade Federal do Espírito Santo, 2024-06-13) Campos, Livia Fernandes; Grando, Ângela; https://orcid.org/0000-0001-7884-7322; http://lattes.cnpq.br/; https://orcid.org/; http://lattes.cnpq.br/; Guimarães, Aissa Afonso; https://orcid.org/; http://lattes.cnpq.br/; Luz, Ângela Azevedo Silva Balloussier Ancora daOPAVIVARA! is an art collective from Rio de Janeiro that since 2005 has carried out actions in public spaces and cultural institutions. The collective presents its actions as interactive proposals that privilege the participation of groups of different people in projects in which the occupation of local spaces and the exploration of experimental forms of socialization are associated, and that become possible from relational devices elaborated by the group. These projects articulate ideas and practices, ways of life and objects, imaginaries and new forms of exchanges that always carry the signature OPAVIVARÁ!, and not the individual names of the artists that make up the collective. Based on your proposals, OPAVIVARÁ! often highlights social and political conflicts, without apparently presenting a lasting artistic project. Their actions subjectively provoke other ways of experiencing local spaces and realities and intend to propose alternative ways of interaction between individuals and between them and the urban space. In this dissertation, we will investigate how the collective's proposals are structured and how they contribute to discussions about contemporary art.