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Master's Dissertation
DOI
https://doi.org/10.11606/D.93.2020.tde-03122020-212756
Document
Author
Full name
Ana Beatriz Soares de Almeida
E-mail
Institute/School/College
Knowledge Area
Date of Defense
Published
São Paulo, 2020
Supervisor
Committee
Barros, Denise Dias (President)
Conceição, Joanice Santos
Lima, Elizabeth Maria Freire de Araujo
Munanga, Kabengele
Title in Portuguese
Contra-Necropoder: uma narrativa da morte sobre a arte
Keywords in Portuguese
Ancestralidade
Arte Africana
Arte Contemporânea
Cultura Afro-Brasileira
Necropolitica
Abstract in Portuguese
Diante da crise nas disciplinas de crítica quanto de história da arte, devido a suas limitações eurocêntricas, apontado por Danto e Belting, a pesquisa a seguir busca promover uma leitura ética e estética de arte contemporânea africana e afrodescendente, a partir de ferramentas desenvolvidas ao longo do processo de pesquisa com artistas, curadoras e comunidades de matriz africana. O método de pesquisa abordado aplica a análise de cenas de valor, proposto por Denise Ferreira da Silva, onde se evita a separabilidade e a sequencialidade, visto sua função na racionalidade ocidental quanto à minimização dos efeitos da escravidão. Assim como se elege a abordagem de campo a partir da epistemologia feminista negra proposta por Patricia Hill Collins. A pesquisa voltou-se para as produções contemporâneas de Mimi Cherono, Ana Beatriz Almeida, Amara Smith, Edite Conceição, Nancy de Souza e Gabi Ngocobo. Foi possível perceber durante a análise, um movimento frequente onde a articulação de lógicas baseadas na ancestralidade e na resistência a necropolítica promove um movimento de restituição de uma humanidade plena desconhecida pela racionalidade ocidental. A esse movimento, análogo ao observado na Irmandade da Boa Morte, chamo de contra-necropolítica.
Title in English
Counter-Necropower: a narrative of death about art
Keywords in English
African Art
African Brazillian Art
Afro-Brazilian Culture
Ancestrality
Contemporary Art
Necropolitics
Abstract in English
Faced with the crisis in the disciplines of criticism and art history, due to their Eurocentric limitations, pointed out by Danto and Belting, the following research seeks to promote an ethical and aesthetic reading of contemporary African art by artists and curators from Kenya and South Africa Africa, as well as Afro-Diasporic productions by artists from the United States, Brazil and, briefly, Cuba. We seek to build this analysis from logics outside the art narrative, but present in the communities of the African diaspora and the Gulf of Benin as ways of self representation before the West. As a starting point for the construction of these perspectives, the Sistherhood of Good Death is adopted as the most enduring and pioneering movement in the reinterpretation of Western rationality and its mechanisms of oppression and subtraction of subjectivity on peoples deprived of self-representation in art history. The research method approached applies the analysis of scenes of value, proposed by Denise Ferreira da Silva, where separability and sequentiality are avoided, given their role in Western rationality in minimizing the effects of slavery. Just as the field approach is chosen from the black feminist epistemology proposed by Patricia Hill Collins. The research turned to the contemporary productions of Mimi Cherono, Ana Beatriz Almeida, Amara Smith, Edite Conceição, Nancy de Souza and Gabi Ngocobo. It was possible to perceive during the analysis, a frequent movement where the articulation of logics based on ancestry and resistance to necropolitics promotes a movement to restore a full humanity unknown to Western rationality. This movement, analogous to that observed in the Sistherhood of Good Death, I call counter-necropolitics.
 
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Publishing Date
2020-12-03
 
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