Nathalia D E C A S T R O Lavigne | RWTH Aachen University (original) (raw)

Papers by Nathalia D E C A S T R O Lavigne

Contemporânea - Revista do PPGART/UFSM, 2020

Este artigo parte de uma análise do conteúdo visual compartilhado no Instagram sobre o Museu Naci... more Este artigo parte de uma análise do conteúdo visual compartilhado no Instagram sobre o Museu Nacional do Rio de Janeiro após o incêndio que destruiu quase a totalidade de sua coleção, em 2 de setembro de 2018. Focando na hashtag #museunacionalvive, e concentrando a busca no primeiro ano após o trágico episódio, discutimos como esse arquivo sem museu (Foster, 1996) pode ser visto como um memorial difuso criado por memórias coletivas. Argumentamos, ainda, que esse memorial involuntário que surge de forma espontânea com o compartilhamento de imagens pessoais de arquivo ou de outras categorias existe também como uma compensação para a falta de programas públicos que tratem da memória e preservação do patrimônio no Brasil. Além disso, também apresentamos algumas proposições sobre o processo de remediação de um arquivo que não existe mais após a perda material da maioria de seus 20 milhões de itens a partir do conjunto de imagens fantasmagóricas que existem enquanto vestígio. Nesse senti...

Blucher Design Proceedings, 2018

For this roundtable, we propose a debate about public policies of memory preservation based on th... more For this roundtable, we propose a debate about public policies of memory preservation based on the specificities of digital media culture. The ephemerality of these kinds of technologies and the intensification of personal and non-professional process of digital documentation bring unprecedented ways of understanding the collections and cultural heritage of our times. We are experiencing not only an overproduction of data, which proliferates in new formats of storage in the networks but also a documentary overdose. Nevertheless, this not performs a cumulative system. Due to the speed with which technologies are discarded in shorter and shorter periods of time, loss, change, and even replacement will be more and more part of our conservation practice. For all these reasons, it seems particularly important to discuss how to deal with the cultural ambivalence of this very moment. In our debate, we will concentrate in three main axes: the online counter-collector, the open-source heritage and the digital museum as the museum of the unfinished.

Contemporânea - Revista do PPGART/UFSM, 2020

Resumo: Este artigo parte de uma análise do conteúdo visual compartilhado no Instagram sobre o Mu... more Resumo: Este artigo parte de uma análise do conteúdo visual compartilhado no Instagram sobre o Museu Nacional do Rio de Janeiro após o incêndio que destruiu quase a totalidade de sua coleção, em 2 de setembro de 2018. Focando na hashtag #museunacionalvive, e concentrando a busca no primeiro ano após o trágico episódio, discutimos como esse arquivo sem museu (Foster, 1996) pode ser visto como um memorial difuso criado por memórias coletivas. Argumentamos, ainda, que esse memorial involuntário que surge de forma espontânea com o compartilhamento de imagens pessoais de arquivo ou de outras categorias existe também como uma compensação para a falta de programas públicos que tratem da memória e preservação do patrimônio no Brasil. Além disso, também apresentamos algumas proposições sobre o processo de remediação de um arquivo que não existe mais após a perda material da maioria de seus 20 milhões de itens a partir do conjunto de imagens fantasmagóricas que existem enquanto vestígio. Nesse sentido, analisamos uma variedade dessas imagens e possíveis categorizações desse museu imaginário memorialístico compartilhadas pelo público na hashtag #museunacionalvive. Abstract: This article addresses the visual content shared on Instagram about the National Museum of Rio de Janeiro after the fire that destroyed almost the entire collection on September 2, 2018. Through the analysis of hashtag #museunacionalvive ("the National Museum is alive"), and focusing the search on the first year after the tragic episode, we discuss how this archive without a museum (Foster, 1996) can be seen as a diffuse memorial created by collective memories shared online. In addition, we also present some propositions about the process of remediation of a file that no longer exists after the material loss of most of its 20 million items from the set of ghostly images that exist as a trace. We also argue that this involuntary memorial that appears spontaneously with the sharing of personal images from archives or other categories also exists as compensation for the lack of public programs that deal with the memory and preservation of heritage in Brazil. In this sense, we analyse a variety of these images and possible categorizations of this imaginary memorialistic museum shared by the public in the hashtag #museunacionalvive. Resumo: Este artículo aborda el contenido visual compartido en Instagram sobre el Museo Nacional de Río de Janeiro luego del incendio que destruyó casi toda la colección el 2 de septiembre de 2018. A través del análisis del hashtag #museunacionalvive ("el Museo Nacional está vivo"), y centrando la búsqueda en el primer año después del trágico episodio, discutimos cómo este archivo sin museo (Foster, 1996) puede verse como un memorial difuso creado por memorias colectivas compartidas online. Además, también presentamos algunas proposiciones sobre el proceso de remediación de un archivo que ya no existe tras la pérdida material de la mayoría de sus 20 millones de ítems del conjunto de imágenes fantasmales que existen como rastro. También argumentamos que este memorial involuntario que aparece espontáneamente con el intercambio de imágenes personales de archivos u otras categorías también existe como compensación por la falta de programas públicos que se ocupan de la memoria y la preservación del patrimonio en Brasil. En este sentido, analizamos una variedad de estas imágenes y posibles categorizaciones de este imaginario museo conmemorativo compartido por el público en el hashtag #museunacionalvive.

Elle Brasil, 2020

Com foco no feminino, a 12ª edição do evento, adaptada para plataforma digital, levanta o debate ... more Com foco no feminino, a 12ª edição do evento, adaptada para plataforma digital, levanta o debate sobre como olhar para produções que não foram pensadas para esse meio e qual a relevância da programação artística online durante a quarentena.

Elle Brasil , 2020

Impossível prever como a pandemia e o isolamento forçado vão influenciar a produção artística nos... more Impossível prever como a pandemia e o isolamento forçado vão influenciar a produção artística nos próximos anos. Mas vale olhar para trás e ver como episódios dramáticos inspiraram obras e movimentos em diversos períodos.

Revista ZUM, 2020

Radiação, campos minados e epidemias: a artista Alice Miceli investiga espaços atravessados pelo ... more Radiação, campos minados e epidemias: a artista Alice Miceli investiga espaços atravessados pelo invisível

Folha de São Paulo, 2020

Visitas virtuais e overdose de lives causam cansaço e vertigem

2018 Frente de trabalho. Galeria Jaqueline Martins. São Paulo-SP. C& América Latina

Artforum, 2018

Silence seems to be the message imparted by “Signals,” an exhibition comprising graphic elements ... more Silence seems to be the message imparted by “Signals,” an exhibition comprising graphic elements that have always been ubiquitous in Mira Schendel’s artistic output. Rather than communicate something or spur action, Schendel’s signals indicate quietness—such as the subtle marks on her almost-transparent “Monotipias” (Monotypes), 1964–67, which were made on Japanese rice paper. Among the multitude of semantic elements that Schendel began to explore in this series, many are included here: lines and arrows that cross the paper and divide it into separate fields; numbers and punctuation marks; and asemic handwritten words.

Artforum, 2017

The cover of a 1909 book titled Atlas do Brazil, photographed alongside documents and pictures on... more The cover of a 1909 book titled Atlas do Brazil, photographed alongside documents and pictures on a desk, is the enigmatic opening image of this important panoramic exhibition featuring Mauro Restiffe’s work. Presented as a prelude to the show’s predominant scenes—a variety of bucolic landscapes, crowds gathered during historical events—the still life also introduces significant ways to read the work on view. It immediately evokes the artist’s archive, which prompted this exhibition, which gathers never-before-displayed photos, including a good number of intimate family portraits taken over the past thirty years. The notion of an atlas, referenced in the book’s title, is relevant as well, offering a conceptual path to understanding Restiffe’s interest in mapping the world without attachment to any particular genre.

Artforum, 2017

Among the artists of Brazil’s so-called Geração 80 (’80s Generation), referring to the main wave ... more Among the artists of Brazil’s so-called Geração 80 (’80s Generation), referring to the main wave of new creators of that decade, Ricardo Basbaum was a dissonant presence. Although he was included in the seminal 1984 exhibition “Como vai você, geração de 80?” (How Are You Doing, ’80s Generation?), Basbaum’s practice challenged misreadings of the group, which was stereotypically associated with a return to painting from the politically engaged art of the previous decades, after a twenty-year dictatorship. He has continued to be open to a variety of processes and mediums, and attentive to the artist’s relationship with systems of artmaking and distribution. Not accidentally, he was one of the first to call for a thorough retroactive critique of that period, in his 1988 text “Painting from the ’80s: A Few Critical Observations.”

ArtReview, 2017

From dissected cement mixers to windsurf sail material, the artist blurs the borders between art ... more From dissected cement mixers to windsurf sail material, the artist blurs the borders between art and life with social critique

Folha de São Paulo / caderno ilustríssima, 2017

RESUMO Autora discute a produção e a circulação de obras de arte na era do Instagram. Aplicativo ... more RESUMO Autora discute a produção e a circulação de obras de arte na era do Instagram. Aplicativo tem transformado a relação com as imagens, a ponto de haver quem compare o fenômeno a movimentos como futurismo e surrealismo, em termos de impacto e criação de linguagem. Artistas e museus adaptam-se à nova tendência.

Proceedings 23rd International Symposium on Electronic Art-ISEA, 2017

Paço das Artes , 2018

Texto crítico sobre a exposição Still Brazil, de Daniel Jablonski, para o Paço das Artes (2018)

Revista Select, 2019

Análise / revista Select Evento chega ao fim com renúncia de vice-presidente do conselho do muse... more Análise / revista Select

Evento chega ao fim com renúncia de vice-presidente do conselho do museu novaiorquino e amplia debate sobre descolonização institucional

Revista Select , 2015

Coluna Móvel / Revista Select Uma nova forma de curadoria e colecionismo não institucionalizados ... more Coluna Móvel / Revista Select
Uma nova forma de curadoria e colecionismo não institucionalizados ganha força na era digital

Contemporânea - Revista do PPGART/UFSM, 2020

Blucher Design Proceedings, 2018

Contemporânea - Revista do PPGART/UFSM, 2020

Elle Brasil, 2020

Elle Brasil , 2020

Revista ZUM, 2020

Folha de São Paulo, 2020

Visitas virtuais e overdose de lives causam cansaço e vertigem

2018 Frente de trabalho. Galeria Jaqueline Martins. São Paulo-SP. C& América Latina

Artforum, 2018

Artforum, 2017

ArtReview, 2017

Folha de São Paulo / caderno ilustríssima, 2017

Proceedings 23rd International Symposium on Electronic Art-ISEA, 2017

Paço das Artes , 2018

Texto crítico sobre a exposição Still Brazil, de Daniel Jablonski, para o Paço das Artes (2018)

Revista Select, 2019

Análise / revista Select Evento chega ao fim com renúncia de vice-presidente do conselho do muse... more Análise / revista Select

Evento chega ao fim com renúncia de vice-presidente do conselho do museu novaiorquino e amplia debate sobre descolonização institucional

Revista Select , 2015

O Observatório do Sul é uma plataforma de pesquisa e debate, realizada entre maio e agosto de 201... more O Observatório do Sul é uma plataforma de pesquisa e debate, realizada entre maio e agosto de 2015, em uma parceria do Festival de Arte Contemporânea SESC_Videobrasil com o Goethe Institut de São Paulo. Trata-se de um programa dedicado a problematizar os usos, contextos e desdobramentos da noção de “sul global” no campo da arte e das ciências humanas. A proposta é abordar o conceito de Sul a partir de uma perspectiva crítica e histórica, a partir de um programa estruturado em quatro eixos temáticos. Esses eixos são: Contra-narrativas, Documentos e Manifestos, Geopolíticas do Conhecimento, Regionalismos e Descentramentos.
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Southern Observatory is a research and debate platform set to run from May to August 2015 via a partnership between the Contemporary Art Festival SESC_Videobrasil and Goethe Institut in São Paulo. The program is devoted to problematizing the uses, contexts and developments of the notion of “global south” in the art and human sciences fields. The idea is to address the concept of South from a critical and historical perspective, through a program built around four thematic sections. They are: Counter-narratives, Documents and Manifestos, Geopolitics of Knowledge, Regionalisms and Decenterings.

Dissertation on MA Cultural and Critical Studies / Birkbeck College, University of London. , 2014

The present work set out to examine how different experiences of displacement influenced the arti... more The present work set out to examine how different experiences of displacement influenced the artistic output of Mira Schendel (1919-1988), a Swiss-born visual artist who migrated to Brazil in 1949 and became one of the most important figures in Latin American art of the twentieth century. Coming from a Jewish background, she was baptised a Catholic and raised in Italy, but she needed to flee the country in 1939 due to the Nazi persecution of Jews. Focusing on the body of work produced mostly during the sixties, this dissertation will argue that some recurrent visual elements are very much related with travels and Schendel’s life in exile. As such, three central aesthetic elements will be discussed: the use of text in painting and drawings, often mixing words in different languages; the spatial aspect of her work; and transparency, explored in works made with rice paper and plates of acrylic. Schendel’s engagement with writing will be correlated with a foreigner’s perception of language, and the use of different idioms as an attempt to create a universal vocabulary. The disorienting effect caused by the use of text in spatial installations will be read in parallel with her past displacement, as if she was lost between different lands and idioms. A crucial aspect in her work, transparency will be analysed alongside her attempt to depict different time-frames simultaneously, which is also correlated with a transitory aspect of the migrant’s life, who see themselves always between the present and the past.

The Memorial Museum in the Digital Age (Reframe/Sussex University), 2022

This chapter addresses the emergence of an involuntary memorial to Rio de Janeiro’s National Muse... more This chapter addresses the emergence of an involuntary memorial to Rio de Janeiro’s National Museum on Instagram since a fire destroyed it on September 2, 2018. Through the analysis of visual content shared on Instagram since then, we aim to discuss how this archive without museum (Foster, 1996) can be seen as an involuntary and diffuse memorial created by collective memories shared online. Focusing on the hashtag #museunacionalvive (“the National Museum is alive”), we ponder what is actually considered to be alive in this museum’s phantasmagorical imagery after the material loss of most of its 20 million items, investigating how the remediation process of an archive that no longer exists operates. As a significant number of selfies with the façade’s ruins in the background demonstrate – the historical building is one of the National Museum’s few remains – instead of a museum without walls (Malraux, 1947); this archive seems to survive as a museum with only walls. As such, this accidental digital memorial created on Instagram also suggests the need for deeper discussion about the lack of public programmes dealing with memory and heritage preservation in Brazil, and the erasure of the nation’s history.

Proceedings of the 35th World Congress of Art History., 2023

This paper investigates the transformations brought to institutions with the popularization of ce... more This paper investigates the transformations brought to institutions with the popularization of cell phones in museums, making a comparative study about the visitors viewing habits before and after the photography was disseminated inside the galleries. Through the analyses of the visual content of museum spaces shared on Instagram, along with archival images before the digital era where people are depicted, it discusses some important changes in the construction of spectatorship. The large number of people sharing and tagging pictures taken inside museums is determining a new role of the audience not only in documenting but also in taxonomizing collections. This musealization of the museum through a cell phone is also discussed examining theories about attention concerning visual technologies. This new kind of individualization of vision is correlated with the formation of the modern viewer through a disciplinary process. Although the ubiquitous use of cell phones inside the galleries points to a new way of seeing, visitors also follow a cultural tradition on how to behave in the museum when depicting themselves. As such, repeating gestures found on social media are compared with pictures from other times, drawing attention to a socially constructed imaginary of spectatorship in museums that still prevails.