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    Reimaginar os desacordos : uma análise dos processos artístico-curatoriais em Dominó Canibal
    (Universidade Federal do Espírito Santo, 2025-05-20) Medina, Michele; Co-orientador1; https://orcid.org/; http://lattes.cnpq.br/; Co-orientador2; https://orcid.org/; http://lattes.cnpq.br/; Orientador1; https://orcid.org/; http://lattes.cnpq.br/; Orientador2; https://orcid.org/; http://lattes.cnpq.br/; https://orcid.org/; http://lattes.cnpq.br/; 1º membro da banca; https://orcid.org/; http://lattes.cnpq.br/; 2º membro da banca; https://orcid.org/; http://lattes.cnpq.br/; 3º membro da banca; https://orcid.org/; http://lattes.cnpq.br/; 4º membro da banca; https://orcid.org/; http://lattes.cnpq.br/; 5º membro da banca; https://orcid.org/; http://lattes.cnpq.br/; 6º membro da banca; https://orcid.org/; http://lattes.cnpq.br/; 7º membro da banca; https://orcid.org/; http://lattes.cnpq.br/
    Dominó Caníbal (2010), curated by Cuauhtémoc Medina, with the aim of understanding how curatorial choices can transform the exhibition space into a field of negotiation between aesthetic values and political tensions. Based on an analysis of the exhibition experience—understood as a sensitive laboratory in which artworks, environment, and interventions interact—the study proposes a critical reading of curatorship as an active device for the redistribution of the sensible, breaking with traditional narratives and hegemonic consensuses. Grounded in theoretical frameworks that engage with the perspectives of Jacques Rancière, Maria Lind, and other authors who address political aesthetics, the research analyzes how the contemporary curator operates not only in the formal organization of artworks but also in the construction of narratives that challenge the boundaries between the artistic and the political. Using a mixed methodology that combines documentary analysis, interviews, and case studies, the work highlights the relevance of the curator as an agent of cultural mediation. It thus contributes to broadening the debate around critical curatorship and the history of exhibitions, emphasizing its role in contesting structures of power and reconfiguring the practices of perception and experience of art