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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- ItemReimaginar 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
- ItemConsiderações sobre um acaso na impressão xilográfica(Universidade Federal do Espírito Santo, 2025-03-31) Alves, André Magnago; Silva, Cláudia Maria França da ; https://orcid.org/0000-0001-6971-6363; http://lattes.cnpq.br/3462886315780014; https://orcid.org/0009-0000-6517-1319; http://lattes.cnpq.br/2960296713641877; Frade, Isabela Nascimento ; https://orcid.org/0000-0001-5224-6633; http://lattes.cnpq.br/0576968930348730; Cristofaro, Ricardo de ; https://orcid.org/0000-0002-6535-4577; http://lattes.cnpq.br/1919979092366737; Santos, Marcio Elias ; https://orcid.org/0000-0002-6204-0767; http://lattes.cnpq.br/5664288360486666Investigation into a chance event that occurred in a particular creation process that led to a technical, conceptual, and imaginative advance in woodcut language. It begins with background research that aims to attest to the plausibility of such an expansion of woodcut. The emergence of a fact, unprogrammed, within a predictable process generated internal contradictions that are associated with a faulty act and promote said progress. From the analysis of the report about the phenomenon discussed, the urgency for a subject model that was compatible is noted and was obtained from Nietzsche's critiques of the modern subject. The transit between conceptual poles linked to the Derridian concept of difference leads us to a dialectic between technical and conceptual surprises arising as traces of these transits between an already dominated area of knowledge that is surprised and antagonized with phenomena arising in artistic creation. In the end, the hypothesis of chance, in theory, can be explained by Michael Polanyi's theory as tacit knowledge, a knowledge of which the subject is not previously aware and through which he projects qualities onto the things he perceives
- ItemA importância da concept art para animação contemporânea : análise da animação digital em curta metragem 'Torre' (2017) de Nádia Mangolini através dos processos de criação(Universidade Federal do Espírito Santo, 2025-03-28) Souza, Natacha de; Ruiz Torres, David ; https://orcid.org/0000-0003-2458-2992; http://lattes.cnpq.br/0455058699179367; https://orcid.org/0009-0008-2898-8272; http://lattes.cnpq.br/9632018305326219; Cirilo, Aparecido José; https://orcid.org/0000-0001-6864-3553; http://lattes.cnpq.br/6252535690546666; Brethé, Simon Pedro ; https://orcid.org/0000-0002-9621-0760; http://lattes.cnpq.br/1196202412632869The purpose of this dissertation is to study Concept Arts in digital animation to justify the analysis of the creative process to produce the Brazilian documentary short film in digital animation format “Torre” (2017) by Nádia Mangolini. Based on these objectives, the research is structured in three chapters. The first explores the concepts and particularities of Concept Art, addressing the points that constitute its foundations and already presenting it as the focus of this research. The second chapter explores the methodology of Genetic Criticism in analyzing the visual development of animations, discussing how Concept Art reveals the dynamics of the creative process through preparatory documents. In the third chapter, there is a detailed analysis of the short documentary animation “Tower” (2017), examining the creative process of the artists involved and applying Genetic Criticism to follow the evolution of visual choices, highlighting the crucial role of Concept Art in the development of animation
- ItemTerezinha Dora Abreu de Carvalho (1936-2017): aproximações entre vida e obra(Universidade Federal do Espírito Santo, 2025-03-25) Azevedo, Gabriel Guerra de; Freitas, Alexandre Siqueira de; https://orcid.org/0000-0002-4989-352X; http://lattes.cnpq.br/4616788871589192; https://orcid.org/; http://lattes.cnpq.br/; Tápia, Daniel; https://orcid.org/0000-0002-3649-6197; http://lattes.cnpq.br/4936501035003683; Basbaum, Sérgio Roclaw; https://orcid.org/0000-0001-5433-2578; http://lattes.cnpq.br/0777127477216804; Barros, Guilherme Antonio Sauerbronn de; https://orcid.org/0000-0001-7887-8807; http://lattes.cnpq.br/0928911541407685This study investigates possible relationships between the life and work of the composer from Espírito Santo, Terezinha Dora Abreu de Carvalho (1936-2017). In order to provide elements that help us better understand her trajectory, we highlight aspects we consider significantly representative, which assist us in constructing an accurate biography. Noting that her work was never published and is only available in manuscript form, we deemed it pertinent to create compositional output. In this process, we identified 50 works attributed to Terezinha Dora, which we described and categorized. As part of the practical research, we carried out the editing of the scores, recording, and analysis of the pieces Felicidade, Infância, and Ponteio, understanding that these provide potential clues about her compositional approach. By carrying out these steps together, we believe we not only enabled a coherent approximation to her musical thought but also fostered the emergence of new layers of aesthetic enjoyment and interpretative intentionality in the examined pieces.
- 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.