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Publicação
Cartografias de uma herança cultural : uma sinergia entre as práticas arquivísticas e editoriais contemporâneas
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Autores
Orientador(es)
Resumo(s)
Apesar da sua ambivalência, entender o arquivo é considerá-lo verdadeiramente um laboratório experimental, face às suas imposições canónicas, sejam elas ideológicas ou estruturais. É no arquivo que conseguimos apreender os fragmentos que estão ao nosso redor e assumir as suas vidas, as suas narrativas e os seus “signos”, pensando simultaneamente, como podem ser retrabalhados ao criarem relações dinâmicas num espaço-tempo. Permitimo-nos estudar os seus fenómenos e questionar de que forma ele funciona. Ainda em contexto, é pertinente identificar a análise realizada ao modo como podemos compreender a imagem (ou se quisermos também a fotografia) como um discurso inteligível, evidenciando relações com a memória e, proporcionando métodos construtivos do arquivo. É num jogo, entre a memória e a imagem, que podemos ativar processos criativos e identitários que facultam a conjunção das práticas arquivistas com as artísticas. O presente projeto trabalha na maneira como uma herança cultural pode ser reconfigurada, através do recurso à criação de um “arquivo diaspórico” (a partir de material (re)apropriado) que se materializa, por sua vez, numa publicação de autor. Um projeto que procura questionar a posição do designer, nos atos paralelos entre as práticas arquivísticas e as práticas editoriais. A particularidade do objeto é a de agir no arquivo, por metodologias editoriais, arquivísticas e artísticas, numa publicação que propõe interações interdisciplinares com recetor. Por fim, o propósito de construir especificamente um arquivo diaspórico no projeto, faz com que se criem diálogos sobre políticas de representação ou uma perspetiva étnica daquilo que se pode “enunciar” no arquivo, de modo a entendê-lo numa noção de construção social, histórica e multicultural.
Despite its ambivalence, to understand the archive is to consider it truly an experimental laboratory, in the face of its canonical impositions, whether ideological or structural. It is in the archive that we are able to grasp the fragments that are around us, and take on their lives, their narratives and their "signs", while thinking about how they can be reworked by creating dynamic relationships in space-time. We allow ourselves to study its phenomena and question how it works. Still in context, it is pertinent to identify the analysis carried out on how we can understand the image (or if we also want photography) as an intelligible discourse, showing relationships with memory, and providing constructive methods for the archive. It is in a game between memory and image that we can activate creative and identity processes that allow archival and artistic practices to come together. This project works on how a cultural heritage can be reconfigured by creating a "diasporic archive" (from (re)appropriated material) which in turn materializes in an author's publication. This project seeks to question the position of the designer-archivist, as well as the parallel and conjugative act of archiving and publishing. The object's particularity is to act in the archive, using graphic/editorial, archival and artistic methodologies in a publication proposing interdisciplinary interactions between the recipient and the reader. Finally, the purpose of specifically building a diasporic archive in the project leads to dialogues about the politics of representation or ethnic analyses of what can be "enunciated" in the archive, in order to understand it in terms of a social, historical and multiculturalism.
Despite its ambivalence, to understand the archive is to consider it truly an experimental laboratory, in the face of its canonical impositions, whether ideological or structural. It is in the archive that we are able to grasp the fragments that are around us, and take on their lives, their narratives and their "signs", while thinking about how they can be reworked by creating dynamic relationships in space-time. We allow ourselves to study its phenomena and question how it works. Still in context, it is pertinent to identify the analysis carried out on how we can understand the image (or if we also want photography) as an intelligible discourse, showing relationships with memory, and providing constructive methods for the archive. It is in a game between memory and image that we can activate creative and identity processes that allow archival and artistic practices to come together. This project works on how a cultural heritage can be reconfigured by creating a "diasporic archive" (from (re)appropriated material) which in turn materializes in an author's publication. This project seeks to question the position of the designer-archivist, as well as the parallel and conjugative act of archiving and publishing. The object's particularity is to act in the archive, using graphic/editorial, archival and artistic methodologies in a publication proposing interdisciplinary interactions between the recipient and the reader. Finally, the purpose of specifically building a diasporic archive in the project leads to dialogues about the politics of representation or ethnic analyses of what can be "enunciated" in the archive, in order to understand it in terms of a social, historical and multiculturalism.
Descrição
Dissertação de mestrado, Práticas Tipográficas e Editoriais Contemporâneas, 2025, Universidade de Lisboa, Faculdade de Belas Artes.
Palavras-chave
Diasporic Archive Memory Image Author's Publication Contemporary Art Arquivo Diaspórico Memória Imagem Publicação de Autor Arte Contemporânea