Curadoria em movimento: exposição itinerante de José Dias Sancho

Abstract

The aim of the proposed research project is to design an itinerant curatorial intervention of a monographic nature around the Algarve modernist artist José Dias Sancho, with special attention to his work as a caricaturist, adapted to three different locations, both spatially and culturally. Firstly, in Room 33 of the Faro Municipal Museum, then in the Parody Room of the Bordalo Pinheiro Museum in Lisbon and, finally, in the Temporary Exhibitions Room of the São Brás de Alportel Costume Museum. These are three temporary traveling exhibitions that will open between 2025 and 2026. The work developed here proposes a reflection on the development of three distinct curatorial moments, based on scientific curation and research carried out by a research team coordinated by Professor Fernando Rosa Dias. In this way, it presents the process of developing the exhibitions, based on previous research in the field of Art History, and how this research is translated spatially into the three locations. Throughout this essay, there will be notions of preparation for each exhibition, broken down into their respective subchapters, such as: spatial survey, necessary transformations, support modules, lighting, air conditioning, captions, among others. The aim of these theoretical notions is to support the exhibition experience conceptually worked out for each moment. Some essential ideas from museology will also be discussed for the execution of this exhibition project, such as: the singular narrative of each exhibition and the global narrative between exhibitions, and the reuse of works and documents. Another notion developed here is the concept of curatorship in movement. This emerged from an idea of a curator on the move, a curator who, here, creates three traveling exhibitions of a single artist, dividing his work into three narratives derived from the same monographic starting point, but placing them in spatial and curatorial movement. Although there is little theoretical support for this issue, there has been an effort to explain it theoretically, although our concern is with its application. In conclusion, this essay examines three points: making an analysis from Art History, presenting this analysis in three different spaces and cities and finally, the role of the curator placed in a moving curatorship