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Algumas reflexões acerca da obra de Maria José Oliveira
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IF/00537/2015Desenvolvida a partir do final dos anos setenta, a obra de Maria José Oliveira articula encontros e desencontros desafiantes entre prática artística, materialidade e natureza através da utilização de materiais orgânicos e não orgânicos. Em diálogo com algumas ideias que emergem de formações teóricas que têm vindo a questionar e reconfigurar as relações entre o humano e o não humano - com um enfoque particular na implicação do pensamento feminista nestes debates -, este artigo pretende explorar a forma como a noção de “casa” atravessa o trabalho da artista.publishersversionpublishe
Cecilia Vicuña’s artistic practice in London (1972-1975) (A letter to Carla Macchiavello)
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“Diario de Vida” Cecilia Vicuña’s artistic practice in London (1972-1975) (A letter to Carla Macchiavello)
Get PDFEl 11 de septiembre de 1973, cuando el golpe de estado se produjo en Chile, la artista Cecilia Vicuña se encontraba en Londres, estudiando en la Slade School of Art. En junio de 1973, sintiendo que el gobierno socialista de Allende estaba bajo amenaza inminente, comenzó a crear lo que llamó un “diario de objetos”, que luego se convirtió en la instalación A Journal of Objects for the Chilean Resistance, exhibida en Londres en 1974. Este texto—una carta dirigida a la historiadora de arte Carla Macchiavello—discute la relación entre el espacio, el lugar y la memoria movilizada por las obras de Vicuña A Journal of Objects for the Chilean Resistance (1973-74) y Ruca Abstracta (1974), al tiempo que considera la experiencia de la migración, y más tarde el exilio, a Londres a principios de los años setenta y su fuerte posicionamiento político contra el golpe en Chile.On the 11th of September 1973, when the coup took place in Chile, artist Cecilia Vicuña was in London, studying at the Slade School of Art. In June 1973, feeling that the socialist government of Allende was under imminent threat, she started to create what she called a “diary of objects”, which then became the installation A Journal of Objects for the Chilean Resistance, exhibited in London in 1974. This text—a letter addressed to art historian Carla Macchiavello—discusses the relation between space, place and memory mobilized by Vicuña’s artworks A Journal of Objects for the Chilean Resistance (1973-74) and Ruca Abstracta (1974) while considering the artist´s experience of migration, and later exile, to London in the early 1970s and her strong political positioning against the coup in Chile
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
“A ambas as extremidades da cadeia”: algumas reflexões sobre as relações entre artes plásticas e feminismos nos anos setenta em Portugal
Get PDFBy problematizing the rhetoric of separation associated with the term feminism in the discourse of some Portuguese women artists, this text seeks to explore the strategies developed by women artists in Portugal in the 1970s to assert their agency in the cultural sphere. These strategies, which could perhaps be understood as strategies of non-separation, should be apprehended in the light of the Portuguese political, social and cultural history of those years, clearly distinguishing themselves from feminist-oriented strategies of intervention developed by women artists in the same period in other geographies, and more particularly in the Anglo-Saxon context – a context that, in this field of studies, has become an important reference.Al problematizar una retórica de la separación asociada al término feminismo en el discurso de algunas artistas portuguesas, este texto busca reflexionar sobre las estrategias ensayadas por mujeres artistas en Portugal en la década de 1970 para afirmar su agencia en el ámbito cultural. Estas estrategias, que quizás podrían entenderse como de no separación, cobran sentido a la luz de la historia política, social y cultural portuguesa de esos años, diferenciándose claramente de las estrategias de intervención, de orientación feminista, desarrolladas por mujeres artistas en los mismos años en otras geografías, y en particular en el contexto anglosajón, contexto que, en este campo de estudios, se ha convertido en un referente.Através da problematização de uma retórica da separação associada ao termo feminismo no discurso de algumas artistas portuguesas, este texto procura pensar as estratégias próprias ensaiadas por mulheres artistas em Portugal nos anos 70 para afirmar a sua agência em âmbito cultural. Estas estratégias, que poderão ser talvez entendidas como de não separação, ganham sentido à luz da história política, social e cultural portuguesa desses anos, distinguindo-se nitidamente das estratégias de intervenção, de orientação feminista, desenvolvidas por mulheres artistas nos mesmos anos em outras geografias, e em particular no contexto anglo-saxónico – contexto que, neste campo de estudos, se tem tornado de referência
On Some Ceramic Sculptures by Lucia Pizzani
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Imaginar um corpo livre: notas sobre o estigma do aborto, práticas artísticas feministas contemporâneas e transgressão
Get PDFA presente dissertação apresenta uma análise sobre a criação artística contemporânea agenciada pelo feminismo como meio crítico para desafiar o estigma do aborto, num diálogo que aproxima as realidades de Portugal e Polónia. Tem como objetivo compreender o lugar quer das artes feministas entendidas como práticas políticas com repertórios únicos, quer dos feminismos no trabalho artístico produzido nos dois países neste âmbito, em particular.
A estigmatização do aborto é um fenómeno global construído a vários níveis de interação humana e na interseção local de discursos, culturas, arquétipos de género, crenças e instituições transnacionais. Consequentemente, as representações negativas do aborto evidentes na sociedade e, por vezes traduzidas na legislação, perpetuam a estigmatização do procedimento e das mulheres que o praticam, e refletem um descrédito na sua capacidade de tomada de decisão reprodutiva e sexual. Nesta matéria, Portugal e Polónia estão entre os países europeus cuja evolução legal sobre o aborto foi profundamente influenciada pela Igreja Católica, instituição que condena a prática. Contudo, os climas políticos para a sua reforma são divergentes: em Portugal, a interrupção voluntária da gravidez a pedido da mulher até às 10 semanas foi despenalizada após o referendo em 2007, enquanto que na Polónia, a gradual implementação de restrições ao acesso do aborto desde 1990, depois de décadas de despenalização durante a era da República Popular da Polónia, direciona-o à sua quase total proibição. Como tal, esta questão tem galvanizado artistas e ativistas que há muito reconhecem a importância de proteger o direito ao aborto livre, legal, seguro e gratuito, revelando esta preocupação simbolicamente e materialmente em práticas de expressão artística.
A análise qualitativa de conteúdo circunscrita no período entre 2004 e 2021 permitiu aprofundar os enquadramentos teórico e histórico sobre o estigma do aborto; examinar as narrativas visuais, os formatos multidisciplinares e as estratégias de diversas produções artísticas contemporâneas escolhidas para identificar, informar e combater o estigma do aborto, desviando a atenção das características da pessoa estigmatizada para as características do sujeito observador e assim entender o processo de estigmatização; e revelar, semelhanças e divergências nos dois contextos nacionais. Como as questões que motivam esta pesquisa não se resolvem somente no campo teórico mas nos modos de fazer, nas práticas e nas diferentes experiências que podem sugerir mais perguntas, respostas e possibilidades, foi importante estudar alguns projetos artísticos de ambas as nacionalidades que derivaram dos seus ativismos e valorizaram o político na arte : Self-portrait with a balloon (2019) da artista polaca Agata Słowak; O meu corpo pertence-me (2005) da artista plástica e investigadora portuguesa Paula Tavares; Lavagem a seco (2004) das artistas, professoras e investigadoras portuguesas Carla Cruz e Catarina Carneiro de Sousa; Growing (2021) da artista polaca Agata Wieczorek; Opowieści aborcyjne (2020) da ilustradora Beata Rojek e da artista Sonia Sobiech, ambas de origem polaca; e Cyanovan (Protocol) (2020) da artista portuguesa Diana Policarpo. Esta proposta aborda também o compromisso com o redimensionamento de fazer política, considerando a articulação entre os feminismos, as práticas artísticas e os movimentos sociais na participação concreta dos sujeitos desta pesquisa na vida política dos respetivos países.This dissertation presents an analysis of contemporary artistic creation promoted by feminism as a critical means of challenging the stigma surrounding abortion, in a dialogue that bridges the realities of Portugal and Poland. It aims to comprehend the role of both feminist arts as political practices with their unique repertoires and feminisms in the artistic work produced in both countries, particularly in this context.
The stigmatization of abortion is a global phenomenon constructed at various levels of human interaction and at the local intersection of discourses, cultures, gender archetypes, beliefs, and transnational institutions. Consequently, the negative representations of abortion evident in society, sometimes translated into legislation, perpetuate the stigmatization of the procedure and the women who undergo it, reflecting a discredit on their ability to make reproductive and sexual decisions. In this regard, Portugal and Poland are among the European countries whose legal evolution concerning abortion was profoundly influenced by the Catholic Church, an institution that condemns the practice. However, the political climates for reform differ: in Portugal, voluntary termination of pregnancy at the woman's request up to 10 weeks was decriminalized after the 2007 referendum, while in Poland, the gradual implementation of restrictions on access to abortion since 1990, after decades of decriminalization during the era of the People's Republic of Poland, has led to almost complete prohibition. As a result, this issue has mobilized artists and activists who have long recognized the importance of protecting the right to free, legal, safe, and accessible abortion, expressing this concern symbolically and tangibly through artistic practices.
The qualitative content analysis, conducted for the period between 2004 and 2021, enabled to delve deeper into the theoretical and historical frameworks surrounding the stigma of abortion, examine the visual narratives, multidisciplinary formats, and strategies of various contemporary artistic productions selected to identify, inform, and combat the stigma of abortion. This shift of focus from the characteristics of the stigmatized person to those of the observers helps in understanding the stigmatization process and revealing similarities and divergences in the two national contexts. As the questions driving this research are not solely resolved in the theoretical realm but also in practical methods, practices, and various experiences that can raise further questions, answers, and possibilities, it was crucial to study some artistic projects from both nationalities that emerged from activism and emphasized the political aspect of art. These projects include Self-portrait with a Balloon (2019) by Polish artist Agata Słowak, O meu corpo pertence-me (2005) by Portuguese artist and researcher Paula Tavares, Lavagem a seco (2004) by Portuguese artists, educators, and researchers Carla Cruz and Catarina Carneiro de Sousa, Growing (2021) by Polish artist Agata Wieczorek, Opowieści Aborcyjne (2020) by illustrator Beata Rojek and artist Sonia Sobiech, both of Polish origin, and Cyanovan (Protocol) (2020) by Portuguese artist Diana Policarpo. This proposal also addresses the commitment to reshaping politics by considering the articulation of feminisms, artistic practices and social movements through the active participation of the subjects of this research in the political life of their respective countries
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
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