FCSH: IHA - Artigos em revista nacional com arbitragem científica
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- Bastard images of a hybrid saintPublication . Marconi, Dieison; Instituto de História da Arte (IHA)Desde principios del siglo XX, artistas de diferentes contextos artísticos y culturales minoritarios se han apropiado de las imágenes canónicas (barrocas y renacentistas) de San Sebastián para explorar temas como la muerte, la religión y la homosexualidad. Sin embargo, la bibliografía existente sobre las reapariciones de San Sebastián a lo largo del siglo pasado y en la época contemporánea sólo ha investigado contextos artísticos minoritarios situados en el Norte Global. De este modo, este ensayo busca comprender cómo las iconologías canónicas de San Sebastián han sido apropiadas y han sobrevivido en el contexto latinoamericano, revelando un proceso de inflexión iconológica que conecta y tensiona temas como la religión, la sexualidad, la etnicidad, la colonialidad, los procesos de hibridación cultural y las sensibilidades estéticas minoritarias, un proceso que el ensayo denomina la producción de “imágenes bastardas”.
- Architectural books and treatises: on the theory of vaultsPublication . Conceição, Margarida Tavares da; Batista Pacheco, Mafalda; Seixas, Raquel; Departamento de História da Arte (DHA); Instituto de História da Arte (IHA); CHAM - Centro de Humanidades; Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, Instituto de História da ArteOur search for codified knowledge about vaulted construction systems obviously started with classical texts on architecture. We wish here to explore the possibility of finding a theory about vaults that is capable of better organising a textual corpus on the subject. The fragmentary notes on vaults in Vitruvius’ text are discussed as the foundational source for the book on construction and architecture. That being so, the contribution of Alberti’s De re aedificatoria is detailed as being the truly fundamental text on this subject, as it is in fact the first structured discourse on vaults. Other steps in our search included the connections discovered between different works from the 16th to 18th centuries, including Portuguese manuscripts, and the final stage took us to the world of the Encyclopaedia, where reasoning and mathematical methods meet architectural and engineering theory and practice to offer a robust technical-scientific approach within the specialised literature.
- O altar de Nossa Senhora de Belém do Mosteiro dos Jerónimos de Lisboa (1734)Publication . Ferreira, Sílvia; Instituto de História da Arte (IHA); Universidade do Porto, Faculdade de LetrasO altar da Sagrada Família, originalmente dedicado a Nossa Senhora de Belém, colateral direito à capela-mor da igreja do Mosteiro dos Jerónimos, em Lisboa, possui uma história que remonta à fundação do cenóbio. A invocação da Senhora de Belém era central na devoção do povo de Lisboa e agraciada a sua imagem com ricas oferendas, embora da primitiva estrutura retabular pouco se saiba. No entanto, um contrato notarial datado de 1734 revela-nos, pela primeira vez, as especificidades da encomenda de um novo altar, no qual se inclui o nome do entalhador e encomendadores, bem assim como algumas cláusulas relevantes. A finalidade deste texto é analisar a encomenda, reconhecer os seus intervenientes, enquadrar a produção artística do mestre entalhador no seu tempo e inserir a obra no mais amplo contexto conjuntural artístico da Lisboa pré-terramoto. The altar of the Holy Family, originally dedicated to Our Lady of Bethlehem, located on the right side of the main chapel of the Church of the Jerónimos Monastery in Lisbon, has a history that dates back to the founding of the monastery. The invocation of Our Lady of Bethlehem was central to the devotion of the people of Lisbon, and her image was graced with rich offerings, although little is known about the original altarpiece structure. However, a notarial contract dated 1734 reveals, for the first time, the specifics of a commission for a new altar, including the name of the woodcarver and the patrons, as well as some relevant clauses. The purpose of this text is to analyse the commission, identify the participants, situate the artistic production of the master woodcarver in his time, and place the work within the broader artistic context of pre-earthquake Lisbon.
- O que Persiste na Imagem-Escombro?Publication . Paim, Flora; Instituto de História da Arte (IHA); Communication and Society Research CentreWhen a building is demolished, its cohesive and planned structure fractures into countless fragments. These heterogeneous and disorganised fragments blur the boundaries between what was once private — the domestic space — and what is now public — the formerly occupied land. In 2019, I stumbled upon a family photograph amidst the rubble left by the demolition of the last towers of the Bairro do Aleixo in Porto. Constructed in the 1970s, this was a public housing estate designed to accommodate families from Ribeira-Barredo who had been displaced due to urban redevelopment. Throughout the years, the five towers have hosted a sizable and fluctuating population that has adapted and made use of this previously unconventional housing model. From 2011 to 2019, Aleixo underwent three demolition operations, politically supported by arguments citing its structural and social deterioration as justification. The first two were striking implosions broadcasted on television, whereas the final demolition, which I witnessed, unfolded as a slow deconstruction spanning several months. In the photograph, the woman dressed in white poses on a balcony of Tower 1 within the old Bairro do Aleixo. In the background stands the phallic skeleton of Tower 4, which would be imploded decades later. Upon its unearthing, the photograph, weathered by time and circumstance, hinted at a conceptual connection with the debris surrounding it. In this article, my focus centres on this found photograph, aiming to unveil the processes and tensions encapsulated within this fragment. I draw on the ontological connections between photography and death, as well as between photography and ruin, to analyse the spectral image of this obliterated site. I delve into what the encounter with this image might reveal about the memory of the neighbourhood, its public image, and the extensive and violent process of displacing its residents. I reach the concept of a "rubble-image" as pivotal in interpreting this nearly vanished imprint that stubbornly affirms the persistence of a dissenting and complex place, supposedly erased from public space and suppressed from urban memory by dominant sensibilities.
- The Protection of Artistic and Architectural Heritage and the Role of Archaeology as Instrumentum Imperii during Italian Colonialism in Libya (1911-1943)Publication . Degortes, Michela; Instituto de História da Arte (IHA)The Protection of Artistic and Architectural Heritage and the Role of Archaeology as Instrumentum Imperii during Italian Colonialism in Libya (1911-1943) – Interview with Massimiliano Munzi
- A ambas as extremidades da cadeiaPublication . Lamoni, Giulia; Instituto de História da Arte (IHA)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.
- O cunho ideológico do Estado Novo no restauro das joias da coroa portuguesaPublication . Rumsey Teixeira, João Júlio; Instituto de História da Arte (IHA); Associação Profissional de Conservadores-Restauradores de Portugal (ARP)As it happened with architectural monuments, profound restoration was carried out on the crown jewelry collection during the Estado Novo period. However, unlike the architectural heritage, in the case of the jewels, the first historical and artistic narrative was written while the restorations were taking place. Based on the methodological justifications presented for the intervention, as well as the history disclosed about these jewels when the works were finalized, this article aims to open the discussion about the intentions and consequences of this restoration campaign, which placed the ancient royal jewels in service of the narrative of national greatness and its constant pursuit of "distinctive and Portuguese character". In this regard, the choices made do not fail to appear contradictory, even under the nationalistic ideological bias that influenced them, in the relentless pursuit of valorizing the eras perceived by the regime as the nation's greatest moments of glory.
- A expansão da imagem em movimentoPublication . Cêpa, Rita; Instituto de História da Arte (IHA); ICNOVA – Instituto de Comunicação da NovaUnsupervised — Machine Hallucinations — MoMA was recently acquired by the renowned New York museum for its permanent collection. With this gesture, which marks the beginning of a new chapter in thehistory of digital art, the Museum of Modern Art welcomes its first generative AI and tokenized piece. Refik Anadol’s work has slowly been reshaping the perception of museum institutions — and beyond — about the potential of computer-generated art, partially similar to what Nam June Paik had done in the secondhalf of the 20th century. This paradigmatic Korean-born author revolutionised time-based media art by turning television into a form of creative expression and by integrating computational te- chnology into a visualand plastic vocabulary that was previously unknown. In addition to his epic exhibitions, Paik also envisioned the future of the internet and the advent of social media with astonishing clairvoyance. The power of hisideas would expand artistic languages such as sculpture or installation, imbue the moving image with other meanings and open up the dense frontiers of a market that hadn’t yet looked at video as a collectable artisticmedium. The change initiated by Paik, based on the new compositional instruments he explored, is now fundamental for a better understanding not only of Anadol’s work but also of post-internet art itself. Through ananalysis of the pioneering work of these two artists, this paper seeks to explore their achievements, discuss some of the transformations they undertook, reflect on issues of authorship and originality, as well as consider the role of digital tools and human-machine interaction in contemporary artistic practice.
- Maguy MarinPublication . Varanda, Paula; Instituto de História da Arte (IHA)
- Olisipografia e ComemoraçãoPublication . Seixas, Raquel; Lourenço, Tiago Borges; Silva, Hélia; Instituto de História da Arte (IHA); Câmara Municipal de LisboaProgramadas e realizadas pela Câmara Municipal de Lisboa (CML), as Comemorações do VIII Centenário da Tomada de Lisboa aos Mouros (1947) foram um momento de exaltação da história da cidade. De entre as diversas iniciativas, as publicações culturais assumiram-se como o lado perene das festividades. Foi neste contexto que foi editada Lisboa, Oito Séculos de História, a primeira obra coletiva de Olisipografia. Por ocasião do 75º aniversário das comemorações e da publicação do primeiro fascículo, o presente artigo traça o processo do seu desenvolvimento e procura compreender as suas especificidades e a ação dos agentes envolvidos na sua produção.