A dialética da fotografia contemporânea no Brasil : uma proposta decolonial para a fotografia e seus discursos

• Autor(a) principal: Appolari, Vinicius André da Silva
• Data de Publicação: 2022
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Repositório Institucional da UFMT
• Texto Completo: http://ri.ufmt.br/handle/1/3735
• topic: Fotografia contemporânea; Decolonialidade; Crítica de arte; Arte brasileira; Modernidade; CNPQ::LINGUISTICA, LETRAS E ARTES; Contemporary photography; Decoloniality; Art criticism; Brazilian art; Modernity

Like the visible image of the physical world, the photographic image is composed of shapes, colors, and tones. The great similarity that a portrait has to its referent allows the investigation of the form and its relations with memory and identity, that is, the way the person sees himself. Contemporary art detached itself from modern movements that claimed a thematic, technical, and aesthetic unity, stimulating greater creative freedom for artists. Decoloniality is a theory and political stance, it argues that the peoples of the nations of the global south live under the evaluative influence of imperialist powers. The movement for decolonial art occurs with the fusion between the popular, the political, and the aesthetic. Decoloniality is important for the observation of the Brazilian cultural scenario. In this way, the complex combination of ideas and values that photography and contemporary art mixed with decolonial thinking motivated this research, which aims to: understand the possible elements of the decoloniality present in Brazilian photography and photography criticism, to analyze the dialectical process of contemporary photography, to analyze digital exhibitions and digital spaces for viewing works of art from the discourses and reading of photographic works on the internet. The methodology used for this endeavor involves surveying Brazilian institutions specializing in contemporary photography that supported artists and the interested public during the period 2020 and 2021, to obtain a framework of qualitative information on Brazilian contemporary photography, followed by the survey of specific exhibitions and awards on contemporary photography with the presence on the internet in the last two years. Also contemplated is the study of Brazilian artists who had active production during the last biennium, selected through criteria of relevance in the scenario of contemporary photography. Finally, the following methodologies are used: grounded theory, evidential paradigm, and dense description, combined with the contributions of theories on photography and decoloniality to carry out the report, qualitative analysis, and reflection on the presence of decolonial elements in contemporary Brazilian photography productions. Bearing in mind that the creative process of photography is gestated in the culture in which the photographer lives and that the photographic work, when exposed, has the power to generate a dialectical movement of meanings, in this way the understanding of the phenomenon of contemporary Brazilian photography can be fed back from the decoloniality efforts. It is understood that to progress in a decolonial artistic production, considering ancestral cultures, and highlighting racial and gender debates would be crucial for advancing a decolonial aesthetic. In other words, the artistic production of contemporary decolonial photography would not be concerned only with aesthetics as it is traditionally known. Still, it would add ethical and democratic thinking to photography.