Mariana Pinto dos Santos
PhD University of Barcelona, Facultat de Belles Arts, Línea Historia y Teoria, July 2015 (Title: «Inventários, Narrativas, Fragmentos, (Im) pertinência da Historiografia da arte»)
Researcher at Art History Institute (IHA) at Nova FCSH, Lisbon
Coordinator of the IHA Research Group Art Theory, Historiography and Criticism
Co-responsible for the Project Iberian Modernisms and the Primitivist Imaginary (PTDC/ART-HIS/29837/2017)
Co-editor of Intervalo theory journal (2005-2015)
Co-editor of Pianola (2012-2018)
Co-editor at Edições do Saguão (since 2017)
Supervisors: Silvina Rodrigues Lopes and Luís Trindade
Researcher at Art History Institute (IHA) at Nova FCSH, Lisbon
Coordinator of the IHA Research Group Art Theory, Historiography and Criticism
Co-responsible for the Project Iberian Modernisms and the Primitivist Imaginary (PTDC/ART-HIS/29837/2017)
Co-editor of Intervalo theory journal (2005-2015)
Co-editor of Pianola (2012-2018)
Co-editor at Edições do Saguão (since 2017)
Supervisors: Silvina Rodrigues Lopes and Luís Trindade
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Books by Mariana Pinto dos Santos
Open access book. Download here: https://www.taylorfrancis.com/books/oa-edit/10.4324/9781003355519/primitivist-imaginary-iberian-transatlantic-modernisms-joana-cunha-leal-mariana-pinto-dos-santos
Abstract:
The centenary of Ernesto de Sousa’s birth was marked on 18 April 2021. From the 1940s until his death on 6 October 1988, he played a fundamental role in the arts in Portugal and impacted generations of artists working after the 25th April Revolution of 1974. To commemorate this centenary, the Art Library of the Calouste Gulbenkian Foundation and the Art History Institute of NOVA FCSH organized the Centenary Colloquium of Ernesto de Sousa on 2 June 2021. The book Ernesto de Sousa 1921-2021: A conscious creation of situations / A conscious situation of creations follows on from that encounter, featuring six new peer-reviewed studies about Ernesto de Sousa, statements and revisitations from several authors, the transcript of a round-table with artists and curators on his role in the Portuguese visual arts, contributions from artists conceived specifically for this book, as well as a previously unreleased text by Ernesto de Sousa. Written in three languages, Portuguese, Spanish and English, this book brings together artists, critics, curators and researchers, in a polyphonic discussion about Ernesto de Sousa. This book is available on open access and, with the support of the Calouste Gulbenkian Foundation, a limited edition of 150 copies was also printed.
Papers by Mariana Pinto dos Santos
José-Augusto França, responsável pelo desenvolvimento notável
da historiografia da arte em Portugal depois da Segunda Guerra
Mundial e por estabelecer um cânone historiográfico para
a arte portuguesa dos séculos XIX e XX. Procura enquadrar
o conceito de atraso no contexto da historiografia de arte
portuguesa e da história política, e analisá-lo no quadro de
uma genealogia de pensamento intelectual produzido num
contexto imperial, revisitando alguns anteriores historiadores
e autores importantes, como Antero de Quental e António
Sérgio. O conceito de atraso associa-se à ideia de “civilização”
e à ideia de “arte como civilização” e tem implicações nos
constrangimentos e nas especificidades da escrita de uma
narrativa hegemónica num país periférico, que procurava
comparar-se a um modelo artístico e cultural parisiense.
A necessidade de sublinhar o atraso foi particularmente sentida
na segunda metade do século XX também para marcar uma
posição política contra a ditadura que esteve no governo
de 1926 a 1974. Parte da reacção ao fascismo expressava o
desejo de seguir o exemplo democrático de outras nações,
mas as avaliações auto-depreciativas sobre arte portuguesa
estavam frequentemente associadas à identificação de motivos
essencialistas — a “natureza” do povo português, a sua
maneira de pensar e de viver, a sua falta de capacidades ou de
competências — e a uma imagem de si próprio como sendo
“primitivo” em comparação com outros países europeus, a qual
tem antecedentes que remontam ao século XVIII. Abordarei
a nostalgia pelo império e sua relação com a noção de atraso
prevalecente ao longo de todo o século XX, no que diz respeito
a aspectos por resolver face a essa nostalgia.
Many authors have recognized the visual character of the writings by the Portuguese artist Almada Negreiros (1893-1970), but the multiple variations and interpretations that can be driven from that are yet to be explored. In this article I intend to make some of those interpretations about the interchange between the pictorial and the literary that occur in his work, emphasizing precisely the interchange, that is, not noticing merely how he creates strong literary images — which has been the focus of the literary studies — but understanding that Almada’s writing thrives from a notion of avant-garde based on the primacy of vision and that his practice and theory about the pictorial are determinant for his writing. On another hand, I will also consider how his painting often revisits his literary work. More than a dialogue between two art forms, the pictorial and the literary in Almada Negreiros are profoundly interconnected and constitute an example of the inventiveness that resulted from the rupture of the frontiers between the arts operated by the avant-garde from the early twentieth century.
Open access book. Download here: https://www.taylorfrancis.com/books/oa-edit/10.4324/9781003355519/primitivist-imaginary-iberian-transatlantic-modernisms-joana-cunha-leal-mariana-pinto-dos-santos
Abstract:
The centenary of Ernesto de Sousa’s birth was marked on 18 April 2021. From the 1940s until his death on 6 October 1988, he played a fundamental role in the arts in Portugal and impacted generations of artists working after the 25th April Revolution of 1974. To commemorate this centenary, the Art Library of the Calouste Gulbenkian Foundation and the Art History Institute of NOVA FCSH organized the Centenary Colloquium of Ernesto de Sousa on 2 June 2021. The book Ernesto de Sousa 1921-2021: A conscious creation of situations / A conscious situation of creations follows on from that encounter, featuring six new peer-reviewed studies about Ernesto de Sousa, statements and revisitations from several authors, the transcript of a round-table with artists and curators on his role in the Portuguese visual arts, contributions from artists conceived specifically for this book, as well as a previously unreleased text by Ernesto de Sousa. Written in three languages, Portuguese, Spanish and English, this book brings together artists, critics, curators and researchers, in a polyphonic discussion about Ernesto de Sousa. This book is available on open access and, with the support of the Calouste Gulbenkian Foundation, a limited edition of 150 copies was also printed.
José-Augusto França, responsável pelo desenvolvimento notável
da historiografia da arte em Portugal depois da Segunda Guerra
Mundial e por estabelecer um cânone historiográfico para
a arte portuguesa dos séculos XIX e XX. Procura enquadrar
o conceito de atraso no contexto da historiografia de arte
portuguesa e da história política, e analisá-lo no quadro de
uma genealogia de pensamento intelectual produzido num
contexto imperial, revisitando alguns anteriores historiadores
e autores importantes, como Antero de Quental e António
Sérgio. O conceito de atraso associa-se à ideia de “civilização”
e à ideia de “arte como civilização” e tem implicações nos
constrangimentos e nas especificidades da escrita de uma
narrativa hegemónica num país periférico, que procurava
comparar-se a um modelo artístico e cultural parisiense.
A necessidade de sublinhar o atraso foi particularmente sentida
na segunda metade do século XX também para marcar uma
posição política contra a ditadura que esteve no governo
de 1926 a 1974. Parte da reacção ao fascismo expressava o
desejo de seguir o exemplo democrático de outras nações,
mas as avaliações auto-depreciativas sobre arte portuguesa
estavam frequentemente associadas à identificação de motivos
essencialistas — a “natureza” do povo português, a sua
maneira de pensar e de viver, a sua falta de capacidades ou de
competências — e a uma imagem de si próprio como sendo
“primitivo” em comparação com outros países europeus, a qual
tem antecedentes que remontam ao século XVIII. Abordarei
a nostalgia pelo império e sua relação com a noção de atraso
prevalecente ao longo de todo o século XX, no que diz respeito
a aspectos por resolver face a essa nostalgia.
Many authors have recognized the visual character of the writings by the Portuguese artist Almada Negreiros (1893-1970), but the multiple variations and interpretations that can be driven from that are yet to be explored. In this article I intend to make some of those interpretations about the interchange between the pictorial and the literary that occur in his work, emphasizing precisely the interchange, that is, not noticing merely how he creates strong literary images — which has been the focus of the literary studies — but understanding that Almada’s writing thrives from a notion of avant-garde based on the primacy of vision and that his practice and theory about the pictorial are determinant for his writing. On another hand, I will also consider how his painting often revisits his literary work. More than a dialogue between two art forms, the pictorial and the literary in Almada Negreiros are profoundly interconnected and constitute an example of the inventiveness that resulted from the rupture of the frontiers between the arts operated by the avant-garde from the early twentieth century.
also a critic and main promotor of film societies
and magazines, as well as a photographer and movie
director. In the late 1960’s he changed to a defense of
experimental film and performative art, establishing
relations with the Fluxus movement. Also in the
1960’s, ES deepened his studies in popular culture
which he had started years before, and which had led
him to promote crossings between “high” and “low”
art, and to appropriate features he found in folk art
for a renewal of neo-realism. The consolidation of
his studies and his movement from the neo-realist
cause to experimental art forms related with the
international neo-avantgarde, led him to advocate
for an avant-garde rooted in national folk art, as well
as in the first portuguese modernists. His method of
mixing his interests and giving them an use value is
based in his reading of Bertolt Brecht. I will discuss
Ernesto’s marxist-based effort to find new languages
for the portuguese art and the implications of this
example in the widening of a concept like modernism
in peripherical Europe.
Não obstante o afastamento pontual de alguns autores face à obra de J.-A. F., ela persistiu como referência cimeira – o que protelou abordagens alternativas do objecto, por perdurar a convicção de que apenas um trabalho com exaustividade análogo poderia tornar-se um, aparentemente desejável, novo cânone. Este artigo procurará reflectir sobre a frequente necessidade de corresponder ao que a academia reconhece como discurso historiográfico, analisando a possibilidade de isso constituir uma justificação para a persistência do modelo de disciplina dado por J.-A. F., e do afastamento da história da arte contemporânea do seu objecto, potencialmente implicado nessa escrita moldada ao paradigma historiográfico fixado. Procurará também analisar em que medida a tentativa de consolidação da disciplina em contexto nacional implicou criar características uniformizadoras para conferir identidade à arte feita em Portugal, ecoando, de resto, tentativas de fixação identitária noutras áreas.
Esta comunicação é uma pequena parte do artigo mais desenvolvido a ser publicado em 2015 : “O legado de José-Augusto França na escrita da história da arte em Portugal: caracterização crítica do cânone e de exemplos da sua persistência” in Revista Práticas da História. Revista sobre teoria, historiografia e usos do passado, n.º 1, Instituto de História Contemporânea da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa.
This essay focuses on recent and still lasting polemics about vandalization and / or possible dismantling or removal of sculptures and monuments, or reconfiguration of public spaces, in Portugal. Although with some misunderstandings, the polemics had the merit of promoting a public discussion on colonial persistence in Portuguese cities, especially in Lisbon. I propose a reflection on the place that art history, by questioning its own historical role, by historicizing its object and by analyzing the modes of artistic production, can occupy in this discussion. I will necessarily resort to several newspaper articles, as it was there (with ramifications on social networks) that the discussion took place.
Exposição Museu Arpad Szenes-Vieira da Silva, 26 Junho – 20 Setembro 2020
Catalogue of the exhibition curated by Nuno Crespo and Hugo Dinis.