| dc.description | Biography: PhD student at Architecture and Urbanism College, University of São Paulo (FAU USP), holding a Master's Degree in Cultural and Critical Studies from Birkbeck, University of London, freelance writer, art critic and curator. Writing about Visual Arts since 2006, I've already covered some of the most important events in this field, such as the Arco Madrid and the Bienal de São Paulo. As an art critic, I was a member of the prestigious Associação Paulista de Críticos de Arte (APCA), helping to choose the best exhibitions of the year in São Paulo, and an Artforum contributor. Working as a curator and institutional relations coordinator at Zipper Gallery between 2015 and 2017, I was also responsible to develop the gallery’s exhibition program, having also curated two exhibitions: the group show Image-Movement, in 2016, and “Present (Im) Material”, by Felipe Seixas. Since 2012, I've been acting also in parallel as a freelance journalist writing for several media outlets in Brazil. Having lived in three different cities since then (New York, Rio de Janeiro and London), I worked as a freelance arts and culture correspondent for O Estado de São Paulo newspaper in New York, having also had a similar function in Rio de Janeiro, writing for Valor Econômico, and in London, writing for Folha de S. Paulo. | |
| dc.description.abstract | This paper addresses the impact of the photographic reproduction of artworks at the museums and sharing of these images on Instagram. Created in 2010, when the museum began to reconsider the prohibitions to use mobile phones in the exhibition rooms, the app followed the emergence of this phenomenon that is transforming our relationship with the original works, pointing to another culture of memory, which presupposes the museum's musealization mediated by the cell phone. The analysis of this issue is made from three different perspectives. The first is based on André Malraux's musée imaginaire, reflecting on the various displacements of the artwork from its original context, and how we access this digital platform. A second approach interprets the phenomenon in relation to so-called 'counter-collecting' practice, an emergent musealization counterculture beyond the institutional tradition of memorization policies and practices. The musealization of everyday life, a contemporary phenomenon which is related with our culture's fascination with the past, is also putting the museum as a source of big interest, acting as "repositories of temporality", as Manuel Castells has called. But what happens when museum themselves are “musealized”, shattering this established temporality by putting their collection on the noisy realm of social media? The third bias focuses on Instagram's interface to analyze new relationships that emerge between works from different periods and styles arranged side-by-side – either by the random configuration of these tags or by the attempt to create a curatorial narrative of these images. | |
