PÓS: Journal of the Arts Postgraduation Program at EBA/UFMG
Revista PÓS is an academic journal published by the Postgraduate Program in Arts at UFMG (Federal University of Minas Gerais). Created in 2011, it accepts articles, essays, translations, visual essays and interviews in the following areas of Art: Fine Arts, Visuals and Interarts; Interart Art and Experience in Education; Performing arts; Cinema; Digital Poetics and Preservation of Cultural Heritage. Original materials from PhDs and PhD students are accepted. Master's and master's materials co-authored with a PhD are also accepted. Revista Pós works with a rolling publishing policy. The evaluation is done by the double blind system of peer reviews. The journal is freely accessible to authors and readers and contains an editorial board with a large majority of non-UFMG members, including international advisors. This study was financed in part by the Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - Brasil (CAPES) - Finance Code 001 In the years 2020 to 2025, the journal received funding from FAPEMIG to cover the layout and editing costs of the published issues.
Authors who publish in this journal agree to the following terms: Authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the a Creative Commons Attribution-NonCommercial 4.0 International License that permits sharing of the work with acknowledgement of authorship and initial publication in this journal; Authors are permitted to enter into additional contracts separately, for non-exclusive distribution of the version of the work published in this journal (e.g., the Creative Commons Attribution License). Authors are permitted and encouraged to publish and distribute their work online (e.g., in institutional repositories or on their home page) at any point before or during the editorial process, as this may generate productive changes as well as increase the impact and citation of the published work. It is the responsibility of the authors to obtain written permission to use in their articles materials protected by copyright law. Revista PÓS is not responsible for copyright breaches made by its contributors.
Linda explores her diverse artistic practice, including the project The Hidden Mother and other works. The central objective is to examine how her works reflect technical and philosophical aspects of photography. The artist details the creation and curation process for the Venice Biennale, the collaboration with Cindy Sherman, and experiences with image conservation. Linda discusses her interest in photographic and experimental practices, emphasizing the importance of making personal works universal and the need to balance visual perception with technical narrative.
Copyright (c) 2025 Monique Burigo Marin https://creativecommons.org/licenses/by-nc/4.0
A translation of Vilém Flusser’s essay “Art and Politics”, accompanied by an introduction and notes by Flávio Américo Tonnetti and Gabriel Souza Figueiredo. The original essay explores the relationship between art and politics, starting from Plato’s conception of them as equivalent, to discuss the subsequent separation and inversion of roles that occurred in Modernity, seeking to analyze how art – as technē, driven by technology – assumes a governmental role in contemporary society. The translation of the typewritten original sought to preserve Flusser’s stylistic idiosyncrasies, as detailed in the preceding introduction and explanatory notes.
Copyright (c) 2025 Flávio Américo Tonnetti, Gabriel Souza Figueiredo https://creativecommons.org/licenses/by-nc/4.0
To reassemble the historical narrative, it is necessary to destroy it, to operate from its shards, warns Walter Benjamin. The artistic works analyzed here produce mnemonic puzzles that we do not know whether are under construction or in ruins, an entropic impetus that is, precisely, the central nerve of collage. Through case studies and textual experimentation with the glossary format, this critical essay aims to build significant constellations composed of different materialities – discursive, temporal, territorial, corporal –, engaging with fragmentation. Drawing from artistic and theoretical sources, from Benjamin to posthumanism and new materialism, necropolitics, gore capitalism, and my own artistic practice, I seek to closely follow Benjamin’s strategy, to put the method of the dialectical image into practice.
Copyright (c) 2025 Luiz Renato Montone Pera https://creativecommons.org/licenses/by-nc/4.0
Sentimos falta daquela conversa próxima. A conversa que surge depois do abraço apertado, coração a coração, e que assim começa: “você leu o artigo? E o ensaio visual, o escrito de artista?A tradução, leu? A entrevista?”, e logo pegando um café no balcão da cantina, com o sorriso de praxe, puxando a prosa: “o material da revista tá ótimo, abre aí o celular, vou te mostrar” (com entusiasmo). 14 anos da Revista PÓS. O tempo faz lembrar o poeta Mário Quintana, que diz: Adolescente, olha! A vida é nova… A vida é nova e anda nua — vestida apenas com o teu desejo! Mas na conversa próxima, o comentário íntimo é: “penso na guerra, na injustiça, no genocídio. 1925, Alemanha. 2025, Estados Unidos”... (o gole de café ajuda a animar) Para esta nova edição da Revista PÓS, há vida nova, há desejo, mas é impossível não falar também sobre a necropolítica que nos cerca, ataca, com toda a sua engrenagem. Ainda assim, a arte segue sem recuar nos seus vários modos de se fazer sensível, visível e indagadora, fortalecendo e ampliando experiências aesthesicas e estéticas, apresentando posicionamentos à sua maneira. “A vida é nova e anda nua”, disse o poeta. O que poderá nos envolver, nos cobrir, nos pintar, nos mascarar, então? Que desejo nos vestirá, em nossa nudez, e nos impulsionará caminho à frente em meio a cenários tão devastados e corações esmagados? Os artigos desta edição da Revista PÓS trazem propostas distintas para trançarmos os fios e criarmos nossos vestidos. Mostram a arte se fazendo respiro, um modo de (se) reinventar, inovar, expondo também contradições, tensionando o que se apresenta como “verdade” e que, de fato, é subalternização, violência. Os textos aqui presentes trazem intercâmbios entre o local e o global, entre normas e desvios. Com a apresentação dos materiais, unindo-nos em um trabalho conjunto, não pouco árduo, pessoas autoras e equipe de editoria mostram um processo de crescimento e fortalecimento continuado da Revista PÓS. Com esta nova gestão de Editoria-chefe (2025-2027), nos vestimos do desejo das pessoas que nos antecederam nesta atividade, a quem agradecemos, agora bordando e movendo expressivamente outros traços que, embora desafiadores, nos guiam não somente para o que se faz necessário, neste momento, à Revista PÓS, como também nos enlaçam para criar aqui outros sonhos. Manutenção e ampliação de indexações? Sim, pois inserir a Revista PÓS e difundi-la melhor no seu tempo é importante, é reconhecimento de mérito, ou seja, é manutenção e aumento de sua qualidade acadêmico-artística. Com a extinção do Sistema Qualis em outubro de 2024, pela CAPES2, e da classificação de periódicos a partir do Quadriênio 2025-2028, a indexação passou a ser um critério de maior garantia de qualidade e visibilidade para a Revista PÓS. Por outro lado, queremos também zelar pelas nossas singularidades no campo das artes, compreendendo os processos de indexação de modo crítico para a difusão das produções de nossa área. Assim, esta parece ser uma luta bem árdua em nosso campo. E, ainda, para a concretização e manutenção de indexações, lembramos que existe a demanda de recursos financeiros. Internacionalização? Sim, diálogos externos são relevantes, e isso também se relaciona aos processos de indexação, em acordo com políticas internacionais de publicação acadêmica, mas não queremos perder ou inibir nossos pares brasileiros. Ampliar o acesso da Revista PÓS para docentes, pessoas pesquisadoras e estudantes de artes no Ensino Técnico, Médio, Fundamental, Básico, outros? Sim, afinal a arte pode se fortalecer ainda mais nestes contextos por meio da circulação de materiais como os que aqui são apresentados. Defender a área de artes no âmbito das produções e divulgações de pesquisa, ciência, tecnologia, inovação, do ensino universitário, das associações de pesquisa e pós-graduação em artes, e das agências de fomento à pesquisa? Sem dúvida, sempre, ainda que dentro dos propósitos específicos que aqui nos reúne. Sentimos falta daquela conversa próxima. Com Quintana, dizemos: a Revista PÓS segue em frente, como jovem felina, farejando o vento, com curiosidade fascinante e fremente. Aberta a conversações. Você aceita um café, um chá? Uma conversa?
Copyright (c) 2025 Bya Braga, Marcelo Eduardo Rocco de Gasperi, Flávia Virgínia Teixeira https://creativecommons.org/licenses/by-nc/4.0
Indigenous Body Painting, Between Ecology and the Cosmos and the Historical Struggle Against the Karõ da Aldeia
This text aims to explore the historical struggle of the Mebengokré in defense of their way of life, against the expansion of Brazilian territorialization in Central Brazil, through various settlement fronts. Initially, through personal accounts of Indigenous peoples and ethnological references, we seek to situate the Mebengokré in terms of historical settlement in this region, also considering their particular history in relation to other Jê-speaking peoples, to whom they are signatories. Next, we present Indigenous paintings from a complex perspective, simultaneously considering their technical, therapeutic, and cultural aspects. All within the framework of a cosmopolitics that allows us to contemplate Indigenous culture as a cultural and artistic expression of Mebengokré society, central to the strategy of self-production and the constitution of the Indigenous way of life, as highlighted by Jê ethnologists. Finally, we demonstrate the present threats to the indigenous way of life, which are seen as a kind of ghost that haunts and/or threatens the existence and continuity of the Mebengokré way of life.
Copyright (c) 2025 Sandoval Amparo https://creativecommons.org/licenses/by-nc/4.0
This paper seeks to analyze how the art exhibition Nakoada: estratégias para a arte moderna employs the theme of “revenge” as a way of articulating indigenous cosmology and history to counter the form of human historical agency that has led the planet into the climate and social crisis we may refer to as the “falling sky”or the Anthropocene. More specifically, it aims to understand how the curators, Denilson Baniwa and Beatriz Lemos, assert a historical agency guided by an attitude of careandcautionwhich, in contrastto the accelerated temporal conduct that would guide modern Western art, seeks to reclaim the museum as a site capable of resisting the growing pressure for temporal acceleration in contemporary societies.
Copyright (c) 2025 Everton Moraes https://creativecommons.org/licenses/by-nc/4.0
Matter as Co-Author in Artistic Production
This paper discusses the subject of soil as a co-productive agent in artistic practice and methodological approach, according to the artistic production of Onya McCausland (1971-) and Daro Montag (1959-). In this context, the matter’s performance contributes not only to the aesthetics and reading of the work, but is also inseparably related to the concept underlying it. Opposing the concept of matter as a tabula rasa subordinated to the inscription of external purposes, it is seen here as variable and full of its own flows, resistances and tensions. The artistic production that makes up the work is therefore understood as a process of co-response, correspondence and co-authorship between artist and matter, rather than a pre-defined visual and aesthetic imposition.
Copyright (c) 2025 Cassandra Pereira, Domingos Loureiro, Teresa Almeida https://creativecommons.org/licenses/by-nc/4.0
This work focuses on the study of colors, with an emphasis on the categories known as primary or fundamental colors found in both pigmentary and luminous chromatic systems. These categories are examined from the perspectives of optics, philosophy, the history of Euro-Western pictorial art, and paint production technologies. By presenting these studies concisely, the aim is to reflect on certain categorical arbitrarinesses that influence or underpin the imagination, sensitivity, and education regarding colors, in order to foster alternative ways of thinking about, perceiving, and using them.
Copyright (c) 2025 Paula Mastroberti https://creativecommons.org/licenses/by-nc/4.0
This text seeks to present some discussions promoted by the curators of the 60th edition of the Venice Biennale, articulating some of the works distributed throughout the event, especially those displayed in its two best-known environments: the Giardini pavilions and the Arsenale spaces. Based on the critical debate surrounding the event, its historical characteristics and the perception that the Venetian Biennale is a complex global ecosystem, in this text we focus on the handling of primitivism discourses, given the strong presence of “non-Western” artists from the well-known “margins” of the global art system.
Copyright (c) 2025 Emerson Dionisio Gomes de Oliveira https://creativecommons.org/licenses/by-nc/4.0
Intersection Between Translation and Performance in the Haroldian Concept of Transcreation
This paper investigates the relationship between the fields of performance and translation studies, considering the concepts of performance by Erika Fischer-Lichte (2017) and Paul Zumthor (2014), based on the importance of the body in the production and reception of spectacular or literary works of art. In addition, it considered the textual production of Haroldo de Campos, whose contributions brought poetry to the museums, especially through its transcreation, understanding poetry in its verbal, visual and sound dimensions. In this sense, such texts were investigated, aiming to emphasize the relationship between the body, the performance, and the translation as a way of understanding dynamics and interdisciplinarity in the arts.
Copyright (c) 2025 Fernanda Goya Setubal, Anderson Bogéa https://creativecommons.org/licenses/by-nc/4.0
This paper explores how contemporary Latin American artists Voluspa Jarpa, Doris Salcedo, Alfredo Jaar, and Alice Miceli use poetics of absence, such as silence, opacity, and fragmentation, to represent limit-experiences and symbolically resist historical violence. It examines how these artistic practices subvert hegemonic regimes of visibility and representation, proposing alternative modes of memory inscription. The research adopts a qualitative and critical approach, with formal and conceptual analysis of the artworks in dialogue with theories of art and memory. The results indicate that these practices function as counter-archives, challenging dominant narratives. It concludes that such poetics reconfigure ways of remembering, despite limitations such as the risk of aestheticization and institutional reception.
Copyright (c) 2025 Ramsés Albertoni Barbosa https://creativecommons.org/licenses/by-nc/4.0
Minha fantasma, or the Performance of a Body at the Threshold of the Ground
This essay examines the writing of the verbal and visual text Minha Fantasma, by the visual artist and writer Nuno Ramos. Created as a method of operationalizing a form of mourning, both the writing and the images produced in the material reveal a performance that, in attempting to (an)archive the intimate within the materiality of writing and safeguard memory, is constructed in fragments that register not only the images of a depressive subject but also the forces that traverse the body experiencing grief for another body that still breathes. Engaging with the theories of Freud and Barthes, the reading of Nuno Ramos’s text reveals a performative process of subjects who succumb to illness, time and death.
Copyright (c) 2025 Gustavo Clevelares https://creativecommons.org/licenses/by-nc/4.0
Gonçalo Mabunda and the Aesthetics of Wreckage
This paper examines part of the work of Mozambican artist Gonçalo Mabunda, highlighting his reflections on the connections between art, war, and power. Based on documentary research, bibliographic studies, and field observations conducted during two trips to Maputo (in 2022 and 2024), the text explores Mabunda’s integration into the global art circuit. It questions the demand for exoticism and authenticity in the production of African artists, as well as the strategies employed to achieve financial sustainability and recognition. Drawing on critiques by Mbembe (2009), and Hassan and Oguibe (2001) regarding the essentialization of a supposed African authenticity, the paper references Meigos (2018) and Agamben (2009) to analyze the circulation of Mabunda’s work in the Mozambican art market.
Copyright (c) 2025 Valdir Pierote Silva, Denise Dias Barros https://creativecommons.org/licenses/by-nc/4.0
Between Emancipation and Commodification
This text is part of the dissertation entitled Aesthetic theory, childhood and formative experience: for a humanizing education in art teaching in early childhood education, linked to the Postgraduate Program in Education and the Study and Research Group on Education, Childhood and Critical Theory CNPq/UEL. The main focus is to analyze the damage caused by the commodification of art in the cultural industry and to explore how genuine art can help in the emancipation of the senses. Based on the works of Theodor Adorno, the text argues that art is an essential space for freedom, resistance and social criticism, allowing a deep dialogue about the human condition and social complexities, far from the alienation promoted by the cultural industry. The paper in question presents the results of a qualitative and bibliographical research on the role and nature of art in the face of Enlightenment ideals of enlightenment. Bringing to discussion the issue around the capitalist appropriation of art and the entertainment function it has assumed. This issue was addressed through an approach that characterized society as administered under the aegis of instrumental reason in search of control and profit and, in a second moment, by defending the role of art as a place of resistance and creativity in the face of the standardization promoted by the cultural industry. This textual and argumentative articulation stands out as essential to support the thesis of art as emancipation in the face of the commodification to which it is subjected. The research uses a qualitative methodology based on a bibliographic study on aesthetic theory and human formation, highlighting that art is central to human freedom, enabling the individual to develop a critical view of reality.
Copyright (c) 2025 Elis Karen Rodrigues Onofre Pereira, Eduardo Augusto Farias, Marta Regina Furlan https://creativecommons.org/licenses/by-nc/4.0
This paper examines the Eco Showboat project, led by Anne Cleary and Denis Connolly in Ireland (2022-2023), which travelled along waterways to unite scientists, local artists, and communities around ecological and climate challenges. The study critically explores art’s role in fostering ecological awareness and community-based action. Using a qualitative, interdisciplinary approach, it shows how the project facilitated dialogue among artistic, scientific, and local perspectives. Findings reveal that this collaborative, participatory model goes beyond merely representing environmental issues, contributing to the definition of “ecological art” as a transformative and interventionist practice with tangible social and environmental impacts. Ultimately, the project illustrates ecological art as a living practice, reconnecting nature and culture and inspiring sustained, community-driven engagement with ecological challenges.
Copyright (c) 2025 Maria Luiza Almeida Cunha de Castro, Rosa De Marco https://creativecommons.org/licenses/by-nc/4.0
Adorno and Science FictionCTION:theoretical-aesthetic and dialectical-critical reflections from a footnote
This paper analyzes a footnote written by Theodor W. Adorno regarding his perceptions of science fiction. This statement is put into debate with his own aesthetic theory and with scholars and thinkers of art and literature, in addition to promoting friction in approaches with science fiction, art and critical theorists.
Copyright (c) 2025 Victor Finkler Lachowski https://creativecommons.org/licenses/by-nc/4.0
The Timeless Dimension of Experience Through the Art of Dance
The paper discusses the cultural and artistic relevance of the Anna Pavlova Studio dance school, a significant space for the training, practice and enjoyment of dance in Belo Horizonte, directed by dancers Dulce Beltrão and Sylvia Calvo. Three axes support the text – material, subjective and analytical –, intertwined by the understanding of experience, perception and memory, in dialogue with authors Le Goff, Benjamin and Larrosa. The original analysis of the artists’ and school’s collections reveals its pioneering spirit and contributes to recording the memory of the art of dance, and paves the way for further research on professional dance in Minas Gerais. The power of one of the school’s main slogans is evident: “Anna Pavlova Studio, a dance school for life”.
Copyright (c) 2025 Tânia Mara Silva Meireles https://creativecommons.org/licenses/by-nc/4.0
Extension (curricular) as learning about cultural production in dance
This paper discusses the introduction of curricular extension in the Dance Degree Course at the Universidade Federal de Santa Maria (UFSM) and how extension projects can be formative in cultural production. The objective is to demonstrate that the projects allowed practical learning about cultural production, which is important in the training of artist-teachers. To write this article, autoethnography was used, based on notes from the teacher's notebook and the students' field diary. It is concluded that the practice of producing a course, workshop or extension event allows empirical training in this area. However, the importance of in-depth study is emphasized, with activities that also allow students to gain theoretical training and format a cultural project.
Copyright (c) 2024 NEILA CRISTINA BALDI https://creativecommons.org/licenses/by-nc/4.0
Potentialities of Digital Technologies in Art Teaching
This qualitative study aims to investigate teachers’ understanding of the potential of using Digital Technologies (DT) in Art teaching. The theoretical framework is based on Technological and Pedagogical Content Knowledge (TPACK). The research involved semi-structured interviews with teachers from Basic Education in Paraná. Content analysis revealed that participants recognize the benefits and relevance of DT to expand the possibilities of Art teaching content. In addition, they mention the use of various digital tools, sharing pedagogical experiences that demonstrate their knowledge according to TPACK. The results highlight the importance of DT in teaching practice, contributing to innovation and improvement in Art teaching.
Copyright (c) 2025 Giuliano Alencar Tibúrcio, Fábio Alexandre Borges, Rosefran Adriano Gonçales Cibotto https://creativecommons.org/licenses/by-nc/4.0
Audiovisual Education in Brazil in Times of Neo-Productivism and Barbarism
This paper aims to reflect on the role of the teacher graduate in Cinema and Audiovisual in Brazilian Basic Education and, therefore, on the political and curricular disputes that shape their professional practice in times of neoprodutivism and barbarism. To do so, it establishes connections between Cinema, Audiovisual, Art, and Education, drawing on an interdisciplinary theoretical framework. The text begins by discussing the contemporary Brazilian educational landscape and, based on the trajectory that Art-education has been building in this context, it explores the work that can be developed with Audiovisual media in schools, integrated into Art Education. In this way, it seeks to contribute to the formation of students to confront the initial educational panorama presented.
Copyright (c) 2025 Diego da Silva Vargas https://creativecommons.org/licenses/by-nc/4.0
Pedagogical-Critical Appreciation of the Work “Assentamento” by Rosana Paulino
The paper aims to critically analyze Rosana Paulino’s series “Assentamento” from the perspective of the Black female body. A qualitative methodology is employed, involving a detailed critical analysis of the work, with a focus on deconstructing historical representations of violence against Black bodies. The study explores how “Assentamento” subverts these narratives, fostering discussions on racism, identity, and temporality. Additionally, it relates the artwork to contemporary debates, such as decolonial studies and critical race theory. The paper concludes that this critical pedagogical approach empowers students for a transformative and critical engagement with visual arts, enriching the educational curriculum by integrating art, power, and resistance.
Copyright (c) 2025 Camila Cunha, Márcia Almeida https://creativecommons.org/licenses/by-nc/4.0
Oralitura and Escrevivência in the Performance of Black Women at the Brazilian Poetry Slam
This paper aims to relate the concepts of “escrevivência”, developed by Conceição Evaristo, and “oralitura”, developed by Leda Maria Martins, to think about the performance practice carried out by black women in the Brazilian poetry slam. Based on the poem “Nóis é clitóris” (2020), by the São Paulo slammer Midria, we argue that at the time of the slam performance, oralitures of the female body of black women are gestated today, moving from poetic writing and narratives of personal experiences traversed by the coloniality of gender to the performative representation of black feminist discourse. Through the poem “Nóis é clitóris”, Midria establishes connections between sexual pleasure and creation, showing trajectories of personal and social transformation of the black body. The author records these narratives through poetic writing, where she resignifies them through orality, to be disseminated in front of the community during the presentation. To understand the situation of subjugation and oppression experienced by women in Latin America since colonization, and also to make visible the mechanisms of subversion to the current patriarchal system that are born from groups of feminist women, we will resort to the theoretical contributions of decolonial feminist philosopher María Lugones, in tune with thinkers such as Lélia Gonzalez, Patricia Hill Collins, Catherine Malabou, among others.
Copyright (c) 2025 Gisett Elizabeth Lara https://creativecommons.org/licenses/by-nc/4.0
This text develops the pairing between Alberto Greco's Viaje de pie en metro de Sol a Lavapiés and Marta Minujín's La Destrucción, both from 1963. These actions marked a rejection of the commercialization of art and reflected experimental and critical stances toward the institutionalization of artistic practices. They can be better understood considering the “pendulum condition” of Latin American art, between international influences and local affirmations. Greco and Minujín not only dialogued with the hegemonic tendencies of conceptual and informalist art but also reinterpreted them and developed their own languages aligned with the political, cultural, and social issues of the global South. Through bibliographic dialogues, documentary analysis, description and comparison between the works and their production processes, it is concluded that these actions were planned, in their singularities and convergences, and configured fundamental milestones for the understanding of contemporary Argentine art, challenged narratives centered on the geopolitical north and expanded the horizons of the historiography of Latin American art.
Copyright (c) 2025 Rodrigo Hipólito, Angela Grando https://creativecommons.org/licenses/by-nc/4.0
By choosing scissors and cutting as operative artistic processes, the paper brings together and tensions the work of artists Rebecca Horn, Anna Maria Maiolino, and Sanja Ivekovic in their productions. The video productions to be examined are Cutting One’s Hair with Two Scissors at Once (1974-75), X (1974), and Personal Cuts (1982). Cutting as an artistic gesture leads to reflections on issues that permeate the object, the action and the reproduction medium. In the text, these works are taken as a reference to weave dialogues and optics that relate to the historical context of the beginning of video as a language that embraces the female gender.
Copyright (c) 2025 Larissa Camnev https://creativecommons.org/licenses/by-nc/4.0