SPEAKER’S BIOS AND RESUMES

1. Marta Branco Guerreiro 

Marta Branco Guerreiro is a PhD student in Art History with the doctoral project “The Museum as a common space. Thinking beyond participation”. Her research focuses on participatory curatorship and collaboration projects with communities. She graduated in Art History and has an MA in Museology by NOVA FCSH, where she  presented the thesis: “Art outside history: exhibitions from the collection of Museu do Chiado 1994-2009”. She works at BAC - Banco de Arte Contemporânea / EGEAC, an archive of contemporary art based in Lisbon. Her current interests are the commons, situated knowledges, ecology,  archives and museums as spaces of care. She is a researcher at Instituto de História da Arte - NOVA FCSH /IN2PAST.

Biography and Proximity: Artist Books in the "Among Neighbors. project at the Calouste Gulbenkian Museum

Marta Guerreiro discusses an institutional initiative, developed since 2017, that aims at engaging with different participants who live in the museum neighborhood, for the definition of an annual cultural programme that responds to their interests and needs. Within this frame, the article questions how biography and proximity can be addressed as core elements in museological participatory projects.

2. Nathália Pamio Luiz and Caio Pamio Portezan 

Nathália Pamio Luiz

Nathália Pamio Luiz is Project Officer and Administrative Secretariat at Department of Museology at Lusófona University (2023-present). Researcher at CeiED - Interdisciplinary Research Centre for Education and Development. PhD Candidate in Museology with research grant UNESCO Chair "Education, Citizenship and Cultural Diversity" (Lusófona University, 2019- 2022). Postgraduate in Strategic Management of Museums and Heritage Centers, awarded by the ICOM Portugal Scholarship Fund with the 2021 Training Scholarship (Universitat de Girona, 2022). Founding Member of LUME - Association for Culture and Heritage (2019-present). Technician of the Centre for Memories - Sporting Museum on Sporting Clube de Portugal (2021-2022). Volunteer on Executive Production at Lisbon Architecture Triennale (2019-2020). Executive Producer at Base7 Cultural Projects (2013-2018). Core Team Member of APOYOnline - Association for Heritage Preservation of the Americas (2020-present). Member of the Board of ICOM Portugal (2023-2026).

Caio Pamio Portezan

Caio Pamio Portezan is an undergraduate student pursuing a Bachelor's degree in Music with a focus on Symphonic Percussion at the University of São Paulo (USP, 2021-present). He is a scholarship holder in the Research and University Extension Project "Musical appreciation and audience development: Workshop for the external community of USP." He participated as a selected musician in the 40th Music Workshop of Curitiba (2023). He is a member of Grupuri (Percussion Group of USP Ribeirão Preto), under the artistic direction of Professor Eliana Sulpicio.

Mute: Controversies between Music and Silences, Resources for opening up Dialogue at the Musée du Quai Branly

The authors discuss silence as a form of retrieval of information. The text shows how, often, in ethnological museums the sounds associated to objects are left out from display, therefore invisibilizing a key element of the original context where the objects were created. Recognising that muting the objects standardizes the content and subordinates the specificity of particular items to a dominant museological narrative, and proposing a countermodel, the authors address the decolonial dialogue developed by the artist Youmna Saba, with her work La Réserve des non-dits [The Unspoken Reserve] – an intervention in the permanent display of musical instruments in the Museum Quai Branly in Paris, that was developed between 2022 and 2024. 

3. Henrique Godoy 

Recently completed one year of Scholarship from CARIM Project as student researcher and is currently a PhD Candidate for Sociomuseology in ULHT; has a Master’s Degree in Museology from the same institution and obtained maximum score with the defended dissertation: ‘Imagens e Memórias Colectivas: O Museu Nacional Resistência e Liberdade em Peniche'. Graduated in Photography at Universidade Paulista in São Paulo, Brazil.

Looking into Kiluanji Kia Henda and Bruno Moraes Cabral ‘Terra (In)Submissa’: Poetical Narratives as Political Means

The article takes as a starting point the short film Terra (In)Submissa by the contemporary artists Kiluanji Kia Henda and Bruno Moraes Cabral, shown in 2024 at the Lisbon Aljube Museum. The article problematizes the way in which museums deal with social tensions and traumatic pasts (especially connected to the colonial context) and the role contemporary art can play in these processes. 

4. Arantxa Ciafrino and Adel Igor Pausini 

Arantxa Ciafrino

Arantxa Ciafrino is a doctoral student in Sociomuseology with a research grant from the UNESCO Chair "Education, Citizenship and Cultural Diversity" (Universidade Lusófona, 2021-2023) and a researcher at CeiED - Centre for Interdisciplinary Studies in Education and Development. She has a bachelor's degree in Museology from the Federal University of the State of Rio de Janeiro (UNIRIO, 2012-2016) and a master's degree in Contemporary Art History and Visual Culture, in a programme organised collaboratively between the Universidad Autónoma de Madrid, the Universidad Complutense de Madrid and the Museo Nacional Reina Sofía (UAM, 2016-2017). 

Adel Igor Pausini

Adel Igor Pausini is an Assistant Professor and Pedagogical Coordinator of the Museology Department at Lusófona University, where he also acts as Director of the Master's Degree in Sociomuseology, and is also an Associate Researcher at the Unesco Chair "Education, Citizenship and Cultural Diversity" and Researcher at the Center for Interdisciplinary Studies in Education and Development (CeiED). He has a PhD in Museology (2020) and in 2021 he did a post-doctorate in Sociology of Culture at the Université Côte d'Azur with a grant from the Fondation Marguerite et Aimé Maeght. 

A Sociomuseological Perspective on Contemporary Dance and Performance in Museums and their potential for Social and Institutional Transformation

The article analyzes the importance of contemporary dance interventions in museums, for the development of new forms of transmission of knowledge in museology. In this text, the dancing body is understood as incorporating a knowledge that counteracts hegemonic forms of transmission of information in museums. Through movement, cultural identities, personal or collective worldviews go far beyond the written and documented sources and are able to engage the museum audience in ways that can offer museological alternatives.

5. Margarida Brito Alves

Margarida Brito Alves is an Associate Professor at the Faculty of Social Sciences and Humanities of Universidade Nova de Lisboa, where she coordinates the Autonomous Section of Art Studies, and is also responsible for coordinating the PhD in History of Art and for vice-coordinating the PhD in Art Studies - Art and Mediations. She is an integrated researcher at the Institute of Art History, where she coordinates the research line "Spatial Practices in Contemporary Art". She is the author of the books O Espaço na Criação Artística do Século XX. Heterogeneity. Three-dimensionality. Performativity (2012) and A Revista Colóquio / Artes (2007). In addition, she has worked as a curator.

Túlia Saldanha: Inside and Outside the Box

Margarida Brito Alves examines the installations and immersive works created by Portuguese artist Túlia Saldanha (1930-1988) during the 1970s. Analyzing the different ways those works were originally experienced and engaging with different temporalities, the article questions the relevance of these artworks when revisited, exhibited or recreated in current times.

6. Adel Igor Pausini

Adel Igor Pausini is an Assistant Professor and Pedagogical Coordinator of the Museology Department at Lusófona University, where he also acts as Director of the Master's Degree in Sociomuseology, and is also an Associate Researcher at the Unesco Chair "Education, Citizenship and Cultural Diversity" and Researcher at the Center for Interdisciplinary Studies in Education and Development (CeiED). He has a PhD in Museology (2020) and in 2021 he did a post-doctorate in Sociology of Culture at the Université Côte d'Azur with a grant from the Fondation Marguerite et Aimé Maeght. 

Regional Museums and New Museology: The Regional Museum National Campaign between Modern and Contemporary Art

Adel Igor addresses a national endeavor that took place in Brazil during the 1960s. Exploring the implementation dynamics of that campaign, as well as the dialogues between the regional, national and international scenarios that framed it, the author analyzes several dimensions of a programme that was aimed at promoting the decentralization of art museums in the country.

7. Cristiana Tejo

Cristiana Tejo (Recife, 1976) has a PhD in Sociology (UFPE) and co-manages NowHere with Marilá Dardot, Luiza Baldan and Rafael Moretti, an experimental initiative for research, dialogue and practice in Contemporary Art, based in Lisbon. She is the curator of the residencies at Hangar - Centro de Investigação Artística, in Lisbon, and co-curator of the Belo Jardim Residency, in Agreste de Pernambuco. She is a researcher at the Art History Institute of Universidade Nova de Lisboa and was a researcher on the project Artists and Radical Education in Latin America: 1960s and 1970s, funded by the Portuguese Science and Technology Foundation. She is co-curator of the exhibition É bonita a festa, pá! as part of the Cerveira Biennial 2024. She co-curated the exhibition Flecha - Mercedes Lachmann, at the International Museum of Contemporary Sculpture, in Santo Tirso, in 2023. She was part of the curatorial team for the Panorama of Brazilian Art 2022 at the Museum of Modern Art in São Paulo. She has dedicated herself to projects aimed at experimentation and artistic processes, as well as international exchange between Brazil and abroad, the professionalisation of artists and thinking about the field of art curating in Brazil. She lives and works in Lisbon.

For matriarchal curatorships

For some years now, museums and the art world have been facing demands for the restitution of pieces and the decolonization of their collections and methodologies. But what would a call for the depatriarchalizing of art institutions mean? If the achievements of feminisms are still a major struggle, what can we say about the paradigm shift towards matriarchy? Considered something fantastical and nonexistent, matriarchy has increasingly become a subject of academic study. We aim to bring this discussion to the realm of curatorship and its application in an independent space in the center of Lisbon, NowHere. More than presenting a new set of guidelines, this presentation seeks to raise questions to be considered collectively.

8. José Gomes Pinto

José Gomes Pinto holds a Ph.D. in Philosophy: Aesthetics and Art Theory (Salamanca University, Faculty of Philosophy and Best Dissertation Award in 2002). He teaches in the School of Communication, Architecture, Arts, and Information Technologies (ECATI) at Lusofona University, Portugal. In 2016 he accomplished his Habilitation in Communication Sciences at Minho University with a report on Media Theory (Approved by unanimity).

What is a Museum: a stroll into archives and art-works

In this presentation, we will dwell on Harun Farocki’s notion of "operational images," which he defines as "images without a social goal, not for edification, not for reflection," but as machine productions. In considering museums as media, we will try to show that, from a theoretical point of view and given the actual technical possibilities used in these institutions, there is a risk that archives and museums can tacitly become operational exhibiting machines. In such a scenario, human perception is reduced to a non-aesthetic significance, overshadowed by the technical creation of a certain operational perspective. This flux of images is no longer directed at the so-called spectator’s perception and aesthetic experience but appears as a frame that feeds other machines. The pictorial and representative nature of every image can increasingly become a matter of framing the spectator's gaze, reducing the active engagement of those who are looking at and through these images to a form of 'being seen' by that operational mechanic system.

9. Alexa Färber 

Alexa Färber is professor at the Institute of European Ethnology, University of Vienna since 2018. In her work she combines ethnographic analysis of everyday cultures with questions and approaches of the anthropology of knowledge. In the research fields of city, representational work and audio-visual research, she investigates the connection between city and promise, collaboration and project-based work practices, and develops different formats of publicizing in inter- and transdisciplinary contexts. After studying Islamic Studies and European Ethnology in Hamburg, Toulouse and Berlin, she completed her PhD at the Institute for European Ethnology at HU Berlin. She held positions at HU Berlin, Christian-Albrechts University Kiel, and  HafenCity University Hamburg. Recent research projects include the transdisciplinary research project "Realfiction Klimarechnnungshof: Pre-enacting climate change knowledge" (FWF 1000-Ideas Program), "Infrastructuring Libraries in Transformation'' (Urban Europe, EUNTC). In the long-term study "Cultural Institutions and Urban Promises in Paris: Reconstructing, Traversing and Disrupting Polarizations'', she investigates the urban entanglements of the Institut du monde arabe and the Institut des cultures d'islam in a historical-ethnographic perspective. Since 2010, she is a member of the French-German research network "Penser l'urbain par l'image" and runs the blog "talkingphotobooks.net".

Ethnographic approaches in collaborative urban research: how to relate artistic and academic fields.

How do ethnographic research approaches reinforce cultural heritage? In this presentation, I question a series of projects that I have carried out in recent years in terms of the way in which ethnographic research came into play and which elements of interdisciplinary collaboration were strengthened: the shared matter of concern, the development of a shared working method and/or the individual methodological competence and visibility? In doing so, I show that collaborative entanglement of diverse competences also entails moments of disentanglement, which are not a weakness but also a strength.In my presentation, I refer to two projects that result from long-standing collaborations: 1. http://re-prises.com/fr which is one of many projects of the research group “Penser l’urbain par l’image” (PUI) that brings together photographers, filmmakers and researchers in cultural studies around the topic of the "city"; 2. https://wohnwissen.net/ which is one of several projects that emerged from project-based funding in collaboration with urban and graphic designers. Finally, I refer to my individual ongoing project “Cultural institutions and urban promises in Paris: Reconstructing, traversing and disrupting polarisations”, which is deeply inspired by these collaborations.

10. Roberta Gonçalves and Margarida Belchior

Margarida Belchior 

Margarida Belchior has a PhD in Education. She is currently a researcher at the Center for Interdisciplinary Studies for Education and Development (CeiED), at Universidade Lusófona. Her main research interests are the articulation between Social and Educational Inclusion and Expressive Pedagogies. She is a guest lecturer at the Institute of Education of the Lusófona University.

Roberta Gonçalves

Roberta Gonçalves is a psychoanalyst and member of the Portugal Nucleus of the Analytical Bond/School of Psychoanalysis. She has a Master’s degree in Museology from Universidade Lusófona and a specialist in Psychosocial Care in Childhood and Adolescence from IPUB/UFRJ. She has worked as a clinical psychologist in the social and health areas within the scope of SUAS and SUS, in the state of Rio de Janeiro - Brazil. Her main research interests are the relationship between Psychoanalysis, Society and Contemporaneity.

The School goes to the Geological Museum: Expanding and Giving New Meanings to the Relationship with Memory 

The study emerges out of a pedagogical experiment. Drawing from their experience, respectively, as a psychoanalyst, and a researcher and professor in sociodrama, the authors conducted a workshop for children in the Museum of Geology in Lisbon in 2023. Within that frame, they presented a video work of the indigenous artist Gustavo Caboco Wapichana, which problematizes the importance of stone in the indigenous cosmology – a presentation that led to a discussion on how the children who participated were able to reflect on the different ways in which the museum and the artwork addressed a symbolic dimension of a specific community.

11. Raphaël Grisey

Born in 1979, lives in Berlin. Grisey uses film, editorial and photographic works to address politics of memory, architecture, migration and farming. Since 2006 Grisey worked together with the franco-malian photographer, activist and farmer Bouba Touré (1948-2022) on collaborative projects with the current name of Sowing Somankidi Coura, a Generative Archive. It led to various workshops, exhibitions, films for example with the theater group Kaddu Yaraax in 2017-2019, as well as publications and texts, such as Sowing Somankidi Coura, a Generative Archive (2017, Archives Book). Their works were shown in various international venues, art centers and festivals. Their latest long feature experimental documentary film Xaraasi Xanne (Crossing Voices) from 2022, has been circulating in international film festivals from Europe, Africa, to South America and south East Asia, in exhibitions and decolonial ecologies activist networks to this day. www.raphaelgrisey.net

About Sowing Somankidi Coura, a Generative Archive

Sowing Somankidi Coura is a long-term research endeavor and collaboration between Raphaël Grisey and Bouba Touré around the permacultures and archives of Somankidi Coura, a self-organized cooperative along the Senegal river founded by a group of former African migrant workers and activists in France in 1977 after the Sahel drought of 1973. Sowing Somankidi Coura unfolds and generates cine-geographies that reveal the boundaries between the radical tradition of migrant workers struggles in France, the Pan-African history of the cooperative and potentialities of decolonial agro-ecologies. Through a practice of film, archiving, publication, workshop and theatre, it engages in the articulation of liberation narratives, collective care and peasant alliances.  The aim of the project is the denaturalisation and decolonization of migratory and developmental politics. By telling the story of a generation of activist migrant workers in Europe soon after the independance, it presents an historiography and cultural productions resisting national narratives that contradicts the idea of the migrant as a passive subject of history while reversing the north-south relations. www.semersomankidicoura.net

12. Judite Primo

Judite Primo graduated in Museology from the Federal University of Bahia in 1996. She has a specialization in Social Museology from Universidade Lusófona, completed in 1998. She completed her Master's degree in Museology in 2000 with a dissertation on Ecomuseology and its influences on Local Museology in Portugal and her PhD in Educational Sciences at Universidade Portucalense with a thesis on Cultural Public Policies in the field of museology and museums in Portugal. Since 2000, she has been a university lecturer in the Department of Museology at Universidade Lusófona, having been vice-director of the Master's in Museology between 2001 and 2007 and Director of the Department between 2007 and 2019, also taking on the coordination of the Master's and PhD in Museology during this period. She has been coordinating the UNESCO-ULusófona Chair in Education, Citizenship and Cultural Diversity since 2018. 

AGRRIN: Corpos Geradores: da agressão à insurgência. (Generating Bodies: from aggression to insurgency) / Lecture

The AGRRIN Project is structured around the identification of inequalities resulting from racialisation processes, using Portuguese territory as a field of analysis and investigation. It starts from an understanding of education in its decolonial dimension and how it can promote processes that allow inequalities to be overcome, promoting a critical understanding of social reality. The AGRRIN project takes education in its dialogical dimension and aims to apply it directly in educational environments (reviewing content and proposing new approaches) and museum spaces (curating and critically reading exhibitions).