Gabriela Sá
Doutoranda e Mestra (2017) em Artes pela Universidade Federal de Minas Gerais (UFMG), com bolsa concedidade pela CAPES. Bacharela (2012) em Comunicação Social, pela mesma instituição, com formação complementar em Artes Visuais. Foi selecionada como colaboradora da plataforma internacional Archivo Platform, na qual atuou como Editora Assistente (maio-agosto/21) e agora atua como Pesquisadora Assistente (dezembro/21 a dezembro/22). Atua também como artista-pesquisadora, curadora, professora, arte-educadora e desenhista de expografias de exposições de arte contemporânea. Desenvolve trabalhos autorais em diversos meios, tendo participado de exposições em Belo Horizonte/MG, Juiz de Fora/MG, Teresina/PI e Leeds (UK). Com interesse pela imagem, seja ela estática ou em movimento, suas pesquisas mais recentes perpassam os temas da memória e do esquecimento, da história e da ficção, do real e do imaginário, todos, através do arquivo e suas lacunas. Atua também como artista no duo .:grão, em parceria com o artista Ícaro Moreno, e que foi premiado com a Residência Artística Farol, do 11º Prêmio Diário Contemporâneo de Fotografia (2020), com a Bolsa para Coletivos de Artes da Lei Aldir Blanc (2020) e com o XVI Prêmio Marc Ferrez de Fotografia (2021).
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Gabriela Sá is a Brazilian visual artist and researcher. Currently doing her PhD in Visual Arts at the Federal University of Minas Gerais (UFMG), in Brazil, she also holds a MA in Visual Arts (UFMG, Belo Horizonte, 2017) and a BA in Social Communications (UFMG, Belo Horizonte, 2012). Sá currently works as an art-educator in the Public Mental Health System of Belo Horizonte, where she explores dialogues between art and psychoanalysis. She is also a curator and exhibition designer at the Photography Festival of Tiradentes, one of the largest festivals dedicated to photography and related media in Brazil. In her own artistic practice, Sá works mostly with photography, moving image, texts, performances and installations, investigating possible imbrications of themes such as memory and forgetfulness, history and fiction, the real and the imaginary.
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Gabriela Sá is a Brazilian visual artist and researcher. Currently doing her PhD in Visual Arts at the Federal University of Minas Gerais (UFMG), in Brazil, she also holds a MA in Visual Arts (UFMG, Belo Horizonte, 2017) and a BA in Social Communications (UFMG, Belo Horizonte, 2012). Sá currently works as an art-educator in the Public Mental Health System of Belo Horizonte, where she explores dialogues between art and psychoanalysis. She is also a curator and exhibition designer at the Photography Festival of Tiradentes, one of the largest festivals dedicated to photography and related media in Brazil. In her own artistic practice, Sá works mostly with photography, moving image, texts, performances and installations, investigating possible imbrications of themes such as memory and forgetfulness, history and fiction, the real and the imaginary.
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Papers by Gabriela Sá
Quase 100 anos depois, em meio a onda feminista dos anos 70, a artista norte-americana Mary Kelly passa a produzir e reunir documentos, roupas, objetos, escritos, desenhos de criança e, até mesmo, fraldas usadas por seu filho. Marcados com anotações analíticas, diagramas e comentários subjetivos, estes arquivos foram apresentados em exposições ao redor do mundo e com notória visibilidade. Em Post-Partum Document (1973-1979), Kelly acaba por arquivar uma experiência essencialmente feminina: a da gestação e do puerpério.
Ao compreender as produções imagéticas de Charcot e Kelly enquanto práticas arquivísticas (ainda que em contextos distintos) e analisando-as na interseção entre as artes visuais e a psicanálise, deparamo-nos com o fato de que, apesar dos esforços de ambos, há algo de anarquivístico no feminino, algo que não se deixa arquivar. Partimos, portanto, dos escritos de Jacques Derrida, Hal Foster, Georges Didi-Huberman e Lucia Castello Branco, para discutir as lacunas existentes nos arquivos da Salpêtrière e na obra de Kelly, visando compreender os tensionamentos produzidos quando nos propomos a retratar e arquivar o feminino.
Would it be possible to write a biography about an anonymous person? C.P. is an artist lost in time and space. I've found his archives and I try to make an inventory in order to get to know him. This essay goes through my field notes and questions the statute of reality in biographies and archives.
Conference Presentations by Gabriela Sá
For this paper, I propose a recollection of investigations that I had conducted over the last years, focusing on the possibilities of thinking new ways of investment for the contemporary artist who works with archival material. Through the figure of the lacuna – which is essential for comprehending the possibility of a poetic dimension in archives – I've researched the potentialities of the anarchival impulse as it was proposed by Hal Foster (2004), in relation with the archive fever and the archival impulse discussed by Jacques Derrida (2001).
As I visited the writings of Jacques Derrida, Maurício Lissovsky, Arlette Farge, Lucia Castello Branco, Georges Didi-Huberman and Maurice Blanchot, I saw myself emerged in a sea of theories that pervades the universe of the archive. Through them, I investigated with a critical review the documental power and probatory value of archives – and of images as such. For this article, I've evoked works of contemporary artists such as Ilya Kabakov, Susan Hiller, Lorena Giullén Vaschetti, Walid Ra’ad and Cristina de Middel. Being an artist myself, it seemed perfectly natural that I should work with my own production, but never forget those who came before me.The intention of this paper is, thus, to elaborate on the affections (pathos) that images and documents of an archive recall and the gestures that they urge when we are working within their gaps.
Quase 100 anos depois, em meio a onda feminista dos anos 70, a artista norte-americana Mary Kelly passa a produzir e reunir documentos, roupas, objetos, escritos, desenhos de criança e, até mesmo, fraldas usadas por seu filho. Marcados com anotações analíticas, diagramas e comentários subjetivos, estes arquivos foram apresentados em exposições ao redor do mundo e com notória visibilidade. Em Post-Partum Document (1973-1979), Kelly acaba por arquivar uma experiência essencialmente feminina: a da gestação e do puerpério.
Ao compreender as produções imagéticas de Charcot e Kelly enquanto práticas arquivísticas (ainda que em contextos distintos) e analisando-as na interseção entre as artes visuais e a psicanálise, deparamo-nos com o fato de que, apesar dos esforços de ambos, há algo de anarquivístico no feminino, algo que não se deixa arquivar. Partimos, portanto, dos escritos de Jacques Derrida, Hal Foster, Georges Didi-Huberman e Lucia Castello Branco, para discutir as lacunas existentes nos arquivos da Salpêtrière e na obra de Kelly, visando compreender os tensionamentos produzidos quando nos propomos a retratar e arquivar o feminino.
Would it be possible to write a biography about an anonymous person? C.P. is an artist lost in time and space. I've found his archives and I try to make an inventory in order to get to know him. This essay goes through my field notes and questions the statute of reality in biographies and archives.
For this paper, I propose a recollection of investigations that I had conducted over the last years, focusing on the possibilities of thinking new ways of investment for the contemporary artist who works with archival material. Through the figure of the lacuna – which is essential for comprehending the possibility of a poetic dimension in archives – I've researched the potentialities of the anarchival impulse as it was proposed by Hal Foster (2004), in relation with the archive fever and the archival impulse discussed by Jacques Derrida (2001).
As I visited the writings of Jacques Derrida, Maurício Lissovsky, Arlette Farge, Lucia Castello Branco, Georges Didi-Huberman and Maurice Blanchot, I saw myself emerged in a sea of theories that pervades the universe of the archive. Through them, I investigated with a critical review the documental power and probatory value of archives – and of images as such. For this article, I've evoked works of contemporary artists such as Ilya Kabakov, Susan Hiller, Lorena Giullén Vaschetti, Walid Ra’ad and Cristina de Middel. Being an artist myself, it seemed perfectly natural that I should work with my own production, but never forget those who came before me.The intention of this paper is, thus, to elaborate on the affections (pathos) that images and documents of an archive recall and the gestures that they urge when we are working within their gaps.