Intervenções com a casa: do barão, da vila, das artes, da cidade

• Ano de defesa: 2019
• Autor(a) principal: Pinheiro, Salvia Braga
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Artes; Intervenção; Casa; Criação; Patrimônio Cultural
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/69283

The House, known as the Barão de Camocim Manor House, is a cultural and historic heritage site of the city of Fortaleza, Brazil. Throughout its 130 years trajectory, the building has been the object of interventions on its physical, functional, and political structure. Currently a cultural center affiliated to Vila das Artes, a complex run by the Municipal Secretariat of Culture with courses and facilities for artistic production in several languages, a place for inventions that surpass the small village of cobblestone road and tear up geographical and existential barriers. From a memory intertwined with aristocratic bourgeoisie, to periods of shutdown, opacity and "full-emptiness" of encounters and possibilities (JACQUES, 2013). Territories of ruins, stains, marks, gaps, greatness, pomposity, and ghosts from a colonial past, obscure as a partlyburied basement where the staff, responsible for cleaning the Manor and serving the barons' family, used to sleep. A place of passages, of smooth and striated (DELEUZE; GUATTARI, 2012), of deactivation and activation, of public and private (SENNET, 1999), of interventions, of material and/or poetic constructions, of distributing the sensible (RANCIÈRE, 2009), of creating dissent and disputes, as it occurred when the building was temporarily ceded to a private institution, 'reformed' and kept under the spotlight, or when it was occupied by artists, students and members of the city's social and cultural movements. With the cartography (DELEUZE; GUATTARI, 2012; ROLNIK 1988; KASTRUP, 2009), and the Site Specific (BARRETO, 2007; ALBUQUERQUE, 2016), my research is made up of immersions and interventions in creation processes, such as Lavação (2014) and Replantio (2018), together with other artists in collective exhibitions, activating new ways of inhabiting and inventing the House, taking into account the practices and knowledges that emerge from it.