camila schenkel
Professora e pesquisadora do Instituto de Artes da Universidade Federal do Rio Grande do Sul. Possuo doutorado em Artes Visuais no Programa de Pós-Graduação em Artes Visuais da UFRGS, área de concentração História, Teoria e Crítica da Arte, com estágio de doutorado-sanduíche no Departamento de Artes Visuais da Università di Bologna. Coordenei o Programa Educativo da Fundação Iberê Camargo entre 2012 e 2017, desenvolvendo atividades como preparação e supervisão de mediadores, pesquisa e criação de materiais didáticos, concepção e produção de cursos de formação, palestras e seminários sobre as áreas de arte e educação. Em 2017, desenvolvi pesquisa de pós-doutorado no PPGAV-UFRGS com bolsa CAPES PNPD. Minha pesquisa atual, "Práticas documentárias na arte contemporânea: modos de apreender e engendrar o real", enfoca as relaçções entre fotografia e documento, arte e política.
Professor and researcher at Instituto de Artes da Universidade Federal do Rio Grande do Sul. I hold a doctorate in the Post-Graduation Program in Visual Arts of Universidade Federal do Rio Grande do Sul (Brasil), concentration area Art History, Theory and Criticism, with a period as visiting researcher at Università di Bologna. I have coordinated the Educational Program of Fundação Iberê Camargo from 2012 to 2017, carrying out activities such as preparation and orientation of museum's mediators; research and development of didatic materials, conception and production of courses, lectures and seminars in the area of art education. In 2017, I was a post-doctorate researcher at PPGAV-UFRGS with a CAPES PNPD fellowship. My current research, "Documentary practices in contemporary art: ways of understanding and constructing the real", foccus on the connections between photography and document, art and politics.
Address: Porto Alegre, Rio Grande do Sul, Brazil
Professor and researcher at Instituto de Artes da Universidade Federal do Rio Grande do Sul. I hold a doctorate in the Post-Graduation Program in Visual Arts of Universidade Federal do Rio Grande do Sul (Brasil), concentration area Art History, Theory and Criticism, with a period as visiting researcher at Università di Bologna. I have coordinated the Educational Program of Fundação Iberê Camargo from 2012 to 2017, carrying out activities such as preparation and orientation of museum's mediators; research and development of didatic materials, conception and production of courses, lectures and seminars in the area of art education. In 2017, I was a post-doctorate researcher at PPGAV-UFRGS with a CAPES PNPD fellowship. My current research, "Documentary practices in contemporary art: ways of understanding and constructing the real", foccus on the connections between photography and document, art and politics.
Address: Porto Alegre, Rio Grande do Sul, Brazil
less
InterestsView All (11)
Uploads
Papers by camila schenkel
The present article focus on the photographic series A tropa de elite (2014), by Trëma collective, and analyzes artistic and political aspects related to the images. The work deals with an event from recent history, in which the dwellers of an occupation in São José dos Campos improvised an army to resist eviction. Two years after the episode, the history of some of these people was revisited in a work which articulates texts and portraits of the "soldiers" in their everyday clothes and garmented with the improvised armor produced to resist to police. The comparison between the armed body and the plainclothes is seen as a strategy to individualize and humanize their stories, and at the same time it reveals aspects from the social condition of these people and their fight for transformation.
Characterized by multiple uses and processes, the photographic image seems to have refused, since its invention, a specific definition as a medium. The consolidation of the digital technology, which has redefined our relation to images, has added up to this originary lack of outlines. Based on the idea of “expanded field” presented by Rosalind Krauss and recent writings about photography, this study is motivated by two main questions. The first one, “Is it possible to circumscribe photography in a field, even an expanded one?”, is a trigger to outline the multiple nature of the medium, which challenges essentialist definitions. Its complexity certainly exceeds the limits of this article but, following these initial remarks, a second question is developed, “How does digital photography relate to the different practices gathered under the term photography?”, in order to investigate the recent transformations in an approach which avoids absolute definitions and insurmountable boundaries.
The objective of this work is to understand how textual elements can be used, in the artistic field, in order to transform the photographic image, expanding it to new meanings. To do so, we analyze the work developed by Vera Chaves Barcellos in the 1970s and the one developed by Rosângela Rennó in the 1990s, considering their connection to the national and international artistic production of the period. The work of Barcellos is approached regarding its connections to conceptual art, while the production of Rosângela Rennó is studied considering the uses of photography in contemporary practices. We intend, therefore, not only to achieve a better comprehension of these artists’ poetics, but also to point out some of the transformations on the roles assigned to images and texts in the art of these periods.
Based on the works of Mike Mandel and Larry Sultan, Harrell Fletcher, Joan Fontcuberta, Albano Afonso, Vera Chaves Barcellos and Gillian Wearing, this research investigates how the unstable relationship between photography and reality can be approached, in the visual arts, through the use of textual elements. It analyzes the connections between photography and text and the effects that captions, titles and the insertion of words have on the perception of images, crating new meanings.
This article reflects about changes on the concept of authorship brought by modernity, considering artists writings and the ideas of Michel Foucault and Roland Barthes. If one of the strategies for consolidating art’s autonomy was the consolidation of the artist as an individual creator, the vanguard and neo vanguard movements of the 20th century transformed the origins of the artwork, disconnecting it from the artist’s subjectivity. The artists groups of the beginning of the century and the multiplication of couples, pairs and collectives since the 50s evidences an alteration on the status of artworks, artists and the creative process.
The present work investigates the double nature of photography, an image which oscillates between document and fiction. By studying works of art in which the displacement of images establishes new possibilities of meanings, it demonstrates how minimal gestures can alter the reception of photographs. the unstable relationship between photography, art and document is explored in a study about the insertion of photography in the art system and appropriation practices.
The position of photography in the art field has changed considerably in the last decades. Such changes have also altered how the photographic image is understood, from an image which is defined by its automatic genesis to an image which involves different levels of construction. In this article, I focus on the work of Bernd and Hilla Becher, analyzing the
importance of the combination of their points of view and experiences in the development of a body of work shared for decades.
This work analyzes the appropriation process of archival photographs and journalistic texts carried out by Rosângela Rennó. Initially, we point out some contemporary artistic practices that relocate the issue of documentary photography, in order to understand how such discussion appears on Rennó’s work. We investigate how documentary photographs and texts from newspaper articles activate new meanings through the work of this artist, moving between memory and fiction.
Conference Presentations by camila schenkel
uma vez consideradas alheias à esfera artística. A partir da análise de
obras de Luc Delahaye e do coletivo Trëma, esta pesquisa investiga o
desenvolvimento de uma gramática visual calcada na ideia de neutralidade descritiva, problematizada por teóricos como Olivier Lugon, Michel Poivert, Gaëlle Morel e Erina Duganne.
Recent transformations in the production and circulation of images have broadened the available resources for organizing and narrating reality and, at the same time, dissolved limits between truth and fiction. The present research investigates the reemergence of documentary issues in the art field, considering their contribution to expand the area discussions as well as to problematize the processes of memory construction. Based on the studies of Olivier Lugon and Maria Lind, it analyzes works of André Penteado and Trëma which revise and reimagine the past and its effects on the present, stretching the relations between art and document.
The present article focus on the photographic series A tropa de elite (2014), by Trëma collective, and analyzes artistic and political aspects related to the images. The work deals with an event from recent history, in which the dwellers of an occupation in São José dos Campos improvised an army to resist eviction. Two years after the episode, the history of some of these people was revisited in a work which articulates texts and portraits of the "soldiers" in their everyday clothes and garmented with the improvised armor produced to resist to police. The comparison between the armed body and the plainclothes is seen as a strategy to individualize and humanize their stories, and at the same time it reveals aspects from the social condition of these people and their fight for transformation.
Characterized by multiple uses and processes, the photographic image seems to have refused, since its invention, a specific definition as a medium. The consolidation of the digital technology, which has redefined our relation to images, has added up to this originary lack of outlines. Based on the idea of “expanded field” presented by Rosalind Krauss and recent writings about photography, this study is motivated by two main questions. The first one, “Is it possible to circumscribe photography in a field, even an expanded one?”, is a trigger to outline the multiple nature of the medium, which challenges essentialist definitions. Its complexity certainly exceeds the limits of this article but, following these initial remarks, a second question is developed, “How does digital photography relate to the different practices gathered under the term photography?”, in order to investigate the recent transformations in an approach which avoids absolute definitions and insurmountable boundaries.
The objective of this work is to understand how textual elements can be used, in the artistic field, in order to transform the photographic image, expanding it to new meanings. To do so, we analyze the work developed by Vera Chaves Barcellos in the 1970s and the one developed by Rosângela Rennó in the 1990s, considering their connection to the national and international artistic production of the period. The work of Barcellos is approached regarding its connections to conceptual art, while the production of Rosângela Rennó is studied considering the uses of photography in contemporary practices. We intend, therefore, not only to achieve a better comprehension of these artists’ poetics, but also to point out some of the transformations on the roles assigned to images and texts in the art of these periods.
Based on the works of Mike Mandel and Larry Sultan, Harrell Fletcher, Joan Fontcuberta, Albano Afonso, Vera Chaves Barcellos and Gillian Wearing, this research investigates how the unstable relationship between photography and reality can be approached, in the visual arts, through the use of textual elements. It analyzes the connections between photography and text and the effects that captions, titles and the insertion of words have on the perception of images, crating new meanings.
This article reflects about changes on the concept of authorship brought by modernity, considering artists writings and the ideas of Michel Foucault and Roland Barthes. If one of the strategies for consolidating art’s autonomy was the consolidation of the artist as an individual creator, the vanguard and neo vanguard movements of the 20th century transformed the origins of the artwork, disconnecting it from the artist’s subjectivity. The artists groups of the beginning of the century and the multiplication of couples, pairs and collectives since the 50s evidences an alteration on the status of artworks, artists and the creative process.
The present work investigates the double nature of photography, an image which oscillates between document and fiction. By studying works of art in which the displacement of images establishes new possibilities of meanings, it demonstrates how minimal gestures can alter the reception of photographs. the unstable relationship between photography, art and document is explored in a study about the insertion of photography in the art system and appropriation practices.
The position of photography in the art field has changed considerably in the last decades. Such changes have also altered how the photographic image is understood, from an image which is defined by its automatic genesis to an image which involves different levels of construction. In this article, I focus on the work of Bernd and Hilla Becher, analyzing the
importance of the combination of their points of view and experiences in the development of a body of work shared for decades.
This work analyzes the appropriation process of archival photographs and journalistic texts carried out by Rosângela Rennó. Initially, we point out some contemporary artistic practices that relocate the issue of documentary photography, in order to understand how such discussion appears on Rennó’s work. We investigate how documentary photographs and texts from newspaper articles activate new meanings through the work of this artist, moving between memory and fiction.
uma vez consideradas alheias à esfera artística. A partir da análise de
obras de Luc Delahaye e do coletivo Trëma, esta pesquisa investiga o
desenvolvimento de uma gramática visual calcada na ideia de neutralidade descritiva, problematizada por teóricos como Olivier Lugon, Michel Poivert, Gaëlle Morel e Erina Duganne.
Recent transformations in the production and circulation of images have broadened the available resources for organizing and narrating reality and, at the same time, dissolved limits between truth and fiction. The present research investigates the reemergence of documentary issues in the art field, considering their contribution to expand the area discussions as well as to problematize the processes of memory construction. Based on the studies of Olivier Lugon and Maria Lind, it analyzes works of André Penteado and Trëma which revise and reimagine the past and its effects on the present, stretching the relations between art and document.