Cartografia de uma cidade que cabe nas mãos

• Ano de defesa: 2022
• Autor(a) principal: Aragão, Maria Germana Brito
• Orientador(a): Caetano, Patrícia de Lima
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Palavras-chave em Português: Mãos; Cartografia; Corpo; Memória; Arte contemporânea
• Link de acesso: http://www.repositorio.ufc.br/handle/riufc/70501

This dissertation aims to learn from the biographical reading, as well as from perceptive clues, Sobral's daily life, which offers subsidies capable of revealing a description of creation practices that reflect the city and art. For this, I delve into the ideas of the Body without Organs (Gilles Deleuze e Félix Guatarri), Phenomenology (Merleau-Ponty), Descoloniality (Aníbal Quijano), the Law of Nature (Eduardo Gudynas) and Poetic Terrorism (Hakim Bey), through the understanding of hands as a metaphor and method of investigation, where I interpret it not in a closed sense, but as an intervention proposal, which touches life through the bias of other reminiscences, by forgetting it, by its monumentalization, Museums, handicrafts and other stories and memories. In multiple planes, it mixes and connects the creative spaces between walking, cartography, photography, listening, writing and embroidery as dialogues capable of describing new ways of seeing life. Therefore, the hands make it possible to experiment with ways of deterritorializing the city and art itself, modifying codes and customs in order to intersect with intensities and vitalities. For this, it is an encounter with a smaller city, with survival and struggle. This proposal leads actions such as Onde minha casa mora? MANDE IN SOBRAL, Minha memória também é o mundo e O abraço da costura, works wrapped in popular knowledge and artistic activism, promoting a mapping that sees the difference and evokes a sensitive and affectionate state with life. Finally, everything is a process, everything converges and communicates in other forms of practice. The streets in experiments (collection, writing, intervention) do not end, but are at a crossroads between the hands, the city and smaller details, where an inventive body-city is made possible.