Giulia Lamoni

Information about Giulia Lamoni


About Giulia Lamoni

Giulia Lamoni is FCT Researcher at the Instituto de História de Arte at Nova University in Lisbon (Portugal), and Visiting Assistant Professor in the Department of Art History of the same university.  She holds a PhD in Aesthetics / Arts and Sciences of Art from the University of Paris I / Panthéon Sorbonne. Her research activity explores the articulations between art and feminisms in Portugal and Brazil in the 1960s and 1970s, the relations between contemporary art and migratory processes and the shaping of transnational artistic networks, heterogeneous forms of collaboration and dialogue from the 1960s to the present. Her texts have appeared in journals like Third Text, n.paradoxa: international feminist art journal and Manifesta Journal: Around Curatorial Practices, and in exhibition catalogues and books of museums like Centro de Arte Moderno / Gulbenkian Foundation, Centre Pompidou and Tate Modern. As a researcher and a teacher she is interested in collaborative forms of curating that explore the boundaries between academic work and curatorial practices and imagine challenging forms of cross-pollination. She co-curated, with Margarida Brito Alves and Filomena Serra, the exhibition Co-Habitar at Casa da América Latina in Lisbon (October 2016- January 2017) and curated a solo exhibition of artist Eugénia Mussa at Galeria Quadrum in Lisbon in 2017. In 2017, she was a Brooks International Fellow at Delfina Foundation and Tate Modern in London. She co-coordinates the research line “Cultural Transfers in a Global Perspective” at the Instituto de História de Arte at Nova University in Lisbon (Portugal) and is a member of the project “Decentralized Modernities: Art, politics and counterculture in the transatlantic axis during the Cold War” MODE(S) (HAR2017-82755-P). 

ABSTRACT

The research project “Artists as Radical Educators in Latin America (1960s-1970s)”, financed by Fundação para a Ciência e Tecnologia in Portugal, aims at exploring the relation between art and experimental pedagogy in the spaces led by female artists in Latin America in the late 1960s and 1970s. Conceived as a radical site of individual and collective emancipation at a time of political oppression, the creation of pedagogic projects by artists, often founded in a symbolic break with the institutional space of the classroom or the museum, developed in multiple and heterogeneous directions. Based on archival research and interviews, this project seeks to investigate a number of collective experiences that blurred the boundaries between artistic practices and teaching, between individual and collective work, while often claiming a wider, more democratic definition of creativity and the capacity of art to intervene in social and psychological processes. 

Although the project is set to begin in the fall of 2018, we would like to present a preliminary study discussing its methodological foundations both in the field of contemporary art history and the histories of pedagogy. By considering a set of pedagogical projects in the arts developed in Argentina, Brazil, Chile and Colombia in the 1970s, we will question the relation between artistic practices, the transmission of knowledge and politics at large, but also possible connections with the writings and concepts of Paulo Freire and their transnational itineraries. As our focus lies on the role of women artists as educators, we involve feminist theory as another axis of the emancipatory desire of this period.