A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)

Through this research I sought to present the exhibition “Dressed in Art: nudes in Curitiba’s public collections”, held at the Oscar Niemeyer Museum – MON, in the City of Curitiba between July 14, 2017 and March 25, 2018, and as main objective to identify how and by whom the conservative offensives...

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Autor principal: Nobrega, Ana Carolina Mendes Cerqueira
Formato: Dissertação
Idioma: Português
Publicado em: Universidade Tecnológica Federal do Paraná 2022
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spelling riut-1-302282022-12-02T06:06:44Z A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021) The exposure "Dressed in Art: Nudes in Curitiba's Public Collections" and the incidence of conservative offensives, widespread through digital social networks (2017-2021) Nobrega, Ana Carolina Mendes Cerqueira Corrêa, Ronaldo de Oliveira https://orcid.org/0000-0003-1894-1944 http://lattes.cnpq.br/3869130149433615 Silveira, Luciana Martha https://orcid.org/0000-0003-0990-0892 http://lattes.cnpq.br/9969574876271040 Alves, Ricardo Henrique Ayres https://orcid.org/0000-0002-4021-9168 http://lattes.cnpq.br/7515345224876748 Corrêa, Ronaldo de Oliveira https://orcid.org/0000-0003-1894-1944 http://lattes.cnpq.br/3869130149433615 Batista, Stephanie Dahn http://lattes.cnpq.br/5334187645210854 Nudez - Arte Conservantismo Redes sociais on-line Figura humana na arte Ideologia - Gênero Museu Oscar Niemeyer Nudity - Art Conservatism Online social networks Human figure in art Ideology - Gender CNPQ::CIENCIAS HUMANAS Sociais e Humanidades Through this research I sought to present the exhibition “Dressed in Art: nudes in Curitiba’s public collections”, held at the Oscar Niemeyer Museum – MON, in the City of Curitiba between July 14, 2017 and March 25, 2018, and as main objective to identify how and by whom the conservative offensives against the exhibition, materialized in footage and posts with false content, were disseminated through digital social networks. It is important to emphasize that the date reconciles with the obscure period in which several attacks of intolerance, persecutions and attempts at censorship against the plastic and performing arts intensified in Brazil, and those with nudity contents and which covered questions of identity of gender, were the most targeted. “Dressed in Art” was accused of promoting “gender ideology”, a factoid term applied to delegitimize identities that deviate from heteronormative standards and used as a recurring agenda of anti-gender movements, which unite under the same banner, conservative religious sympathizers of different beliefs. And partisan electoral elections in defense of morals and good customs. I established the period of analysis of the offensives, from the date of publication of the posts, found on social networks, which were disseminated from 2018 to the year 2021. For that, the case study research was adopted as a methodology from the approach qualitative-quantitative. The methodological course included the collection of offensive messages shared on the social networks of conservatives, with the objective of identifying, reporting and analyzing how they were disseminated and cataloging them in a spreadsheet created by the author, based on the Observatory of Censorship in Art. Data analysis of the exhibition was carried out from the digital collection provided by the curator Stephanie Dahn Batista and analysis of the exhibition’s Notebook of Memories in the MON collection to identify the works and exhibition processes. Interviews were conducted with the curatorial body, and with the artists Rodrigo Braga, Alexis Azevedo de Morais and Geraldo Leão, who had their works attacked, in order to carry out a dialogue between these pairs. Considering that the artistic production present in the exhibition was related to issues of gender, identity and sexuality, in this research, I bring the terms from the perspectives of feminist studies, in order to signal the marks inferred through anti-gender discourses. Of the 99 works exhibited, 10 works appeared in the attacks, and were articulated with greater emphasis in the dissertation, só that the reader could reflect on the censorship attacks traced by the post-censorship and fostered by the conservatives. There were more than 64 direct publications, eleven thousand reactions, four thousand shares and two hundred and thirty-two thousand views of offensive posts on social networks. The tactic of this restrictive movement, in the case of the attacks against Dressed in Art, failed, as they were unable to close the exhibition, however, other objectives were achieved. It is concluded that, what happened in Curitiba, was an attempt to replicate the same commotion and media repercussion that occurred in 2017, against “Queermuseu” and the performance “La Bête”, attacks of a political electoral character of religious benches to the self-promotion of practitioners of conservative offensives. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Esta pesquisa apresenta a exposição Vestidos em Arte: os nus nos acervos públicos de Curitiba, realizada no Museu Oscar Niemeyer – MON, na Cidade de Curitiba entre 14 de julho de 2017 a 25 de março de 2018, tendo como objetivo principal identificar como e por quem as ofensivas conservadoras contra a exposição, materializadas em filmagens e postagens com conteúdo falso, foram difundidas por meio de redes sociais digitais. É importante frisar que, a data concilia com o período obscuro em que se intensificaram no Brasil diversos ataques de intolerância, perseguições e tentativas de censura contra as artes plásticas e cênicas, principalmente das que tinham conteúdos de nudez ou que abarcavam questões de identidade de gênero. Vestidos em Arte foi acusada de promoção de “ideologia de gênero”, termo factoide aplicado para deslegitimar identidades que desviam dos padrões heteronormativos e usado como pauta recorrente dos movimentos antigênero, que se unem sob a mesma bandeira, simpatizantes conservadores religiosos de diferentes crenças e de pleito eleitoral partidário em defesa da moral e dos bons costumes. O período estabelecido de análise das ofensivas, se deu a partir da data de publicação das postagens encontradas nas redes sociais, que foram difundidas de 2018 até o ano de 2021. Para tanto, foi adotada a pesquisa de estudo de caso como metodologia a partir da abordagem qualitativa-quantitativa. O percurso metodológico contou com a coleta de mensagens ofensivas compartilhadas nas redes sociais, com objetivo de identificar, relatar e analisar como foram difundidas as imagens da exposição sob os traços reacionários dos conservadores. Foram também catalogadas em uma planilha criada pela autora, com base no Observatório de Censura a Arte – Nonada Jornalismo e da Hemeroteca da Obcom-USP. Foi realizada análise de dados da exposição a partir do acervo digital disponibilizado pela curadora Stephanie Dahn Batista e análise do Caderno de Memórias da exposição no acervo do MON para identificação das obras e dos processos expositivos. Foram conduzidas entrevistas com o corpo curatorial, e com os artistas Rodrigo Braga, Alexis Azevedo de Morais e Geraldo Leão que tiveram suas obras envolvidas nas ofensivas, com a finalidade de realizar a interlocução entre esses pares. Tendo em vista que, a produção artística presente na exposição estava relacionada às questões de gênero, identidade e sexualidade, nesta pesquisa, os termos foram aplicados a partir das perspectivas dos estudos feministas, com o intuito de sinalizar as marcas inferidas por meio dos discursos antigênero. Dos 99 trabalhos expostos, 10 obras apareceram nos ataques, e foram articuladas com maior ênfase na dissertação, para que a leitora e leitor pudessem refletir a respeito dos ataques censores traçados pela pós-censura e fomentados pelos conservadores. Foram apuradas mais de 64 publicações diretas, onze mil reações, quatro mil compartilhamentos e duzentas e trinta e duas mil visualizações, de postagens ofensivas nas redes sociais. A tática desse movimento cerceador, no caso dos ataques contra Vestidos em Arte, falhou, em não conseguirem fechar a exposição, porém, outros objetivos foram alcançados. Conclui-se que, o que ocorreu em Curitiba, foi uma tentativa de se replicar a mesma comoção e repercussão midiática que ocorreu em 2017, contra a “Queermuseu” e a performance “La Bête”, ataques de caráter político eleitoreiro de bancadas religiosas para a autopromoção dos praticantes das ofensivas conservadoras. 2022-12-01T20:05:53Z 2022-12-01T20:05:53Z 2022-08-30 masterThesis NOBREGA, Ana Carolina Mendes Cerqueira. A exposição "Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba" e a incidência de ofensivas conservadoras difundidas por meio das redes sociais digitais (2017-2021). 2022. Dissertação (Mestrado em Tecnologia e Sociedade) - Universidade Tecnológica Federal do Paraná, Curitiba, 2022. http://repositorio.utfpr.edu.br/jspui/handle/1/30228 por openAccess http://creativecommons.org/licenses/by/4.0/ application/pdf Universidade Tecnológica Federal do Paraná Curitiba Brasil Programa de Pós-Graduação em Tecnologia e Sociedade UTFPR
institution Universidade Tecnológica Federal do Paraná
collection RIUT
language Português
topic Nudez - Arte
Conservantismo
Redes sociais on-line
Figura humana na arte
Ideologia - Gênero
Museu Oscar Niemeyer
Nudity - Art
Conservatism
Online social networks
Human figure in art
Ideology - Gender
CNPQ::CIENCIAS HUMANAS
Sociais e Humanidades
spellingShingle Nudez - Arte
Conservantismo
Redes sociais on-line
Figura humana na arte
Ideologia - Gênero
Museu Oscar Niemeyer
Nudity - Art
Conservatism
Online social networks
Human figure in art
Ideology - Gender
CNPQ::CIENCIAS HUMANAS
Sociais e Humanidades
Nobrega, Ana Carolina Mendes Cerqueira
A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)
description Through this research I sought to present the exhibition “Dressed in Art: nudes in Curitiba’s public collections”, held at the Oscar Niemeyer Museum – MON, in the City of Curitiba between July 14, 2017 and March 25, 2018, and as main objective to identify how and by whom the conservative offensives against the exhibition, materialized in footage and posts with false content, were disseminated through digital social networks. It is important to emphasize that the date reconciles with the obscure period in which several attacks of intolerance, persecutions and attempts at censorship against the plastic and performing arts intensified in Brazil, and those with nudity contents and which covered questions of identity of gender, were the most targeted. “Dressed in Art” was accused of promoting “gender ideology”, a factoid term applied to delegitimize identities that deviate from heteronormative standards and used as a recurring agenda of anti-gender movements, which unite under the same banner, conservative religious sympathizers of different beliefs. And partisan electoral elections in defense of morals and good customs. I established the period of analysis of the offensives, from the date of publication of the posts, found on social networks, which were disseminated from 2018 to the year 2021. For that, the case study research was adopted as a methodology from the approach qualitative-quantitative. The methodological course included the collection of offensive messages shared on the social networks of conservatives, with the objective of identifying, reporting and analyzing how they were disseminated and cataloging them in a spreadsheet created by the author, based on the Observatory of Censorship in Art. Data analysis of the exhibition was carried out from the digital collection provided by the curator Stephanie Dahn Batista and analysis of the exhibition’s Notebook of Memories in the MON collection to identify the works and exhibition processes. Interviews were conducted with the curatorial body, and with the artists Rodrigo Braga, Alexis Azevedo de Morais and Geraldo Leão, who had their works attacked, in order to carry out a dialogue between these pairs. Considering that the artistic production present in the exhibition was related to issues of gender, identity and sexuality, in this research, I bring the terms from the perspectives of feminist studies, in order to signal the marks inferred through anti-gender discourses. Of the 99 works exhibited, 10 works appeared in the attacks, and were articulated with greater emphasis in the dissertation, só that the reader could reflect on the censorship attacks traced by the post-censorship and fostered by the conservatives. There were more than 64 direct publications, eleven thousand reactions, four thousand shares and two hundred and thirty-two thousand views of offensive posts on social networks. The tactic of this restrictive movement, in the case of the attacks against Dressed in Art, failed, as they were unable to close the exhibition, however, other objectives were achieved. It is concluded that, what happened in Curitiba, was an attempt to replicate the same commotion and media repercussion that occurred in 2017, against “Queermuseu” and the performance “La Bête”, attacks of a political electoral character of religious benches to the self-promotion of practitioners of conservative offensives.
format Dissertação
author Nobrega, Ana Carolina Mendes Cerqueira
author_sort Nobrega, Ana Carolina Mendes Cerqueira
title A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)
title_short A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)
title_full A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)
title_fullStr A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)
title_full_unstemmed A exposição “Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)
title_sort exposição “vestidos em arte: os nus nos acervos públicos de curitiba” e a incidência de ofensivas conservadoras, difundidas por meio das redes sociais digitais (2017-2021)
publisher Universidade Tecnológica Federal do Paraná
publishDate 2022
citation NOBREGA, Ana Carolina Mendes Cerqueira. A exposição "Vestidos em Arte: os Nus nos Acervos Públicos de Curitiba" e a incidência de ofensivas conservadoras difundidas por meio das redes sociais digitais (2017-2021). 2022. Dissertação (Mestrado em Tecnologia e Sociedade) - Universidade Tecnológica Federal do Paraná, Curitiba, 2022.
url http://repositorio.utfpr.edu.br/jspui/handle/1/30228
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score 10,814766