Alguma coisa faltou aqui: exposições de artes visuais como dispositivos anti-epistemicidas

Abstract

This thesis falls within the field of history, theory and criticism of visual arts, focusing on the production of black artists and curators. It is based on the following key questions: (1) What is the place of Afro-Brazilian art in art history? (2) How does black epistemicide manifest itself in the field of visual arts? (3) What theoretical and practical tools can function as anti-epistemicidal devices, repairing flaws detected in official narratives? The text, whose main title is “Something was missing here”, inspired by a work of contemporary art, emphasizes absences that can no longer be omitted. The split metaphor was created to serve as the basis for the reflections developed throughout the chapters; it arises from the conflicting intersection of the field of artistic studies with the field of ethnic studies. In theoretical-methodological terms, this work draws upon concepts formulated by different thinkers, such as: Michel Foucault, originated of “device” concept; Boaventura de Sousa Santos, who coined the expression “epistemicide”; Sueli Carneiro, who developed the notions of “raciality device” and “black epistemicide”; and Anne Lafont, who questions the position of art in black worlds and the place of black art in the world. Utilizing these theoretical frameworks, the thesis treats a specific case study — the visual arts exhibition titled "Presença Negra" (MARGS, 2022) — to unveil new perspectives for overcoming the epistemicide affecting black art in South Brazil.