Instituto Moreira Salles, Rio de Janeiro
2020, Mar. 11
In this round table, curator Sabrina Moura, artist Aline Motta and researcher Mariana Muaze debate the way Marc Ferrez's work is seen and perceived through time. The approaches brought up by this discussion critically examine the worldview embodied in these images, while addressing some silenced aspects of colonial photographic imagery — specially the depictions of coffee farms and indigenous people.
Instituto Moreira Salles, São Paulo
2020 Jan. 21
In this guided tour, I propose a walk through the Brazilian iteration of the exhibition Mediations, the greatest retrospective of American photographer Susan Meiselas (1948) — curated by Marta Gili, Pia Viewing and Carlos Guerra — which brings together works produced from the 1970s to the present day.
Ema Klabin Foundation, São Paulo
2019, Dec. 5
In this lecture — the second in the series Museums and Identities — I analyse the origins and unfoldings of the new definition of a museum discussed by the General Assembly of the ICOM (International Council of Museums) in 2019. Here I point out intersections between new principles, policies and museological practices and the main issues that have permeated these institutional spaces in recent decades: from the educational turnaround and new expographic experiences to the repatriation of works and identity policies.
Instituto Moreira Salles, São Paulo
2019, Oct. 15
At the opening of Susan Meiselas's Mediations exhibition, the American photographer talks with researcher Sabrina Moura about her career. Famous for her powerful photographs of the Sandinista revolution in Nicaragua in the late 1970s, Meiselas developed a work that has always pointed toward empathy and the construction of joint narratives covering a wide range of countries and themes, from war to issues of human rights, from cultural identity to the sex industry.
Centro Municipal de Arte Hélio Oiticica, Rio
2019, June 1st
"The scientist, for Louis Agassiz, was a privileged being who would know how to unveil the divine plan through the scientific observation of nature," says historian Maria Helena Machado. It is from this supposedly neutral place that Agassiz elaborates his theory of racial hierarchization. In this meeting, curator Sabrina Moura talks to Machado and Sasha Huber about the contributions of history and art to rethink the flaws and intentions of scientific discourse.
Temporalities, Goethe-Institut Salvador
2019, May, 5th
In this talk, presented in the framework of the symposium Temporalidades: História da Arte como História da Cultura, I have deployed some of the arguments introduced at the Emma Klabin Foundation (March, 2019), encompassing the political agenda behind the restitution debate.
Musée Théodore Monod, Dakar
2019, Apr. 4
In this keynote, presented in the framework of the Black Atlantic Volkswagen Summer School, I explored how the notion of African diaspora has been used as a framework for the reassessment of essentialized identity narratives in field of art history and curatorship, between the1980s and 2000s. For this, I examine the emergence of the concept in the field of cultural studies and how it served as a tool for unsettling the narratives of belonging associated to nation and ethnicity. Such contextualization provided a ground for the analysis of the dilemmas introduced by a diasporic perspective in relation to the field of African art and the local-global art discourse.
Emma Klabin Foundation
2019, March 16
In November 2017, Emmanuel Macron announced his desire to restore African works of art looted during the French colonization. This issue appears on the agenda with the launch of the report that reiterates the proposal of the French president, prepared by researchers Bénédicte Savoy and Felwine Sarr. This is a global agenda that crosses not only the field of art, but also the way in which contemporary identity policies are constructed and understood. What are the notions of art and heritage that guide these proposals? What political agendas do they reveal (or hide)? How do they affect the field of curatorship and art history?
École normale supérieure, Paris
2018, Oct 4
In this lecture, I addressed the meanings and interpretations of a diasporic mythology in the work of Cuban-American artist Maria Campos-Pons. While anchored in vague images, these narratives offer an important key for grasping artistic practices constituted through axes of mobility, in which the sense of belonging extrapolate definite geopolitical contours. Likewise, the evocative force of the “return” imagery brought by Campos-Pons is constitutive of the modern Atlantic experience and has a long discursive trajectory.
Louisiana Museum of Modern Art
In the 1960s, Senegal played the role of cultural exponent in the African continent, while seeking to build its modernity under the sign of négritude, as idealized by the président-poète Léopold Sédar Senghor. By taking the field of arts and culture as a driving force behind Senegal’s national project, Senghor fostered an infrastructure consisting of museums, theaters and schools, including the École des Arts du Senegal, also known as the Dakar School. With a vision of modernity that sought to be “authentically African” and “universally resonant”, its pedagogical project echoed the Senghorian dialectic of “rootedness and openness” (enracinement et ouverture).
Mercosur Biennial, Porto Alegre
The Mercosur Biennial was for some years a platform with a central educational project, where the figure of the pedagogical curator emerged as someone who thought and discussed the contents of the exhibitions/mediations, along with the other curators. In 2018, I was happy to contribute to Biennial's mediation program, discussing about African contemporary art with their curators and producers (Bianca Bernardo, Renata Sampaio, Andressa Cantergiani).