Miranda, Sasha Morbeck; https://orcid.org/0000-0002-0708-0133; http://lattes.cnpq.br/0387177547861602
Resumo:
This study investigates the intersections between memory, photography, and museology,
focusing on interactions with photopaintings and photographs in the Acervo da Laje, a
neighborhood in the Subúrbio Ferroviário of Salvador, Brazil. Drawing on concepts such as
afrografias and critical fabulation, it examines how family photographs and artistic practices
engage with the preservation of peripheral memories and identities. Leda Martins’ concept of
afrografias reveals photographic images that reflect Black identity and the processes of
appropriation and reinterpretation of memory within the African diaspora, while critical
fabulation, inspired by Saidiya Hartman, offers a reading of how invisible histories can be
reimagined, challenging dominant narratives and highlighting silenced stories. The research
adopts a qualitative methodology, including literature review, a case study with
autobiographical approach and testimonials, as well as an analysis of the photopainting
collection from the Acervo da Laje. Initially, the study explores the transformations of the
photopaintings as revealed by Mestre Júlio Santos, and how these images integrate individual
and collective memories. Next, it discusses the body as a crossroads of memories and the
power of photopaintings as afrografias, analyzing narrative practices that build Black
identities based on experiences in the Subúrbio Ferroviário and the Acervo da Laje. Finally, it
presents the role of affective curatorships in valuing invisible histories, exemplified by the
exhibition “Memórias para Dona Antônia,” where artistic reinterpretations of family photos
re-signify affective and community ties. This research highlights the importance of
Afrocentric museological practices that recognize peripheries as legitimate spaces of cultural
production and memory, promoting the protagonism of historically marginalized people.
