The participations and evocation of olfactory memories in the production of the artist Josely Carvalho

Name: DANIELLEN WELSING NOGUEIRA

Publication date: 31/08/2017
Advisor:

Name	Role
RICARDO MAURICIO GONZAGA	Advisor *

Examining board:

Name	Role
MILTON ESTEVES JUNIOR	External Examiner *
RICARDO MAURICIO GONZAGA	Advisor *

Summary: The present research reflects on the ways of participation and evocation of memories that occur in works of the Brazilian artist Josely Carvalho, especially the installations: Nidus Vitreo (2010), Vidro de Cheiro (2011) and Diário de Cheiros: passagens (2011). In order to approach the artist’s work, we structured the research in three stages, the first being the presentation of a panorama of the historiy of art through a clipping that demonstrates the modifications of the field, the figure of the spectator, the ways of apprehending a work and the emergence of participations that involve the various senses of the body and bring to the experience the personal repertoire of the participant. In the second moment, we approach the theme memory, its meanings, its conecction with smell and its presence in art. Finally, we began the approach of Josely Carvalho’s work, who in his extensive production, started in the 1970’s in the United States, discussed various topics such as wars, the figure of women, the idea of shelter, among others. Faced with a shortage of studies in relation to the production of Josely Carvalho, we resorted to the collection of materials, such as interviews, catalogs, which made it possible to verify the gradual appearance of the odor, the incorporation of the personal repertoire of the public and participation in the artist’s career, The links in her production, and presented in this dissertation, reveal to us how the olfactory memory came to become the main theme in an artist series: Diary of Smells. Through an investigation, we find that the invitation to participate is united with the olfactory memories of the public, occurring in different ways, both by the way in which these memories are evoked, by the conscious act of remembering or by contact with an odor, and incorporated by the artist or by the public itself, as well as by the participations that sometimes occur in the process of elaboration of installations, sometimes during the period in which and instalattion is exposed.
KEYWORDS: Josely Carvalho; Participation; Olfactory Memory; Odor; Installation

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