History(ies), Identity, and Memory in Dispute in the Work of the Artist Aline Motta
Name: PEDRO SANTOS PAVIOTI VICENTIN
Publication date: 18/06/2026
Examining board:
Name |
Role |
|---|---|
| AMANDA MAZZONI MARCATO ZAGO | Examinador Externo |
| CLAUDIA MARIA FRANCA DA SILVA | Examinador Interno |
| RENATA GOMES CARDOSO | Presidente |
Summary: This paper discusses Aline Motta’s artistic production through three themes that are in tension within her work: History, Identity, and Memory. The Rio de Janeiro-based artist employs a variety of artistic practices, including photography, film, video art, installation, performance, collage, archival work, and textiles. The research explores discussions on the meaning of History, both oral and written, and the different historiographical understandings, examined through the works “Escravos de Jó,” “Quebra-Corpo,” and “Corpo-Celeste.” As for identity, the works “Pontes Sobre Abismos,” “Se O Mar Tivesse Varanda,” and “(Outros) Fundamentos” are woven together through literature and historical figures that spark dialogues with the artist’s chosen methods. In the realm of memory, “Filha Natural” and “A Água é Uma Máquina do Tempo” offer the opportunity to explore the relationship between memory as an individual component and its entry into the collective and social spheres, a recurring theme in the artist’s work. Finally, the research aims to contribute to the field of studies on women artists, in direct dialogue with debates on Afro-Brazilian art.
