Joana Cunha Leal
Joana Cunha Leal was awarded her MA (1997) and PhD (2006) from Universidade NOVA de Lisboa (UNL). She is Assistant Professor at the Department of Art History of Faculdade de Ciências Sociais e Humanas at the same University (http://www.fcsh.unl.pt/faculdade/docentes/jdcl). She teaches courses at graduate and post-graduate levels on 19th century Art and Architecture, Modernism, Art Theory and Theory and Methodology of Art History and Urban studies (also taught as an invited lecturer at the Universitat de Barcelona, Spain 2008-2010).
Other data:
. IR for the project Southern Modernisms (funded by the Portuguese Foundation for Science and Technology)
• Fulbright Research Fellowship (Visiting Scholar at the School of the Art Institute of Chicago, Spring Semester 2011).
• Fellow of the Stone Summer Theory Institute 2010 and 2011 – “Beyond the Aesthetic and the Anti-Aesthetic” and “Farewell to visual studies” (Chicago, July 2010 and 2011)
• Vice-director of the Art History Institute of Universidade Nova de Lisboa and head of its research line on theory and disciplinary practices of art history
• Editor of the Art History Institute’s journal on practices of theory (N.10, 2012).
• Author of several articles and books including To and Fro: Modernism and Vernacular Architecture (co-edited in 2013) and “Trapped bugs, rotten fruits and faked collages: Amadeo Souza Cardoso’s troublesome modernism” (published in Konsthistorisk tidskrift/Journal of Art History, 2013)
(vita at http://www.degois.pt/visualizador/curriculum.jsp?key=6527414735826486)
Phone: (please use e-mail - [email protected])
Address: Av. Berna 26 C
1069-061 Lisboa
Portugal
Other data:
. IR for the project Southern Modernisms (funded by the Portuguese Foundation for Science and Technology)
• Fulbright Research Fellowship (Visiting Scholar at the School of the Art Institute of Chicago, Spring Semester 2011).
• Fellow of the Stone Summer Theory Institute 2010 and 2011 – “Beyond the Aesthetic and the Anti-Aesthetic” and “Farewell to visual studies” (Chicago, July 2010 and 2011)
• Vice-director of the Art History Institute of Universidade Nova de Lisboa and head of its research line on theory and disciplinary practices of art history
• Editor of the Art History Institute’s journal on practices of theory (N.10, 2012).
• Author of several articles and books including To and Fro: Modernism and Vernacular Architecture (co-edited in 2013) and “Trapped bugs, rotten fruits and faked collages: Amadeo Souza Cardoso’s troublesome modernism” (published in Konsthistorisk tidskrift/Journal of Art History, 2013)
(vita at http://www.degois.pt/visualizador/curriculum.jsp?key=6527414735826486)
Phone: (please use e-mail - [email protected])
Address: Av. Berna 26 C
1069-061 Lisboa
Portugal
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Articles (exhibition catalogues) by Joana Cunha Leal
Articles by Joana Cunha Leal
Em estudo neste artigo estarão as pinturas-colagem realizadas por Amadeo de Souza Cardoso entre 1916 e 1917 e a hipótese de lhes ter estado reservado um horizonte de interpretação paradigmático do “regime” de visibilidade modernista na história da arte e, portanto das narrativas épicas consagradas do abstraccionismo como destino da pintura do século xx. Parte-se, assim, da discussão da tese de José-Augusto França de que Amadeo foi vítima da sua condição periférica e não conseguiu acompanhar as orientações internacionais do modernismo e das vanguardas, para a discussão da pos- terior consagração do pintor como tendo superado essas orientações e construido uma obra radicalmente original. Debate-se por último o facto de em qualquer dos casos a inscrição de Amadeo num regime representativo ter permanecido desvalorizada ou meramente ignorada.
My argument points out the theoretical framework that supported those discourses, while addressing the paradox implied on França’s thesis – i.e. the simultaneous recognition of the architectonic importance of the housing typology and its lack of aesthetics qualities."
Book Chapters by Joana Cunha Leal
A nossa abordagem tem pois um ponto de partida duplamente crítico: à vontade de contribuir para uma revisão da definição dominante de Modernismo no campo da história da arte alia-se a eleição de um território de estudo – o sul da Europa – que produziu manifestações tidas em regra como periféricas, deslocadas, ou incompatíveis com essa definição.
Based on data collected in a long-term research, I will therefore defend the idea of a thorough reconfiguration of the expectations horizon (H.R. Jauss) of Lisbon’s inhabitants and builders (architects, landlords, owners, politicians, etc). This reconfiguration, caused by the assimilation of Pombaline regular and standardized architectural program, can be gauged in the continuing expansion and densification of Lisbon’s residential areas because it prompted an increasing level of exigency concerning the minimum requisites of common housing concurrently lowering tolerance towards anything that would not dignify the city image (from inappropriate behavior to inappropriate vernacular solutions in the realm of common architecture). It proves that the Pombaline residential standard permeated the whole of the urban territory, appearing both as a structure flexible enough to be (re)interpreted, re-worked and enriched in the city center and as the prototype to be used in other areas leading to the abandonment, or at least the adjusting, of the preceding vernacular way of building.
"
Ever since PVA first mentioned the survey in Raul Lino’s catalog (1970) a thorough historical, critical, and theoretical approach to the survey was carried out by him. The presentation of the research project Portuguese Popular Architecture. A critical look, undertaken under his coordination until September 2011, is a direct and rather important outcame of this long-standing work.
This paper aims to bring in to discussion such a pervasive concern with the survey’s main questions and deep theoretical and critical implications in PVA’s writings."
Books (editor) by Joana Cunha Leal
Em estudo neste artigo estarão as pinturas-colagem realizadas por Amadeo de Souza Cardoso entre 1916 e 1917 e a hipótese de lhes ter estado reservado um horizonte de interpretação paradigmático do “regime” de visibilidade modernista na história da arte e, portanto das narrativas épicas consagradas do abstraccionismo como destino da pintura do século xx. Parte-se, assim, da discussão da tese de José-Augusto França de que Amadeo foi vítima da sua condição periférica e não conseguiu acompanhar as orientações internacionais do modernismo e das vanguardas, para a discussão da pos- terior consagração do pintor como tendo superado essas orientações e construido uma obra radicalmente original. Debate-se por último o facto de em qualquer dos casos a inscrição de Amadeo num regime representativo ter permanecido desvalorizada ou meramente ignorada.
My argument points out the theoretical framework that supported those discourses, while addressing the paradox implied on França’s thesis – i.e. the simultaneous recognition of the architectonic importance of the housing typology and its lack of aesthetics qualities."
A nossa abordagem tem pois um ponto de partida duplamente crítico: à vontade de contribuir para uma revisão da definição dominante de Modernismo no campo da história da arte alia-se a eleição de um território de estudo – o sul da Europa – que produziu manifestações tidas em regra como periféricas, deslocadas, ou incompatíveis com essa definição.
Based on data collected in a long-term research, I will therefore defend the idea of a thorough reconfiguration of the expectations horizon (H.R. Jauss) of Lisbon’s inhabitants and builders (architects, landlords, owners, politicians, etc). This reconfiguration, caused by the assimilation of Pombaline regular and standardized architectural program, can be gauged in the continuing expansion and densification of Lisbon’s residential areas because it prompted an increasing level of exigency concerning the minimum requisites of common housing concurrently lowering tolerance towards anything that would not dignify the city image (from inappropriate behavior to inappropriate vernacular solutions in the realm of common architecture). It proves that the Pombaline residential standard permeated the whole of the urban territory, appearing both as a structure flexible enough to be (re)interpreted, re-worked and enriched in the city center and as the prototype to be used in other areas leading to the abandonment, or at least the adjusting, of the preceding vernacular way of building.
"
Ever since PVA first mentioned the survey in Raul Lino’s catalog (1970) a thorough historical, critical, and theoretical approach to the survey was carried out by him. The presentation of the research project Portuguese Popular Architecture. A critical look, undertaken under his coordination until September 2011, is a direct and rather important outcame of this long-standing work.
This paper aims to bring in to discussion such a pervasive concern with the survey’s main questions and deep theoretical and critical implications in PVA’s writings."
He is often presented as a filmmaker and a photographer, a poet, a translator, a cartoonist, a visual artist, an editor, a software designer and a television and video director. Given the 50 years since the release of his most well-known film, La Jetée (1963), this volume fosters discussion of the intertwining of photography and cinema within a framework that analyses Marker’s influence in film and photography’s scholarship.
In the last ten years, many books have been published on the subjects of photography and cinema, discussing not only the history of both media, but also the transformations they have undergone through digital revolution that came to blur the frontiers between them. Furthermore, the theory of photography has been raised to a new level, presenting new and fresh thinking, raised through innovative philosophical, historical and cultural approaches, as well as through the recognition of the importance and impact that photography and cinema, as documentary media, have had in the field of modern and contemporary art.
Acknowledging this rich context, this book builds on recent research on photography and cinema, recognizing how digital technology has brought about new ways of working with images, in addition to raising new theoretical issues concerned with them. No author could be more stimulating and inspiring than Marker to start such a journey; his movies, La Jetée in particular, have consistently been a source of inspiration to future generations of directors, as well as critics and scholars.
Este volume é um recurso comparativo de reflexão para ajudar ao esclarecimento de questões que hoje confrontam investigadores e de técnicos envolvidos com matérias do património, e cujo trabalho se vê condicionado por novas realidades impostas por legislação nova e solicitações institucionais multiplicadas.