Museus portáteis e outras histórias da arte-moda
The book is a collection of texts connected to the research group History of Art and Fashion Culture/UFRGS/CNPq. Although the research group is based at the Institute of Arts of the Federal University of Rio Grande do Sul, it far surpasses territorial and intellectual boundaries. The book’s authors...
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| Main Authors: | , , , |
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| Format: | Online |
| Sprog: | portugisisk |
| Udgivet: |
Editora Universitária da UNILA - EDUNILA
2025
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| Fag: | |
| Online adgang: | https://directory.doabooks.org/handle/20.500.12854/166684 |
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| Summary: | The book is a collection of texts connected to the research group History of Art and Fashion Culture/UFRGS/CNPq. Although the research group is based at the Institute of Arts of the Federal University of Rio Grande do Sul, it far surpasses territorial and intellectual boundaries. The book’s authors live in different regions of Latin America, with members residing in Europe as well. This notion of overflowing spatiality reflects the very theme of the publication: Fashion in its inherent transdisciplinarity, always with one “foot” in art, whether through approximations or divergences.
Likewise, it goes beyond the subfield of Art History through the diversity of its authors’ backgrounds, who come from areas such as history, arts, fashion, design, anthropology, philosophy, literature, education, communication, psychoanalysis, and museology. The multiplicity of research connecting fashion, beyond its market-driven and systematic perspective, highlights what is common to all these possibilities—namely, something that has always accompanied human relations: the practices of dressing and their implications.
These implications emerge here as images, whether in photography or painting, charged with memories, histories, and narratives; in the material culture of objects within their family, social, public, or private contexts—objects that carry life trajectories and cultural biographies until they reach the museum; and also in the invisibility of bodies deprived of identity within the mirror of structural racism, yet reaffirming their ancestries in the in-between spaces of miscegenation and remarkable cultural hybridity.
Thus, the book Portable Museums and Other Histories of Art-Fashion legitimizes the Field of Fashion beyond ephemerality, bringing forth relations of permanence, dealing with bodies that overflow ways of dressing and undressing—whether adornments, fabrics, or tools that expand the body. Real bodies, in flesh and bone, or in their inorganic form in paintings and sculptures, yet always that which is capable of giving form to garments, to fabric.
In this sense, the book itself could constitute this Field of Fashion, presenting its construction in the inter- and transdisciplinarity of the areas that address it. The articles raise questions about bodies and practices of dressing—fashion—not as something belonging to the sphere of the frivolous, as it has so often been relegated, but as something fundamental to issues of resistance, themes concerning the female body, violence, racism, and other marginalized bodies.
In this way, the reflections presented in the book serve as important references for the expansion of the Field as a place of resistance and urgent thought: such as the inquiry into the place of Indigenous peoples, their culture, and artifacts within the museum; or the intolerant question of what victims of sexual violence were wearing. These are some of the questions related to dress that the Field of Fashion must address.
This book thus becomes a pedagogical poetics, directed toward researchers, educators, and other readers. Portable Museums, because clothing—between the arts and the crafts—is a manifestation one carries, that one takes to the streets, portable homes that shelter us, tell narratives, are historical and aesthetic materials, and often become museum objects. |
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