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Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2019-06-11T15:01:37Z No. of bitstreams: 2 ULFBA_MP_v7_iss1_capa.jpg: 1454899 bytes, checksum: 9d51be3574da68f7e966fa9446a66e7b (MD5) ULFBA_MP_v7_iss1_p194-203.pdf: 105500 bytes, checksum: 8bfa11bfa7040a79930c1df680bdd7e4 (MD5) Made available in DSpace on 2019-06-11T15:01:37Z (GMT). No. of bitstreams: 2 ULFBA_MP_v7_iss1_capa.jpg: 1454899 bytes, checksum: 9d51be3574da68f7e966fa9446a66e7b (MD5) ULFBA_MP_v7_iss1_p194-203.pdf: 105500 bytes, checksum: 8bfa11bfa7040a79930c1df680bdd7e4 (MD5) Previous issue date: 2019-01 info:eu-repo/semantics/publishedVersion

The tactile project tries to rethink the way in which we relate to contemporary art, seeking a sensitive, tactile approach that helps us to use other alternative channels to vision. This activity also seeks to work with the use of different materials, work with processes and awareness of the different capabilities that individuals develop. Inclusion becomes a tool for transversal debate in different subjects. Reflection on the environment, the right to learning and autonomy are some of the elements that are used to propose a critical approach to our society, where inclusion is still a utopia in many of our educational contexts. The project had the support of the ONCE, the Spanish organization of blind people, The pedagogues of the organization were part of the team that worked in the talks that were part of the project

O 1º encontro da Rede visível ocorreu simultâneo ao 7º Congresso Internacional Matéria-Prima, decorrido na Sociedade Nacional de Belas-Artes, em Lisboa, de 10 a 13 de Julho de 2018, sendo promovido pelo Centro de Investigação e Estudos em Belas Artes (CIEBA) da Faculdade de Belas Artes da Universidade de Lisboa. O 2º encontro da Rede visível será acolhido pela Universidade Estadual de Londrina, Brasil, em 2019, em data a determinar, “Arte e Ensino: Propostas de Resistência”, é composta por catorze artigos com questões direccionadas para a Educação Artística no Brasil, Portugal e América Latina. Questões emergentes, ligadas a problemas políticos e educacionais, que vão desde a contextualização histórica aos problemas atuais, como as reformas, os confrontos e os currículos impostos. Ao mesmo tempo, alguns artigos trazem exemplos de ações que mostram alternativas, que confrontam, que reivindicam outros modos de operar. Parte significativa dos artigos de pesquisadores brasileiros alerta e traz para o campo de discussão questões referentes às conquistas obtidas nas últimas décadas como as políticas públicas para educação que nos traz perdas, debilidades e fragilidades, além, de que nos fazem perder muitos avanços obtidos no caminhar desses anos. Tocam ainda na Base Nacional Curricular Comum (BNCC), espaço em que, seguindo uma tendência internacional e interesses outros, são contabilizadas perdas irreparáveis. Os artigos, de modo geral, vão tocar na fragilidade e nos problemas que enfrentamos na atualidade em relação à educação artística, como a formação e atuação de professores, o corte de cargas horárias, a supressão curricular, o desinvestimento, o álibi das atividades extra-curriculares, a alteração na semiosfera, a debilidade dos currículos, a difusa sistematização curricular, as tecnologias virtuais, a redução da advocacia da área, os problemas de comparabilidade, as dificuldades na formação, as dissonâncias entre o formar e atuar, a difícil dualidade professor / artista, entre tantos outros eixos de problematização possíveis de escolher para abordar, A Rede Visível é uma plataforma de partilha e reflexão sobre temas relativos à arte e à sua mediação. Surge no âmbito da rede construída nos Congressos Internacionais Matéria-Prima, e procura ampliar, atualizar e diversificar os canais de pesquisa e investigação no campo alargado da mediação artística e cultural. É um novo círculo que se propõe organizar encontros de debate, publicações monográficas e eventos que respondam com pertinência a desafios temáticos, assim como fazer atividades de intervenção e disseminação, como exposições, videogramas ou outras ações de fronteira e de criatividade. Os encontros são de periodicidade anual e podem ocorrer em locais a ser determinados anualmente a partir de proposta aprovada no plenário do encontro anterior. As propostas monográficas são de caráter académico, e publicadas pelo Centro em que ocorrer o encontro anual. O primeiro encontro institui e promove um regulamento de funcionamento (coordenação, mesa, adesão, mandatos) e a apresentação das propostas para o encontro seguinte, de acordo com o plenário

O ensino de artes está em perigo? A partir deste questionamento e desdobrando-se em outras reflexões afins, este texto busca oferecer contribuição no que tange às novas tensões políticas que, afetando o entendimento das artes na escola, ganharam corpo no sistema educacional brasileiro nos últimos tempos. Assim, face a uma conjuntura combalida de avanços e retrocessos, onde o ambiente indisfarçável de indignação, incertezas e inconformismo, pode ser justificado por golpes legislativos e pelo movimento conservador “Escola sem Partido”, além da controvertida censura às artes no país, oferece-se aqui alguns dos cenários de ações qualitativas e reativas a estes tempos sombrios. Neste movimento, emprega-se como meio de reflexão também a exposição [DES]formar, que em termos foucaultianos, questiona o caráter opressor da escola, tensionando a discussão sobre a combinação, por vezes, contraditória, entre educação e arte

Este artigo procura identificar e criticar algumas das ideias, convicções, assunções, palavras e conceitos que se generalizaram nas últimas décadas no espaço público europeu, a partir de documentos (relatórios, recomendações, pareceres, legislação, estudos comparativos) publicados por agências, organizações e redes europeias responsáveis pela política e investigação no campo das artes, educação e cultura. O objetivo é perceber como nessas publicações, de larga difusão e circulação ‘digital’ a uma escala global, se evidenciam formas de falar e pensar sobre o estado das artes no sistema de educação: quais os objetivos, funções, impactos e efeitos que lhes são atribuídos no contexto da chamada sociedade do conhecimento (ou ‘capitalismo cognitivo’), onde foco na tradicional ‘educação’ está a ser redirecionado para o problema da ‘aprendizagem’

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2019-02-22T17:05:14Z No. of bitstreams: 2 ULFBA_PE305_REDE_LIVRO_1_capa.jpg: 875185 bytes, checksum: 1889d06dfe216b020241aa4d2844e7fb (MD5) ULFBA_PE305_REDE_LIVRO_1_p49-60.pdf: 4788236 bytes, checksum: b126e1a9ef6fc63cca978bfc1276784f (MD5) Made available in DSpace on 2019-02-22T17:05:23Z (GMT). No. of bitstreams: 2 ULFBA_PE305_REDE_LIVRO_1_capa.jpg: 875185 bytes, checksum: 1889d06dfe216b020241aa4d2844e7fb (MD5) ULFBA_PE305_REDE_LIVRO_1_p49-60.pdf: 4788236 bytes, checksum: b126e1a9ef6fc63cca978bfc1276784f (MD5) Previous issue date: 2018-07 info:eu-repo/semantics/publishedVersion

The evaluative forms emerge from the need to evaluate the practical work done by the students in the art classes, based on objective criteria and thus avoiding that the evaluation was veiled or based on the teacher’s personal tastes. The narrative dialogues with Hernandez (2000), who approaches the evaluation in the teaching of the visual arts and with Bourdieu (2007) that reinforces the importance of art in school and the accomplishment of practical works. The report contextualizes the school scenario in which the proposal was experienced and how the form was structured, and all items arose from needs observed in the classroom, some items of organizational, disciplinary and other characteristics reinforcing the contents studied. The evaluative forms made evaluations faster and more objective, facilitating the dialogue between teacher and students, guiding and enabling the work could be corrected or redone if the student chooses

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T11:39:33Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p118-126.pdf: 248333 bytes, checksum: f994133bd2f73d863d54a3e62e58a94b (MD5) Made available in DSpace on 2018-06-04T11:39:33Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p118-126.pdf: 248333 bytes, checksum: f994133bd2f73d863d54a3e62e58a94b (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

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Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T11:53:59Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p137-143.pdf: 96728 bytes, checksum: 0fc478a85ba1b7dff7bea5fed73d4360 (MD5) Made available in DSpace on 2018-06-04T11:53:59Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p137-143.pdf: 96728 bytes, checksum: 0fc478a85ba1b7dff7bea5fed73d4360 (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T11:05:57Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p84-97.pdf: 308085 bytes, checksum: 46b4a9418784df769ae9c09090940ece (MD5) Made available in DSpace on 2018-06-04T11:05:57Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p84-97.pdf: 308085 bytes, checksum: 46b4a9418784df769ae9c09090940ece (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T11:15:24Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p98-107.pdf: 298058 bytes, checksum: 7c0d2a97dfe1e7c535427863ec5c03f0 (MD5) Made available in DSpace on 2018-06-04T11:15:25Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p98-107.pdf: 298058 bytes, checksum: 7c0d2a97dfe1e7c535427863ec5c03f0 (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T10:48:50Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p60-69.pdf: 428244 bytes, checksum: 83cef13224abb872e8c709550a049186 (MD5) Made available in DSpace on 2018-06-04T10:48:50Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p60-69.pdf: 428244 bytes, checksum: 83cef13224abb872e8c709550a049186 (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

This article intends to complete the works previously submitted (Pessanha e Leal, 2015 and 2016) making a focus on deepening the teaching reflection and analysis of the teaching/ learning process, and the involvement of teachers (regular education/special education). Pre-school classes were involved and of the first cycle of basic education where students with integrated (NEE) in schools of the grouping of schools of Pinhal de Frades in Seixal, for five school years, including the frequency of the preschool and the remaining four years corresponding to the first cycle of basic education. Activities was of plastic/Portuguese/ dramatic expression giving rise to the creation of the graphical representation of puppets “Bisnaus”, previously constructed by the students. Passing the Bisnaus Puppets to the characters in the book where they express their feelings

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T13:41:08Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p170-184.pdf: 272563 bytes, checksum: 157e8854a34c8ba3c60e932399b7112b (MD5) Made available in DSpace on 2018-06-04T13:41:08Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p170-184.pdf: 272563 bytes, checksum: 157e8854a34c8ba3c60e932399b7112b (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T09:56:08Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p11-16.pdf: 90245 bytes, checksum: 91e355d5aff201f9cbb7f0bf5e5d6b7d (MD5) Made available in DSpace on 2018-06-04T09:56:08Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p11-16.pdf: 90245 bytes, checksum: 91e355d5aff201f9cbb7f0bf5e5d6b7d (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

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Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T11:46:29Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p127-136.pdf: 307583 bytes, checksum: c30bc339074f160946fd7d6a08cd8182 (MD5) Made available in DSpace on 2018-06-04T11:46:29Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p127-136.pdf: 307583 bytes, checksum: c30bc339074f160946fd7d6a08cd8182 (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

A Rede Visível é uma plataforma de partilha e reflexão sobre temas relativos à arte e à sua mediação. Surge no âmbito da rede construída nos Congressos Internacionais Matéria-Prima, e procura ampliar, atualizar e diversificar os canais de pesquisa e investigação no campo alargado da mediação artística e cultural. É um novo círculo que se propõe organizar encontros de debate, publicações monográficas e eventos que respondam com pertinência a desafios temáticos, assim como fazer atividades de intervenção e disseminação, como exposições, videogramas ou outras ações de fronteira e de criatividade. Os encontros são de periodicidade anual e podem ocorrer em locais a ser determinados anualmente a partir de proposta aprovada no plenário do encontro anterior. As propostas monográficas são de caráter académico, e publicadas pelo Centro em que ocorrer o encontro anual. O primeiro encontro institui e promove um regulamento de funcionamento (coordenação, mesa, adesão, mandatos) e a apresentação das propostas para o encontro seguinte, de acordo com o plenário, O 1º encontro da Rede Visível ocorreu simultâneo ao 7º Congresso Internacional Matéria-Prima, decorrido na Sociedade Nacional de Belas-Artes, em Lisboa, de 10 a 13 de Julho de 2018, sendo promovido pelo Centro de Investigação e Estudos em Belas Artes (CIEBA) da Faculdade de Belas Artes da Universidade de Lisboa. O 2º encontro da Rede visível será acolhido pela Universidade Estadual de Londrina, Brasil, em 2019, em data a determinar, A Arte também se faz com riscos. Às vezes está em risco. No que respeita à Educação Artística, o risco está a ser traçado: a educação tem vindo a ser rasurada, riscada. Sobre isto se propõe um tema para a inovação, para a crítica, para o debate: é o tema que ocupa a Rede Visível. Os autores aqui convocados podem convergir numa perspectiva que valoriza a formação, a criatividade e a crítica cultural como elementos estruturantes de uma pedagogia atualizada da educação e da formação artística. Apelando a um maior entrosamento entre a perspectiva crítica da cultura visual, a intervenção do professor como criador, e a mobilização do espectador através das novas mediações, é todo um programa demensionado que é proposto. As suas dimensões podem ser apontadas como formação, crítica e mediação, os campos onde se trava agora este desafio de resgate

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T10:13:06Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p18-26.pdf: 388791 bytes, checksum: ee94c44fc7e5cb5de5ba59a12ea2f752 (MD5) Made available in DSpace on 2018-06-04T10:13:06Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p18-26.pdf: 388791 bytes, checksum: ee94c44fc7e5cb5de5ba59a12ea2f752 (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-06-04T12:02:56Z No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p144-156.pdf: 369038 bytes, checksum: c6ce3bc3b87cab91d8254767180ee426 (MD5) Made available in DSpace on 2018-06-04T12:02:56Z (GMT). No. of bitstreams: 2 ULFBA_MP_v6_iss1_capa.jpg: 1509591 bytes, checksum: 4f7906b903172055516af3071df69e90 (MD5) ULFBA_MP_v6_iss1_p144-156.pdf: 369038 bytes, checksum: c6ce3bc3b87cab91d8254767180ee426 (MD5) Previous issue date: 2018-01 info:eu-repo/semantics/publishedVersion

It is frequent to find newly formed plastic artists who see in the exercise of teaching a parallel activity, potentially castrating their artistic production. However, it is people with this profile — that of active plastic artists — who can best develop an assertive and proficient teaching. There are many ways in which a teacher can develop a creative work parallel to what the students develop in class, exemplifying the creative methodology, the technical and / or technological processes, as well as different attitudes to show the artistic work produced. This position, which is also educational, transmits students several references difficult to ensure without this parallel practice of the teacher, raising the bar on quality of learning level

Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-01-15T18:10:22Z No. of bitstreams: 2 ULFBA_MP_v5_iss3_capa.jpg: 1393497 bytes, checksum: 7e98f0bb05be8eed3e69553cd40b5085 (MD5) ULFBA_MP_v5_iss3_p121-131.pdf: 232811 bytes, checksum: 7416e8110112ac331c7fb651e9e46fc9 (MD5) Made available in DSpace on 2018-01-15T18:10:22Z (GMT). No. of bitstreams: 2 ULFBA_MP_v5_iss3_capa.jpg: 1393497 bytes, checksum: 7e98f0bb05be8eed3e69553cd40b5085 (MD5) ULFBA_MP_v5_iss3_p121-131.pdf: 232811 bytes, checksum: 7416e8110112ac331c7fb651e9e46fc9 (MD5) Previous issue date: 2017-09 info:eu-repo/semantics/publishedVersion

The relationship between art and society is mediated by artists and educators. Between them there is a secret that none of them share. Artists can teach the generations that are not yet born, educators can make sense of the new audiences that have been born, here and now, and raise the new artists. The field of artistic education intertwines with the field of art, complementing it without being able to replace: one allows the other with a reason, the other escapes the chains of didactics. The possibility of art, universality, conquers educational speeches; But didactics allows art to find the audiences of the future. The articles that comprise this 12th edition of Revista Matéria-prima establish diverse schedules in this field of operations where it is impossible to be distracted. Everyone’s involved

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Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2018-01-15T18:50:15Z No. of bitstreams: 2 ULFBA_MP_v5_iss3_capa.jpg: 1393497 bytes, checksum: 7e98f0bb05be8eed3e69553cd40b5085 (MD5) ULFBA_MP_v5_iss3_p179-192.pdf: 456805 bytes, checksum: a12377625882888641fc58272c2ffd7c (MD5) Made available in DSpace on 2018-01-15T18:50:15Z (GMT). No. of bitstreams: 2 ULFBA_MP_v5_iss3_capa.jpg: 1393497 bytes, checksum: 7e98f0bb05be8eed3e69553cd40b5085 (MD5) ULFBA_MP_v5_iss3_p179-192.pdf: 456805 bytes, checksum: a12377625882888641fc58272c2ffd7c (MD5) Previous issue date: 2017-09 info:eu-repo/semantics/publishedVersion

This paper aims to weave reflections on the painting studio as a teaching and learning laboratory, standing in research in the following categories: the painting studio and teaching and learning laboratory. The painting studio is a place where are developing operational methodologies of pictorial production from both the perspectives of the artist and teacher. Time/space is articulated to the creative process. In this category, the objective is to map methodologies, map production time in studies that pervade the History of Art, seeking the conception of what is a painting studio, based on John Elderfield’s “In the Studio: Painting”, as well as in Joe Fig’s book “Inside the studio”. In the section on the teaching and learning laboratory, the text seeks to understand the concept of the Laboratory School, advocated by John Dewey. It focuses on the articulation of the painting studio as a space for teaching and learning

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Submitted by Licínia Santos (biblioteca@fba.ul.pt) on 2017-10-04T14:36:59Z No. of bitstreams: 2 ULFBA_MP_v5_CAPA.jpg: 632665 bytes, checksum: 234e402ccea74b0a9523c169f01e1a70 (MD5) ULFBA_MP_v5_iss2_p107-117.pdf: 311201 bytes, checksum: 83756c879f9af3da9353b8f158d8667c (MD5) Made available in DSpace on 2017-10-04T14:36:59Z (GMT). No. of bitstreams: 2 ULFBA_MP_v5_CAPA.jpg: 632665 bytes, checksum: 234e402ccea74b0a9523c169f01e1a70 (MD5) ULFBA_MP_v5_iss2_p107-117.pdf: 311201 bytes, checksum: 83756c879f9af3da9353b8f158d8667c (MD5) Previous issue date: 2017-08 info:eu-repo/semantics/publishedVersion

Pá, is a project that seeks to be research while at the same time it is acting in the field of education of children and young people based on architectural thinking. The goal is not to train architects, or to "recruit" future architects, is to contribute to a culture of citizenship endowed with a critical spirit, using for this reflection the means that the visual arts provide and the thought of seeing the world and discovering it, proper of architecture. In this sense, the PÁ intends, in addition to its own research on the subject, to make its contribution through community actions, pedagogical workshops, school clubs, extracurricular activities and holiday camps in public, strategies and methodologies that make the interconnection of school contents with the particular experiences of each child or young person in a non-formal and more individual context

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This article presents concepts and results of research/intervention that aimed at investigating the similarities between the collaborative creation processes in contemporary art, and its repercussions in the field of Art and Education (teaching of art) in a more effective and creative way. The research comprised a theoretical study on the curatorial project of the 27th International Biennial of São Paulo, and from this Biennial, we focused on two propositions that we believed contributed to the discussion, namely the work of Monica Nador and Cooperativa Eloisa Cartonera. Coupled with this theoretical study an intervention in Irerê district, Parana State, Brazil, was developed where we worked with children aged 10 to 12 years, through a practice that sought to restore emotional ties with the space / place

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