{"id":27837,"date":"2025-07-13T13:16:58","date_gmt":"2025-07-13T12:16:58","guid":{"rendered":"https:\/\/hangar.com.pt\/?p=27837"},"modified":"2025-07-13T13:16:58","modified_gmt":"2025-07-13T12:16:58","slug":"imagining-the-archive-2","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/en\/imagining-the-archive-2\/","title":{"rendered":"Imagining the Archive"},"content":{"rendered":"

[vc_row][vc_column width=”1\/2″ icons_position=”left”][vc_column_text css=””]July 19th, 2025<\/p>\n

17h<\/p>\n

Hangar – Centro de Investiga\u00e7\u00e3o Art\u00edstica<\/p>\n

Free Entry[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ icons_position=”left”][vc_single_image image=”27830″ img_size=”full” onclick=”link_image” css=””][\/vc_column][\/vc_row][vc_row][vc_column icons_position=”left”][vc_column_text css=””]Archival and memorial practices are essential in contexts where addressing historical wrongs or demanding reparations are at stake. The archive serves as a repository of what needs to be gathered and recognized so that it can be left behind and usher in the future. The archive manifests, on the one hand, the authority of the law as well as its troubled conscience and, on the other, the resistance to it. While it is true that there can be no victims without recognition, no perpetrators without responsibility, and no justice without reparation, the archive is an indispensable part of the response to the biopolitical violence of the capitalocene.<\/p>\n

However, especially in cases where collective memory has been usurped or made invisible, in addition to being the mouthpiece of history, the archive is also a source of possibilities for the future. In these cases, the (re)construction of an archive becomes imperative as a way of strengthening a sense of belonging, self-esteem and hope.<\/p>\n

Film has often been used as a means of building and recording a community archive whose origins sometimes go back to ancient times. P\u00e9s firmes na Terra (2025), a creation shared with the Trememb\u00e9 people, and Black Out (2016), made with the Concei\u00e7\u00e3o das Crioulas quilombo, are wonderful examples of this.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column icons_position=”left”][vc_separator color=”black”][vc_column_text css=””]Izabelle Louise<\/strong> was born between the mangrove and the sea, between Fortaleza and Itarema (Cear\u00e1, Brazil), between word and image. She is a descendant of the Trememb\u00e9 indigenous people and a PhD student in Fine Arts at the University of Lisbon, with a period of academic mobility at the Hochschule f\u00fcr bildende K\u00fcnste Hamburg (Germany). She is a collaborating researcher at CIEBA (Center for Research and Studies in Fine Arts), AfectaLab – Laboratory for Research and Shared Creation in Cinema and Other Moving Images (University of Beira Interior and University of Lisbon) and LICCA (Research Laboratory in Body, Communication and Art at the Federal University of Cear\u00e1). He researches cinema and indigenous epistemology, a term he has named the enchanted image.<\/p>\n

Keven Trememb\u00e9<\/strong> is an indigenous man from the Trememb\u00e9 people of Barra do Munda\u00fa, Itapipoca-CE, an indigenous artist in dance and other art languages, a dancer with the Trememb\u00e9 dance group Parente Tor\u00e9m, a member of the Bai\u00e3o Jovem collective in Itapipoca, an indigenous communicator and an indigenous environmental agent, and a graduate student in Humanities at UNILAB. He has already taken part in some dance training courses and other art languages, and in 2023 he graduated from the technical dance course at the Escola Livre Bal\u00e9 Bai\u00e3o de Itapipoca. Over the last three years he has been developing dance work, bringing a little of the culture and resistance of the Trememb\u00e9 people into his shows.<\/p>\n

Iago Barreto<\/strong> is an art educator, photographer and filmmaker. He holds a master’s degree in arts from IFCE and currently coordinates the Brotar Cinema school with the Anac\u00e9 people. He has directed the films A margem de um rio que correm meus ancestrais (2021), M\u00e3e terra (2022) for Fio Cruz Cear\u00e1, and Tor\u00e9m (2022) for Sesc Ce. He has also worked as a director and crew member on several films involving territorial and indigenous struggles.<\/p>\n

Felipe Calheiros<\/strong> has a background in audiovisual, education, communication and photography. He is a journalist and documentary director at RTP Africa. He created and coordinated the project “Tankal\u00e9: training for quilombola audiovisual self-registration”. He has worked as a content manager for Brazilian public broadcasters such as TVE Bahia, TV Pernambuco and TV Universit\u00e1ria do Recife. He has a degree in Management and Law, a Master’s degree in Rural Extension and Local Development, and is currently studying for a PhD in Artistic Education at the University of Porto \/ University of Lisbon.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

July 19th 2025<\/p>\n","protected":false},"author":14,"featured_media":27831,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[289],"tags":[262,286],"class_list":["post-27837","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-imagining-the-archive","tag-2025-en","tag-previous"],"_links":{"self":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/27837","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/comments?post=27837"}],"version-history":[{"count":2,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/27837\/revisions"}],"predecessor-version":[{"id":27842,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/27837\/revisions\/27842"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media\/27831"}],"wp:attachment":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media?parent=27837"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/categories?post=27837"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/tags?post=27837"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}