Entrelaçamento entre curadoria e produção visual: o retrato visual de Micky na coleção do Fundo Foto Bianchi

Abstract

In this research we aim to present and problematize part of the personal collection of negatives produced by the Bianchi family. This collection of negatives, on glass support, makes up part of the Fundo Foto Bianchi, located at Casa da Memória Paraná (Ponta Grossa - PR). A series of these negatives draws attention for documenting the female portrait in its various situations, considering the types of representations and forms of photographic expressions. To this end, the analysis is carried out by focusing on the portraits of Maria Thommenn (Micky), wife of the first photographer at the Foto Bianchi studio. These portraits were made by her husband, Luiz Bianchi, and her son Rauly. Therefore, this production is strongly linked to the everyday, family perspective and the imagination of these professionals (photographers/artists) regarding the representation of the feminine. As at the beginning of this investigation the personal collection was in the process of being cataloged and sanitized, it became necessary to carry out and highlight curatorial procedures, seeking to establish methods for identifying visual (negative) documents. In this way, through the image selection of Micky's portraits, this study seeks to demonstrate that curatorial procedures contribute to the valorization of the personal collection as a historical document, highlighting the analysis of the ways of expressing and portraying women in the period that comprises the first half of the 20th century in Ponta Grossa (PR). To do so, we will first present aspects relating to the history of Foto Bianchi and the context of the city of Ponta Grossa. Secondly, we will deal with the process of institutionalizing the documents from Foto Bianchi for the Casa da Memória Paraná (CMPR), highlighting the methods used to enhance personal production as a historical document. Finally, we defined the cut in Micky, seeking to highlight the ways of representing the feminine in the historical context of production, in the time frame from 1909 to 1925. Using primary and secondary sources such as the city's negatives and newspapers, the research is based on authors such as Perrot (2007), Pinsky (2013), Camera (2018), Alverenga (2016), Santos (2009), Filippi, Lima and Carvalho (2002), Pereira (2010), Pesavento (2012), Chartier (2002 ), Leite (1993), Canabarro (2017), Martins (2013), among others.