What is your education and/or training?

My professional background leans towards to cultural production and arts management, specializing in the field of contemporary art exhibitions and communications. Academically, however, my production stems from an interdisciplinary scholarship, bridging theory of communication, anthropology, sociology, history of media arts, history of exhibitions and the interplay between art and technology. I am interested in researching how ethnography documentation methods, such as artists' interview, participant observation, and other forms of "subjective" archives, can play a key role in the preservation of ephemeral, durational and collaborative art forms. Additionally, I feel compelled to understand how conservation has been changing due to the challenges presented by time-based media arts and multimedia installations, and how the institution can cope these changes so future generations can experience hybrid artworks. Currently, I am studying about documentation methods develops by associations such as INCCA and how they could be applied to the Brazilian museum scenario. In my master's dissertation, I argued how anthropological documentation methods, such as participant observation, could detail how the role of audience in under thorough dispute in art and technology exhibitions in Brazil and how curatorial decisions in the expography influences how the audience will interact and perceive multimedia and digital artworks. At Federal University of Rio de Janeiro, I work as arts administrator and cultural manager in the Department of Extensions. One of my responsibilities is to prospect partnership between the university and other institutes and organizations in order to realize cultural projects that speak directly to research undergoing in the School of Communications. I am coordinator and curator of the photography project 'Ecophoto", an initiative that foresees stimulating contemporary photography production from dissident communities, promoting visibility to the narratives from undermined and oppressed social groups. This year, we are structuring an digital archive so the photographs produced under the mentorship offered through our 'creative cycle' can be properly conserved and displayed after our biennial exhibition ends. I am looking for establishing collaborative partnerships to build other projects through my university, especially if they focus on time-based media and digital art, and, foremost, learning from the exchanges I hope to do with other scholars and professionals.