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<p>This article analyses the role of the photographic collection of the Section of Memory and Archives (SEMEAR) of the National Museum as an active instrument in the reconstruction of institutional memory after the 2018 fire. In a context of irreparable loss of textual collections, the remaining images come to function as visual monuments and devices of historical resignification. Drawing on the contributions of Barthes, Mauad, Pollak, Rancière, Bastian, and Buenrostro-Cabbab, the discussion approaches photography as an affective, political, and relational artifact capable of articulating absence and presence, silence and narrative. The cases of the <i>Bertha Lutz</i> fonds and the remaining photographic plates from the Ibermuseus project illustrate the application of concepts such as <i>punctum</i>, <i>studium</i>, collective provenance, co-authorship, and contact zones. Photographs do not merely document the past but also create new possibilities of belonging, identity, and symbolic reconstruction. The research reaffirms the archival value of the photographic image in disaster situations, highlighting its preservation challenges and its potential as a critical tool for institutional continuity and resistance against oblivion.</p>

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Photography as a tool to preserve institutional memory

  • 期刊论文

  • 发表日期：

    2025年12月19日

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  • Jorge Dias da Silva Júnior

摘要

This article analyses the role of the photographic collection of the Section of Memory and Archives (SEMEAR) of the National Museum as an active instrument in the reconstruction of institutional memory after the 2018 fire. In a context of irreparable loss of textual collections, the remaining images come to function as visual monuments and devices of historical resignification. Drawing on the contributions of Barthes, Mauad, Pollak, Rancière, Bastian, and Buenrostro-Cabbab, the discussion approaches photography as an affective, political, and relational artifact capable of articulating absence and presence, silence and narrative. The cases of the Bertha Lutz fonds and the remaining photographic plates from the Ibermuseus project illustrate the application of concepts such as punctum, studium, collective provenance, co-authorship, and contact zones. Photographs do not merely document the past but also create new possibilities of belonging, identity, and symbolic reconstruction. The research reaffirms the archival value of the photographic image in disaster situations, highlighting its preservation challenges and its potential as a critical tool for institutional continuity and resistance against oblivion.