Curriculum Vitae 2019
U N I V E R S I T Y O F S Ã O PAU LO Architecture and Urbanism .Graduating at
the
in
University
Architecture of
São
and
Paulo
Urbanism
(FAU
USP).
. Founding member, since April 2019, of the Research Group Asian Global: Decolonial Option and Asian Traditions in the Art History and Architecture, of
the Encrypted Baroque Project (FAPESP / FAUUSP)
2019 2020
Art at Tokyo, Yokohama, Kyoto, Nara, Osaka, Kobe. 2021
2022
Main Fields Arc hi te c t u re an d Ur ba n i sm Globa l Ar t H i s tor y N a mb an Ar t J a pa n e s e M o d e r n Archtec tu re
Languages Por t u g u e s e ( n ati ve) E n g lis h ( fl u e nt ) J a pa n e s e ( avare ge/l ea r n i n g) spa n i s h ( b as i c ) f ren c h ( b as ic)
Namban
Rising
Art:
Japan’s
Modernity
Global
Connections
(16th-17th
Century)
南蛮美術：日本の現代社会のグローバルなつながり （安土桃山時代、江戸時代）
ricardo.makino@usp.br
Faculty of Architecture and Urbanism Global Art History, Asian Art
S C I E N T I F I C I N I T I AT I O N Namban Art in
São Paulo, Brazil
University of São Paulo
.Worked at Ace Bakery, at Isogo-Ku, Yokohama.
.Visited Japanese Art Colletions related with Namban
ricardo hiroyuki makino Architecture and Urbanism
J A PA N Three months experience
P R O J E C T S 2022 Collaborative member “Baroque-Açu. Brazil in the artistic geography of the global south”, coordinated by Renata Martins (February
2022-January
2027).FAUUSP-FAPESP.
Research: Namban Art Namban Art: Japan´s Global Connections in Rising Modernity (16th-17th Century) Project aims collect historiography and newest visual founts about relevant exportation art tipologies made in Japan, about 16th-17th Century, as known as Namban Art. Namban Art in its predominant manifestation of portable character and modest dimensions of the surviving goods that ambivalently reveal the hybrid richness of its existence, despite the impermanence of the presence of European navigations in many regions of Asia. Its content manifests the coexistence of artistic traditions and the mutual fertilization of cultures in the hybridisms of connected histories.
First approach to the theme in 2019. Since then, i have been developing studies in Asian Traditions in the Art History and Architecture. Selected for the international stage of the International Symposium of Scientific and Technological Initiation of the USP (29o SIICUSP)
Japanese Studies 2019 2020
ACBJ日伯文化連盟（アリアンサ)
2019
Japanese Language Study
Research Group Asian Global: Decolonial
2020
material (まるごと) (since Feb. 2019)
2021
couse until Aug. 2020.)
Aim to July 2022: JLPT N3
History and Architecture, of the Encrypted Project
(FAPESP
/
FAUUSP)
Cpq-FAU,USP: 2019 - 2020
Concluded until 08 Feb. 2022: six stages.
Japan in Pritzker- The architecture legacy in contemporary scenario - SANAA, with Kazuyo Sejima, in FAUUSP. 2019. (Participation In Events/ Seminary)
Option and Asian Traditions in the Art Baroque
Namban Art: Japan’s Global Connections
2020
in Rising Modernity (16th-17th Century)
Selected: international stage of the International Symposium of Scientific and Technological Initiation of the USP (29o SIICUSP)
Authoral Photo Magazine (2019-2020)
Japanese Architecture Events Archeology of the Future: memory and vision - Tsuyoshi Tane. 2019. (Participation In Events/ Seminary)
Founding member, since April 2019, of the
.Formaly course using the Japan Foundation
(Previson of conclusion pre-Intermediate
2019
University of São Paulo
.Language studies simultaniously to the development of the university research
Namban Art Research
The 10th session of the Lecture Series in Honor of Kengo Kuma´s Retirement from The University of Tokyo. 2020. (Participation In Events) ´A Red Cloud in the Bosphorous´ Profa. Miyuki Aoki Girardelli da Istambul Institute of Technology: Chuta Ito, Meiji Architect. . 2020. (Participation In Seminary)
Editorial Desing Work (2021)
間 Entre o ser e as coisas
inter lupum et canem
Consolidation, visitation and integration by photos and personal drawings that synthesize the subjective memory of what was perceived and recorded in the three-month journey, between 2019 and 2020 in Japan.
The unlikely encounter of photography in the Asia/Japan and Brazilian poetics of Carlos Drummond is an oxymoron, whose essence has its correspondence, even if they are diametrically opposed languages. So a Clear Enigma