ABSTRACT
Seeing it beyond an arts event, in this work, we considered the April Exhibition as an arts
organization formed from network interactions. In this context, we interweave debates on
History and Organizational Studies, in addition to notions of arts, public policies, and arts
organization, through the theoretical-methodological approach we chose to follow, ANTi-
History. From the understanding of these imbrications, we ask: how did different actors and
historical practices emerge and organize themselves in a network? From this, we seek to
understand the actors' organization network and the multiple historical practices that influenced
the arts organization April Exhibition over time. The employed methodology was based on
historical documents and archives. As constructs of analysis, we used those proposed by the
ANTi-History approach: the five sites of oscillation, past-history, actor-network, humannonhuman,
researcher-traces of the past, and historical inscription-reading formation; followed
by the principles of symmetry, relationalism, and multiplicity. In our findings we show multiple
actors that influenced the organization, articulating those who were silenced. We emphasize the
political character of the April Exhibition, which emerges in the associations and oscillations
of the actors’ network, revealing relational and multiple historical accounts and practices in the
course of its trajectory. In addition, we pluralized the organization and the understanding of it
by presenting alternatives to accounts of the past, reverberating in its relationships with the city
and in mechanisms for public policies.
Keywords: ANTi-History. Historic turn. Sites of oscillation. Arts Organization. April
Exhibition.
