worked archives
Gleeson Paulino
@gleesonpaulino
Victo Zakwe, photography by Gleeson Paulino, 2021
Organization, mapping and preventive conservation of Gleeson Paulino's digital photographic archive, covering over a decade of his commercial and artistic production.
“
I have been working with Luana Lorena since 2021, and I can say with complete confidence that she is an exceptional professional. Her ability to organize and systematize my files has been essential to my workflow, especially in locating images quickly and efficiently.
The way she structures the files is both meticulous and intuitive, which makes the entire searching process much more agile and functional — something fundamental given the large volume of content we currently produce.
I highly recommend Luana's work to any photographer or professional who needs a clear and efficient organizational system, that is adapted to the demands of the field. Her contribution has been valuable and transformative in my professional routine.
”
Between 2021 and 2023, I was responsible for the primary organization of photographer Gleeson Paulino's archive. This work involved implementing an archival structure that encompassed both artistic and commercial production accumulated over more than a decade.
In 2025, I was hired again by Paulino to maintain and update the previously established management plan. During this stage, we reviewed and improved the organizational vocabulary of the collection, aligning it with the photographer's current needs and good archival practices. This process included updating the access points, facilitating the recovery and efficient use of photographic documents.
As a result, Paulino's collection has become more accessible and navigable, allowing the photographer to locate and use his records quickly and safely. The adoption of digital preservation practices and the implementation of backup systems guarantee the integrity and longevity of the collection, ensuring that its visual memory is protected against loss or damage.
This project exemplifies the importance of continuous and adaptable archival management, capable of responding to changes in professional practices and the specific demands of each collection.
Coleção Memória do Trabalho Negro
Black Labor's Memory Collection
The Collection is an initiative by visual artist Guilherme Bretas ( @bretasvj ), made in the context of his art work 3/4: Memória do Trabalho Negro (3/4: Black Labor's Memory), exhibited at SESC Belenzinho in February 2025. His artistic installation was part of the programming of the Entre Mídias project, which took place at the location between January and March of the same year.
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Working with Luana Lorena means being certain that your collection will be in good hands. She combines unique sensitivity to the subject with extensive expertise in memory management and conservation.
More than that, Luana has a keen eye for collections and archives. She creates organizational systems that respect the essence of the projects she collaborates on, without ever neglecting fundamental points, such as preservation, security and organization of the pieces.
If your archive needs professional and specialized care, Luana is, without a doubt, the person I recommend.
”
3/4: Memória do Trabalho Negro, photographic record by Guilherme Bretas, 2025
Organization, mapping, cataloging and making availible the photographic and documentary archive that makes up Coleção Memória do Trabalho Negro, organized from the photographic archive of the Centro de Memória Bunge (Bunge Memory Center).
Portraits preserved in relation to the individuals' working conditions were reorganized into the Collection, whose organizational structure is guided by the subject as a person, rather than by their social function within the logic of capital.
Coleção Memória do Trabalho Negro is an initiative by visual artist Guilherme Bretas, conceived in the context of the work 3/4:Memória do Trabalho Negro, presented at SESC Belenzinho in February 2025. The installation was part of the Entre Mídias project, carried out at the unit between January and March of the same year.
At the invitation of SESC Belenzinho to develop an installation work, Bretas began researching the archives of the Centro de Memória Bunge, an institution linked to the former industrial conglomerate to which the now-defunct Moinho Santista SA factory belonged — located in the building that now houses SESC in question. These portraits — and, with them, fragments of the memories of these people — were preserved because they were part of the staff of this industry. There is no humanization in these records: names do not matter, for example, but the positions they held.
After Bretas selected and digitized the records of 68 people, he invited me to structure the Collection, which is organized based on the subject portrayed — and not on the functionalist logic of capital. The entire cataloging effort aimed to increase access to these records: the files were systematized and a visual navigation map was developed to facilitate consultation and understanding of the Collection.
An archive is not defined solely by what it preserves, but also — and just as significantly — by the way it organizes, names, and attributes meaning to what it holds. Every archive is built from choices that express the criteria, values, and epistemologies of those who create it. They are intentional arrangements of objects, artifacts, images, stories, and memories that are selected, classified, cataloged, and interpreted according to specific worldviews. As important as the content itself is the way in which memory is constructed: the question is not only what is remembered, but how it is remembered. In this process, archives can easily perpetuate structural violence — racism being one of its most persistent expressions — directly influencing which memories are remembered and which are intentionally forgotten. Reevaluating memory archives, therefore, requires not only reviewing their content, but also questioning the principles that structure them: the ordering systems, the classificatory vocabularies, and the knowledge that legitimizes what should be preserved.
Fabricio Brambatti
@ursomorto
Cuba, photograph by Fabricio Brambatti, 2016
Organization, cleaning, mapping and preventive conservation of the physical and digital photographic archive of photographer Fabrício Brambatti, encompassing his archive since 2013.
“
Organizing my archive with Luana was like putting my house in order after living in chaos for a long time. She came in calmly, listened to everything, understood what I needed (even what I didn't even know I needed) and made everything beautiful, accessible and meaningful. It is rare to find someone so competent and easy-going at the same time. It became the kind of partnership we want for life!
”
I was responsible for managing the physical and digital archive of photographer Fabrício Brambatti, composed of negatives gathered throughout his professional career. The project focused on the preservation, organization, and facilitation of access to the material, respecting the specific characteristics of the photographic medium and archival best practices.
All negatives were carefully cleaned and stored in appropriate materials, ensuring their long-term preservation and minimizing the risk of deterioration. Archive management also involved organizing the digital files — derived directly from the physical negatives — in a logical, accessible structure consistent with the original archive.
The physical and digital archives were organized in a mirrored structure, establishing a direct correspondence between the two formats. This strategy facilitates communication between versions and makes access to the files more fluid and intuitive, both for consultation and for active use.
As part of the process, a visual map of the archive was developed to guide the identification and understanding of the document sets, contributing to an integrated and functional view of the material.
This work results in a more stable and secure archive, ready to be consulted and activated efficiently, while preserving the integrity of its content and enhancing its artistic and professional value.
Caroline Lima
@carolinelima.co
Alexey Jordan, photography by Caroline Lima, 2021
Organization, cleaning, mapping and preventive conservation of the physical and digital photographic archive of photographer Caroline Lima, encompassing almost a decade of her commercial and artistic production.
I was responsible for managing the physical and digital archive of photographer Caroline Lima. The physical archive is mainly composed of negatives, which underwent a careful cleaning process and were stored in appropriate materials to ensure their optimal long-term preservation.
Simultaneously, the digital archive received dedicated management, with the files organized in a structured, accessible, and navigable way, facilitating their use and consultation.
The organizational vocabulary was developed based on the specific needs and characteristics of the archive, with its structure also aimed at making navigation through it more organic. This ensured terminology aligned with the nature of the material, facilitating information retrieval and cross-referencing.
A visual map of the archive was created to guide the location and understanding of the documentary sets, promoting an integrated view of the material.
Additionally, negatives that have digital counterparts were cataloged to facilitate cross-referencing between the physical and digital files, optimizing the connection and access to records in both formats.
This work ensures a more organized, preserved, and functional archive, enhancing the visual legacy of photographer Caroline Lima and maximizing the professional and artistic use of the material.