Tese de mestrado em Estudos Curatoriais, apresentada à Universidade de Lisboa, através da Faculdade de Belas Artes, 2006This dissertation has, for its starting point, the literary essays of the Marquis de Sade (1740-1814). After an analyses and reflection about the premisses found in his books, I will try to make a connection between his language of rupture to another world, the world of contemporary art, world that is also made of transgressions, turning points...and limits. The work is divided in three different sections, although they are complementary between them: the first one is a reflection about a possible map of erotism, taking a careful look at its mythological “root”, followed by the study of the platonic and the Christian eros; the second part is a reflection about the sadean “erotism” — we shall see that it is more correct to talk about a sadean “anti-erotism” —, and it’s based, by one side, on writers who recouped him on a philosophical or literary level, as Pierre Klossowski, Georges Bataille, or Jean-Jacques Pauvert, and on the other side on authors who consolidated him, like Octavio Paz, Jean Paulhan, Roland Barthes, Annie le Brun, Marcel Hénaff, to mention the most important ones; the third part of the thesis consists of a project involving Sade and contemporary art. Keeping away from the viscerality that is usually linked with Sade, and focusing on the sadean concept of apathy (an insensibility towards emotions), I will investigate until what point the works of certain artists are in debt with the heritage of the French writer. The six artists that give body to this project (that, in a way, can be understood as a fictional curatorial project) are Julião Sarmento, Nobuyoshi Araki, Hans Bellmer, Marina Abramovic´, Michaël Borremans and Douglas Gordon. At last, I will lean over on the philosophical/ethical question on the limits of art. Sade showed us a world that went beyond all limits (is that really so?); and the works of art, are they also unlimited
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