estudos artísticos

A revista de estudos artísticos GAMA encontra, neste terceiro número, um caminho mais definido dentro do projeto global da comunicação de artistas sobre as obras de outros artistas. A Revista GAMA percorre tradições, registos, ações e intervenções artísticas, que assinalaram diversos momentos, com diferentes graus de difusão. Visa-se resgatar, recuperar a arte: é voltar a olhar, pelo escopo particular de um artista, a intervenção de um outro artista, com algum tempo de intervalo entre ambos. Este intervalo é um tempo de sedimentação, de filtragem, ou de recuperação de valores quase esquecidos. O tempo pode fornecer um ponto de vista privilegiado que permite novas interpretações, valorizações, interligações. Permite-se a reativação, o restauro: restauro não no sentido material, mas no sentido da reapresentação do conteúdo possibilitando reforçar um “museu imaginário,” livre de fronteiras e de hierarquias estabelecidas (Malraux). Os objetos de arte anteriores podem ter originado, ou vir a originar, novas obras, na sequência imprevisível dos discursos humanos mais significativos, reagrupando-se em termos de “ação” ou de “orientação,” de “imagem” ou de “palavra,” (Warburg) permitindo “restituir ao discurso o caráter de acontecimento” (Foucault). Entre a história e a memória, o arquivo e a deriva, a viagem e a identidade, a permanência e a resistência, a Revista GAMA vem assinalando um percurso de salvaguarda, de marcação de registos, de preservação de uma riqueza, ora material ora conceptual: a arte detém-se e debruça-se sobre as suas marcas, os seus projetos, os seus registos, as suas transições. Debruçamo-nos sobre os homens.info:eu-repo/semantics/publishedVersio

The Misfit Eye: Scoping Space Inequality, Planned Obsolescence, Isolation and Commodification through the Eyes of Contemporary Art

Why have the problems of dwelling, urban living and built environment become intrinsic to a significant part of nowadays’ artistic production? Why do so many artists use space as their medium and interact as creative users of space with the redundancies and contradictions of lived space? How can artworks ranging from portable objects, fixed images and built environments give an assessment of the reification of space in post-Fordist societies? I conjecture that through a critical inquiry into many of modern architecture’s values, Contemporary Art (or, more materialistically speaking, the visual arts produced in our time of existence), has been, in a productive and creative way, addressing built spatiality, the physical awareness of space-time, the length of movement and stillness, and the problems and contingencies of belonging and indeterminacy, of permanence and isolation, of placement and displacement. I argue that the visual arts field has inquired, reconceived and reinterpreted the human dwelling, the tectonic and anthropological processes of construction and montage, with a clear perception that architecture works as a life mediator and lever, a purveyor of power and a far reaching image of power. I have been studying a set of art works developed between 1960 to the present day by artists like Constant Niuwenhuis, Claes Oldenburg, Hans Haacke, Gordon Matta-Clark, Kristof Wodszicko, Dan Graham, Vitor Burgin, James Casabere, and Angela Ferreira as examples of a bottom-up poetics which deals with such relational concepts as community, street, dwelling and utopia and also as examples of a deferred cultural counter-measure against the colonization of the public domain by the holy alliance between “Bureaucracy and Property” (Benevollo, 1979: 26), what David Harvey (2003) characterizes as “accumulation by dispossession” (pp. 145-152). In this paper, I debate the artworks developed by some of these artists claiming they are strong visual analogies of many of today’s “dynamic orders and disorders”2 (apud Atlee, 2007: 11) of urban space

A arquitectura na sua ausência. Presença do objecto de arte para-arquitectónico no Modernismo e na Arte Contemporânea

Tese de doutoramento em Arquitectura, na especialidade de Expressão Plástica e Arquitectura, apresentada à Fac. de Ciências e Tecnologia da Universidade de CoimbraIn this thesis, we define and discuss an artistic phenomenon related to the themes of urban form and architectural form; we describe the object (its final product, the work of art) of this particular phenomenon as having para-architectural features and propose to discuss the genealogy of this object-problem in the period of modernism and contemporary art. We also try to demonstrate that the practice behind the object in discussion, the practice that constructs and permeates the artistic condition of this object, is cross-representational: it is, we argue, a process of approximation, a neighboring effort towards the urban phenomenon produced by industrial and post-industrial societies. We studied and reflected upon an assorted group of objects that included: 1) the paramount of constructivist culture: the sotsgorod (socialist city) and its new way of life based on social condensers, the agit-prop of everyday routines, (the new beyt), American efficiency and the power of the Soviets; 2) the non-stop camping of libertarian and ludens engagement designed by Constant Niuwenhuis, a performative example of Henri Lefebvre concept of spaces of representation; 3) baudelairian poetics, its sense of life as a struggle between survival and unproductiveness, of urban space as simultaneously foreign and familiar; 4) the concept of unheimlich seen by surrealist artists (Paul Aragon, Max Ernst, André Breton, Georges Bataille) as a turning movement of the inner self developed through symbolic stimulus and where urban and architectonic space acquire a magnetism of belonging and disbelief; 5) the Hannoverian Merzbau as a primal editing site where one can perceive the Being as an environment, post-war german cultural and social predicaments in action, the modernist novelization of historical, patriarchic and sexual subjects ; 6) the ruinments of the expressionist space subtractor and minimalist improviser called Gordon Matta-Clark; 7) the images of interference developed by Victor Burgin; 8) the contemporary works of Portuguese artists Angela Ferreira and Pedro Cabrita Reis. And due to that research we came to the following conclusion: The artistic field questions the space, its appropriation and transformation, through two chief approaches: i) taking space as an abstract entity, a trope of geometry, a figure-ground relation, but in fact mediating it through western aesthetics, class differentiation, serialization, property laws and bureaucracy. Or, instead: ii) assuming it as an anthropological and non-productive construction where metaphorical processes, poetic and visual analogies have their social and cultural income. For this matter the city (as a reality of routines and a positional and ideological mechanism) became the most audible content worked out by artistic modernity; we observe also that this same modernity explored in a productive sense the ambiguities and dialectics of the twofold house/home, i.e., it explored the synergies and pains of constructing an individual identity in a space of intimacy as well as the ups and downs of the aesthetic encapsulation of that process of subjectivity: the building as a nurturer of aesthetics and isolation

Rodrigo Oliveira: Monopoly of the unaligned purity

Este artigo propõe uma leitura crítica de um grupo de obras artísticas realizadas por Rodrigo Oliveira (1978).O argumento central será que esta produção se coloca num quadro histórico pós-pictórico e pós-escultórico e que aplica um cruzamento interdisciplinar entre arquitectura, antropologia e teoria da arte para definir a sua presença física assim como a sua oferta hermenêutica.This paper proposes a critical reading of a group of artworks produced by Portuguese artist Rodrigo Oliveira (1978). It argues that this production posits itself in a post-pictorial and post-sculptural timeline and applies an interdisciplinary crossover between architecture, anthropology and art theory to build its physical presence and its hermeneutic possibilities

Arte Teoria, nº3 (2002)

info:eu-repo/semantics/publishedVersio