Da arché ao arquivo e do arquivo a arché: o gesto arquivial como conceito e método na prática artística contemporânea
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2020
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Resumo
Um resumo desta investigação deve, primeiramente, justificar a sua intitulação: Da Arché ao Arquivo e do Arquivo a Arché: O gesto arquivial como conceito e método na PRÁTICA ARTÍSTICA contemporânea. Pretende-se constituir uma aceção que permita, ou revele, um fio condutor de acesso ao Real, e que na nossa tese é tudo o que se encontra fora do Arquivo.
No fluxo entre a ARCHÉ originária e o contemporâneo, faz-se a leitura do presente a partir do qual as obras de arte qua arquivos transportam, finalmente, o presente para o futuro, a partir de um processo de ANARQUIVAÇÃO constante.
Existe uma contradição intrínseca que caracteriza o arquivo e que induz a sua insofismável dinâmica criativa. A contingência dos estatutos do ARQUIVIAL e do ARTÍSTICO, e a permeabilidade destas duas categorias tidas como tradicionalmente distintas - uma obra e a documentação (mesmo que seja documentação de uma obra) - colocam em evidência as convenções institucionais que mantêm a distinção entre estes dois gestos. Algumas destas tentativas de esclarecimento e comentário procurarão ser respondidas partindo do arquivo como OPERACIONALIZANTE, em GESTO anarquivial, de uma estética e uma mecânica de investigação em arte, assente em processos de construção do trabalho prático que parecem considerá-lo uma espécie de ESTILO CONTEMPORÂNEO em espaço SUBMEDIAL. Aqui, o conceito de Arché não é olhado como um ponto de partida mas enquanto lugar de chegada, procurando dar a ver uma manifestação em POTÊNCIA.
Talvez a função do arquivo não consista meramente em ilustrar ou representar a história ou em agarrar-se às memórias da própria, como se de um espelhamento pelo qual se realizou «de facto», no Real. Pelo contrário, talvez o arquivo constitua o pré-requisito necessário para algo que emerge, porque só no arquivo, que «já lá está», somos capazes de comparar o novo com o antigo, o presente com o passado projetado no FUTURO.
An abstract of this investigation must first justify its title: From Arché to Archive and from Archive to Arché: Archival gesture as a concept and method in contemporary ARTISTIC PRACTICE. It is intended to constitute a meaning that allows, or reveals, a guiding thread of access to the Real, that in our thesis is everything that is considered outside the Archive. In the flow between the original ARCHÉ and the contemporary, the Present is read from the works of art in which archives finally transport the present into the future, based on a process of constant ANARCHIVIZATION. There is an intrinsic contradiction that characterizes the Archive and that induces its unmistakable creative dynamics. The contingency of the ARCHIVIAL and ARTISTIC statutes, and the permeability of these two categories considered to be traditionally distinct - a work and documentation (even if it is documentation of a work) - highlight the institutional conventions that maintain the distinction between these two gestures. Some of these attempts to clarify and comment will try to be answered starting from the archive as OPERATION AND PERFORMANCE, an ANARCHIVAL GESTURE, an aesthetics and mechanics of investigation in art, based on processes of construction of the practical work that seem to consider the Archive a kind of CONTEMPORARY STYLE in SUBMEDIAL space. Here, the concept of Arché is not seen as a starting point but as a place of arrival, seeking to show a manifestation in POTENTIALITY. Perhaps the function of the Archive is not merely to illustrate or represent history or to hold on to memories of its own, as if it were a mirror image by which what was «actually» realized in the Real. On the contrary, perhaps this Archive is the necessary prerequisite for something that emerges, because only through the archive itself, which «is already there», are we able to compare the new with the old, the present with the past projected in the FUTURE.
An abstract of this investigation must first justify its title: From Arché to Archive and from Archive to Arché: Archival gesture as a concept and method in contemporary ARTISTIC PRACTICE. It is intended to constitute a meaning that allows, or reveals, a guiding thread of access to the Real, that in our thesis is everything that is considered outside the Archive. In the flow between the original ARCHÉ and the contemporary, the Present is read from the works of art in which archives finally transport the present into the future, based on a process of constant ANARCHIVIZATION. There is an intrinsic contradiction that characterizes the Archive and that induces its unmistakable creative dynamics. The contingency of the ARCHIVIAL and ARTISTIC statutes, and the permeability of these two categories considered to be traditionally distinct - a work and documentation (even if it is documentation of a work) - highlight the institutional conventions that maintain the distinction between these two gestures. Some of these attempts to clarify and comment will try to be answered starting from the archive as OPERATION AND PERFORMANCE, an ANARCHIVAL GESTURE, an aesthetics and mechanics of investigation in art, based on processes of construction of the practical work that seem to consider the Archive a kind of CONTEMPORARY STYLE in SUBMEDIAL space. Here, the concept of Arché is not seen as a starting point but as a place of arrival, seeking to show a manifestation in POTENTIALITY. Perhaps the function of the Archive is not merely to illustrate or represent history or to hold on to memories of its own, as if it were a mirror image by which what was «actually» realized in the Real. On the contrary, perhaps this Archive is the necessary prerequisite for something that emerges, because only through the archive itself, which «is already there», are we able to compare the new with the old, the present with the past projected in the FUTURE.
Descrição
Orientação: José A. Bragança de Miranda
Palavras-chave
DOUTORAMENTO EM ARTE DOS MEDIA, COMUNICAÇÃO, ARQUIVOS, ARTE CONTEMPORÂNEA, IMAGEM, COMMUNICATION, ARCHIVES, CONTEMPORARY ART, IMAGE