Museografias de acontecimentos
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2021
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Nesta tese abordamos os mecanismos de produção e também de reprodução que são
inerentes à arte, refletindo num conjunto de objetos da coleção de arte moderna e
contemporânea da SEC/MC - Secretaria de Estado da Cultura, obras recorrentes ao arquivo
de arte dos últimos 25 anos do século XX.
A fronteira temporal que esta coleção implantou entre os vários arquivos de arte
portuguesa, deu lugar a uma lacuna que é também um intervalo, uma descontinuidade
específica, na regularidade da história da arte. Este intervalo revelou-nos um universo de
imagens que denunciam a diferença dos tempos e a mudança de épocas, dando origem à
inevitabilidade da sua dispersão. Em contraponto, abriu novas perspetivas para pensarmos a
arte moderna e contemporânea portuguesa. Permitiu também abrir caminho ao inesperado,
ao acaso na medida em que este afeta causas, motivos e agentes capazes de ação crítica e de
ética. O questionamento da origem da coleção motivou o seu “aparecer” no campo da arte e
ocasionou o “lembrar” de um arquivo apagado/esquecido.
O reativar do potencial artístico dos acontecimentos relacionados com as obras em
questão afetou, no nosso tempo, o cruzamento deste arquivo de imagens com os novos
media. Sendo também a questão da cultura digital um desafio ao longo da nossa investigação
(a dos media), esta possibilitou uma nova visibilidade das obras de arte mostrando o que de
inesperado estas podem revelar no nosso tempo; daí parte a pesquisa para a viabilidade das
imagens, e para a transitabilidade das obras em outros dispositivos de comunicação,
diferentes dos tradicionais media não tecnológicos, abrindo-se um desafio inesperado, e em
prosseguimento.
In this dissertation we approach the mechanisms of production and also of reproduction that are inherent to art, reflecting in a set of objects from the collection of modern and contemporary art by the SEC / MC, works recurring to the last 25 years of the 20th century. The temporal frontier that this collection implanted between the various archives of Portuguese art, gave rise to a gap that is also an interval, a specific discontinuity, in the regularity of art history. This interval revealed to us a universe of images that denounce the difference in times, the change of periods, giving rise to the inevitability of its dispersion, opening, in contrast, new perspectives for thinking about modern and contemporary Portuguese art. It also allowed to open the way to the unexpected, to the extent that it affects causes, motives and agents capable of critical and ethical action. The questioning of the origin of the collection related it to "appearing" in the field of art, and to "remembering" something that was forgotten: an erased file. In fact, it was the artistic potential of the events related to the works in question, and in intersection with the new technologies, that gave renewed value to the collection. As the issue of digital culture is also a challenge in my investigation (chapter IV), this made it possible to reactivate the visibility of works of art and show what unexpected they can reveal in our time; from there the research for the viability of the images starts, and for the transitability of the works in new communication devices, different from the traditional non technological media, opening an unexpected challenge, and continuing.
In this dissertation we approach the mechanisms of production and also of reproduction that are inherent to art, reflecting in a set of objects from the collection of modern and contemporary art by the SEC / MC, works recurring to the last 25 years of the 20th century. The temporal frontier that this collection implanted between the various archives of Portuguese art, gave rise to a gap that is also an interval, a specific discontinuity, in the regularity of art history. This interval revealed to us a universe of images that denounce the difference in times, the change of periods, giving rise to the inevitability of its dispersion, opening, in contrast, new perspectives for thinking about modern and contemporary Portuguese art. It also allowed to open the way to the unexpected, to the extent that it affects causes, motives and agents capable of critical and ethical action. The questioning of the origin of the collection related it to "appearing" in the field of art, and to "remembering" something that was forgotten: an erased file. In fact, it was the artistic potential of the events related to the works in question, and in intersection with the new technologies, that gave renewed value to the collection. As the issue of digital culture is also a challenge in my investigation (chapter IV), this made it possible to reactivate the visibility of works of art and show what unexpected they can reveal in our time; from there the research for the viability of the images starts, and for the transitability of the works in new communication devices, different from the traditional non technological media, opening an unexpected challenge, and continuing.
Descrição
Orientação: Luís Bogalheiro Rocha Fernandes ; co-orientação: António Manuel Dias Costa Valente
Palavras-chave
DOUTORAMENTO EM ARTE DOS MEDIA, AUDIOVISUAL, MUSEOGRAFIA, ACESSIBILIDADE, IMAGEM, HISTÓRIA DA ARTE, ARQUIVOS, MODERNIDADE, INTERFACES, AUDIOVISUAL, MUSEOGRAPHY, ACCESSIBILITY, IMAGE, ART HISTORY, ARCHIVES, MODERNITY