24 February 2022 : for a geocinematic use of found images
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Data
2023-11-03
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Lusofona University
Resumo
Subjacente à ideia de precariedade e da imagem em movimento, este artigo descreve e teoriza sobre a obra original 24 DE FEVEREIRO DE 2022 como uma vídeo-instalação interligada e contextualizada com os conceitos de precariedade na produção, circulação e participação na cultura mediática hoje. Tentando fundamentar a própria natureza do material encontrado (found materials) como porta de entrada do público para o privado, comenta-se o espetáculo das imagens dos media de massa assim como a produção de gestos “anarquiviais por meio dos quais é possível pesquisar um evento histórico específico. Inserida no projeto de investigação intitulado FrameScapes que os autores estão a realizar neste momento, a obra artística resultado desta investigação relaciona-se com a guerra que a Rússia trouxe para Europa quando invadiu o território ucraniano, e também com o conflito em tempo real - que poderíamos apelidar de live - de uma forma que não víamos desde a Desert Storm em 1991. A alimentação contínua de vídeos e fotografias na era da distração multi-ecrã e das distopias tiktokianas, os artistas e criativos têm desde há muito a vantagem na construção a partir de material encontrado, tal como os cubistas que colavam um pedaço de jornal velho e uma caixa de fósforos para pintar uma natureza morta. A precariedade do material encontrado para fazer arte está presente desde os primeiros movimentos de vanguarda, de Picasso a Duchamp. Através das artes, sempre fomos confrontados com gestos de apropriação, de citação, de found-footage, da arte do arquivo, da colagem ou do ready-made, todos estes relacionados com imagens precárias. De Marcel Duchamp a Kurt Schwitters, de Douglas Gordon a Christian Marclay, os artistas sempre olharam para a metáfora do precário como uma recontextualização e remediação da imagem e do som. A obra 24 DE FEVEREIRO DE 2022 é uma obra exploratória sobre o mundo-como camâra-ecrã, respondendo crítica e criativamente a diferentes estruturas dos contextos sociais, económicos e políticos na prática atual da investigação artística. O fenómeno de uma estrutura “tele-visual” pressupõe diferentes “tele-comunidades” atópicas, construídas sob a égide da “tele-presença” e da “tele-objectividade” uma dissolução do espaço real, que abraça a geocinemática como uma forte estrutura narrativa contemporânea, construída e delimitada por imagens precárias imagens que são consistentes com uma estrutura tangível e contingente do Real. Palavras-Chave: Precariedade, Videoarte, Instalação, Media, Anarquivo, Imagens Precárias
Underlying the idea of precarity and the moving image, this paper describes the and theorizes about the original artwork 24TH FE-BRUARY 2022 as a video-installation interconnected with the concepts of precarity in production, circulation, and participation in media culture today, this art-based research artwork tries to underpin the very nature of found material as a gateway from the pu-blic to the private, commenting on the spectacle of mass media images and also the production of “anarchival” gestures through which its possible to research a specific historic event. Included in a research project entitled FrameScapes that the authors are undergoing at this time, this research outcome relates to the war that Russia brought again to the gates of Europe when it inva-ded the Ukrainian territory, and also to the conflict in real-time-live action we could call it-in a way we haven’t seen since Desert Storm back in 1991. A continuous feed of videos and photographs in an era of multi-screen distraction and tiktokian dystopias, artists and creatives have the upper hand in constructing from scratch, just like the cubists would glue together a piece of old newspaper and a matchbox to paint a still-life. The precarious nature of found material to make art is present since the first van-guard movements, from Picasso to Duchamp. Through the arts, we’ve been always confronted with gestures of appropriation, quotation, found-footage, archival art, collage or the ready-made, all of these related to meager images. From Marcel Duchamp to Kurt Schwitters, from Douglas Gordon to Christian Marclay, artists have always looked into the metaphor of the precarious as a recontextualization and remediation of image and sound. The artwork 24TH FEBRUARY 2022 is an exploratory artwork about the world-as-camera-screen, responding critically and creatively to different structures of the social, economic and political contexts in today’s art research practice that deals with found materials. The phenomenon of a tele-visual structure presupposes different atopic tele-communities, built under the aegis of tele-presence and tele-objectivity – a dissolution of real space, that embraces geocinematics as a strong narrative contemporary structure, constructed with and bound by precarious images – images that are consistent with a tangible structure of the Real.
Underlying the idea of precarity and the moving image, this paper describes the and theorizes about the original artwork 24TH FE-BRUARY 2022 as a video-installation interconnected with the concepts of precarity in production, circulation, and participation in media culture today, this art-based research artwork tries to underpin the very nature of found material as a gateway from the pu-blic to the private, commenting on the spectacle of mass media images and also the production of “anarchival” gestures through which its possible to research a specific historic event. Included in a research project entitled FrameScapes that the authors are undergoing at this time, this research outcome relates to the war that Russia brought again to the gates of Europe when it inva-ded the Ukrainian territory, and also to the conflict in real-time-live action we could call it-in a way we haven’t seen since Desert Storm back in 1991. A continuous feed of videos and photographs in an era of multi-screen distraction and tiktokian dystopias, artists and creatives have the upper hand in constructing from scratch, just like the cubists would glue together a piece of old newspaper and a matchbox to paint a still-life. The precarious nature of found material to make art is present since the first van-guard movements, from Picasso to Duchamp. Through the arts, we’ve been always confronted with gestures of appropriation, quotation, found-footage, archival art, collage or the ready-made, all of these related to meager images. From Marcel Duchamp to Kurt Schwitters, from Douglas Gordon to Christian Marclay, artists have always looked into the metaphor of the precarious as a recontextualization and remediation of image and sound. The artwork 24TH FEBRUARY 2022 is an exploratory artwork about the world-as-camera-screen, responding critically and creatively to different structures of the social, economic and political contexts in today’s art research practice that deals with found materials. The phenomenon of a tele-visual structure presupposes different atopic tele-communities, built under the aegis of tele-presence and tele-objectivity – a dissolution of real space, that embraces geocinematics as a strong narrative contemporary structure, constructed with and bound by precarious images – images that are consistent with a tangible structure of the Real.
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Publisher Copyright: © 2023 BY-NC.
Palavras-chave
AUDIOVISUAL, CINEMATOGRAFIA, TRABALHO PRECÁRIO, CINEMATOGRAPHY, PRECARIOUS EMPLOYMENT, MEDIA
Citação
Barata, H & Alves, J 2023, '24 February 2022 : for a geocinematic use of found images', International Journal of Film and Media Arts, vol. 8, no. 2, pp. 108-132. https://doi.org/10.24140/ijfma.v8.n2.07