Utilize este identificador para referenciar este registo: http://hdl.handle.net/10451/18406
Título: Amplitude : imagem-lugar e imagem-acto no fazer artístico contemporâneo
Autor: Bezerra, Waléria Américo, 1979-
Orientador: Taveira, Rogério, 1966-
Palavras-chave: Gonzalez-Foerster, Dominique
Alÿs, Francis, 1959-
Projecto Amplitude
Arte vídeo
Instalação (Arte)
Performance art
Data de Defesa: 5-Jan-2015
Resumo: This dissertation has as its central focus the concept of amplitude, addressed in a theoretical-practical way. In the theoretical aspect of the work, amplitude in space is approached through the reflections given by Agamben on the "open" in dialogue with Heidegger. Amplitude in time is discussed in the contexto of Bergson's perspective on the "duration", to which I suggest a connection with considerations on "distance" (Rancière), "listening" (Nancy) and "wandering" (Bourriaud). Next, the space and the time of amplitude become the lead wires for a possible approach to contemporary art status. Through a journey that exposes the current functioning of the arts through the concepts of "post-autonomy" and "imminency" (Canclini) and still makes use of the "contemporary" images provided by Agamben, I attempt to build a brief analysis of the role displacement and wandering have come to occupy in the current "radicant" artistic poetics. I suggest an association between the "semionaut" of Bourriaud and images of the "poet" provided by Agamben and Nancy, articulating the artistic practice simultaneously as a "cannot doing" and as a "re-doing (in) the difficult", and supporting my argument in Rancière and Didi-Huberman. I propose an analysis of these issues concentrated on the work of two migrant artists: Dominique Gonzalez-Foerster, with her dystopian mechanism and Francis Alÿs, with his ambulatory procedure for rumors production. The practical part of the dissertation consisted of Amplitude Project (2012-2014), composed of three works: the performative action homonymous Amplitude (2012-), the video installation Commuting (2014) and the sound performance Failure (2014-). The space and time of amplitude, here, are interpreted as image-place and image-act. Analyzing two project key-moments (doing and playing the musical scores produced from shots with firearms), I propose to reflect on image, disappearance, waiting and silence, on one hand; and "dialogy", "polyphony" and "act" (Bakhtin) in relation with the collaborative and performative dimensions of the work, on the other hand
URI: http://hdl.handle.net/10451/18406
Designação: Tese de mestrado, Arte multimédia (Especialização em Performance-Instalação), Universidade de Lisboa, Faculdade de Belas Artes, 2015
Aparece nas colecções:FBA - Dissertações de Mestrado

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