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Pintar o tempo: a experiência do limite
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Abstract(s)
What if painting — painting, just like it is called by artistic western tradition — always
painted time? We are not talking about an inversion of the assumption that music could turn space into music; nor is it about an illustration of the many notions of temporality — like calendars, clocks, on a metric dimension, or even the attempts to visually fixate what we could gather in a visual iconography of temporality: falls, jumps, streams, courses, fluxes… Even before considering those manifestations, what this investigation suggests (we could say for a brief moment), is that we can identify a certain role of the philosophical category of time (speacially since Kant) in every pictorial gesture, whether we are aware of it or not. We are, then, faced with at least two fundamental requirements. The first, is to clarify what we could understand by this pictorial gesture, and its connection to the idea of painting that operated in western tradition. The second, is to clarify the meaning of “time” itself, because it does not refer — not explicitly or necessarily (we could say immediately) to the iconographic elements through which time is usually associated to. It is necessary, then, to understand what the meaning of identification could be — the identification of time with certain figures (its mithemes), in the broader sense of this (psychoanalytical and aesthetic) notion. The query for the temporal character of painting can be traced in several moments of artistic tradition, but it usually takes the form of a comparison between painting and music (or painting and poetry), that often insists on a separation between the “arts of time” and the “arts of space”. We think that this persistence, or this emphasis is worth noting, because it can tell us something that a broader concept of representation can help clarify, while placing on the same (phenomenological, ontological) level, any artistic gesture — thus revealing that the separation and hierarchy attempted between the arts reaffirms the need to distinguish between the aesthetic and the artistic (without being able to separate them). The concept of “sublime”, on the other hand, can help to enclose a notion of “representation” — in a broad sense, that concerns the notion of language, and, in a narrower sense, that concerns the language of painting, or painting as language itself.
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Keywords
Pintura Representação Figura Tempo Sublime Projeto artístico