CITAR - Contribuições em Revistas Científicas / Contribution to Journals
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Browsing CITAR - Contribuições em Revistas Científicas / Contribution to Journals by Author "Abreu, José Guilherme"
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- A arte pública entre património e ideário. O itinerário artístico de Siah ArmajaniPublication . Abreu, José GuilhermeSiah Armajani (1939-) é um escultor de origem iraniana que ainda muito jovem emigrou para os EUA, onde empreendeu uma carreira artística, sediada em Minneapolis, no Minnesota. Para além de autor de uma vasta e reconhecida obra escultórica, Armajani é também um ensaísta, sendo autor do texto “Manifesto public sculpture in the context of american democracy” (Armajani, 1995), que acompanhou a exposição “Espaços de Leitura” que apresentou, em 1995, no Museu d’Art Contemporani de Barcelona (MACBA). O interesse da obra de Armajani decorre da mesma resultar de um inequívoco engagement a um ideário sócio-utópico-artístico que problematiza o estatuto do regime autoral, e que rejeita a autorreferencialidade da obra, circunstância rara no contexto da produção artística contemporânea. Esteticamente contemporânea, a obra de Armajani logra resolver um dos dilemas mais amargos da arte moderna e contemporânea, formulado por Arnold Schoenberg: “se é arte, não é para todos, e se é para todos não é arte” (Schoenberg, 1950, p. 124). Curiosamente, o ideário veiculado por Armajani não é em absoluto inédito. Em múltiplos aspetos o mesmo coincide com o do movimento em prol da arte pública que se formou na Bélgica, nos finais do século XIX, e que deu origem à organização de quatro congressos internacionais de arte pública, dois deles com participação portuguesa documentada, aspeto por onde se inicia o presente estudo.
- Esculpir a sociedade. O debate e a ação coletiva em Joseph BeuysPublication . Abreu, José GuilhermeThis paper intends to reflect on the theme of the artistic activism in the work of Joseph Beuys. Foremost, we’ll briefly re-open neo-avant-garde studies facing historical avant-garde ones, based on the works by Peter Bürger, Hal Foster e Benjamin Bulcholz, in order to determine, critically, readings of the work by Joseph Beuys, and discovering in this one traces of a dissent in relation to Marcel Duchamp, therefore, a dissent in relation to an “antiart” understanding of artistic practice, and also in relation to the fetishism of the “readymade” cult. Secondly, we will reflect on the concept and practice of Beuys “social sculpture”, in the ambit of the artistic enlargement notion he claimed for, in order to understand the specificity of beuysian activism, or better, Beuys’ actions, in the double demarcation of his artistic ideario before any “ideological diktat” or any “protest aesthetics” which would denied the idea of art understood as “science of freedom”, claimed by Beuys. Finally, we will reflect on the impact the thought and the work by Rudolf Steiner had in Beuys’ thought and work, focusing the discussion in the description and analysis of Beuys’ intervention on the 6th Documenta in Kassel, materialized by the installation-action “Honey-pump in the working place”.
- Infrared thermography analysis with a low-cost camera in plaster sculptures of museum collectionsPublication . Bordalo, Rui; Carvalho, Salomé; Abreu, José Guilherme; Vieira, EduardaInfrared thermography (IRT) is a non-destructive and non-invasive technique that provides the possibility to investigate the surface of sculptures for the detection of subsurface features and anomalies such as delamination, layer structure, fillings, and defects. IRT has been widely used in buildings and large structures, as well as in works of art such as bronze sculptures and paintings. This article describes the application of active infrared thermography, using a portable low-cost IRT camera, in the examination of plaster sculptures, a material where it has not yet been applied to. In particular, it was used in two plaster sculptures by 19th-century Portuguese artist Soares dos Reis, within a wider project (GEO-SR) aimed at the study of his work. The results indicate that thermography is a suitable technique with a great potential to detect alterations under the surface of plaster, revealing a new look into its manufacturing and conservation.
- Insights for the endorsement of a holistic approach for public sculpture research: the BIONANOSCULP projectPublication . Moreira, Patricia; Vieira, Eduarda; Abreu, José GuilhermeThis article reflects on the holistic approach for public sculpture research within the BIONANOSCULP project, focusing on the reasons behind the project development, its objectives, selected achievements and future outcomes. Focusing on one of the seven selected sculptures that were studied within the project, “Afonso de Albuquerque”, the reasons behind the selection of these public art works, their historical study, a critical assessment of their significance and conservation status are discussed. A brief description of the most significant analytical innovations of the project and insight on the future of sustainable conservation is presented.
- As origens históricas da arte públicaPublication . Abreu, José GuilhermeOur study states the role that applied arts, as they were meant by Arts and Crafts movement’s socialistic ideario, have had in the expansion of the concept and use of art works, beyond the values of formal and symbolic representations which have supported the academic system of the fine arts since the Renaissance. By Modern Public Art, we refer to the movement launched, under the designation of “Public Art”, by a series of “Public Art Societies” which were created both in Europe and North-America in the last quarter of the 19th century, having as first major public appearance the cosmopolitan stages of the Great Universal Expositions. This international movement came to an end after the first decade of the 20th century, due to the growth of international political, economic and bellicose antagonism, which first lead to the raise of nationalistic ideologies and soon to military confront, blocking the young international movement in favour of Public Art.
- Public art research, aims and networksPublication . Abreu, José GuilhermeSince 20th century’s last decades, public art, and its youngest expression, street art, have been obtaining increasing impact on non-specialized audiences, and gaining greater attention by critics and other specialists, for public art is the artistic discipline “that characterizes best the manifestations of the last third of the 20th century” (Maderuelo, 2000:240). Nowadays, there is no urban improvement, no architectonic iconic intervention, no landscape project, no heritage revitalization initiative that do not have, as its expected consequence, public space redesign and public art display. Meant as one of the main urban regeneration tools, public art has been contributing to transform the 20th century industrial-functional city into the convivial cities of post-industrial era (Miles, 1997). Present in art schools and university curricula, where it engages increasing advanced studies, when talking about Public Art now, we think the time has come to gather, to analyze and to reflect upon what has been done, in order to generate new synthesis, about what this novel, and yet very old domain, has achieved. Engaging Public Art a progressive ideario (Armajani, 1995), has anything carrying social relevance really changed in our cities? Did public art succeed in catalyzing meaning to our common ground of interaction? How do social sciences assess the outcomes of globalized public space aesthetical gaze and use? And talking about meaning, is public art fostering social inclusion of multi-ethnic minorities and avant-garde thinking or action? As all utopian project, is public art inspiring the creation of new and more rewarding goals to our culture? Obviously, these aims are not supposed to be achieved by a couple of articles in a single journal. So, let me express our goals in a most humble way, as Hannah Arendt did, when she said that “what I propose, therefore, is very simple: it is nothing more than to think what we are doing.” (Arendt, 1958:5).