Centro de Investigação em Ciência e Tecnologia das Artes (CITAR)
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Browsing Centro de Investigação em Ciência e Tecnologia das Artes (CITAR) by Author "Abreu, José Guilherme"
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- Abellio et la phénoménologie de la vie: Michel Henry « disciple » d’Abellio?Publication . Abreu, José Guilherme
- Apocalypse toujours! La structuration de la ‘Révélation’ comme crise ultimePublication . Abreu, José Guilherme
- A Arte Pública como instância de inscriçãoPublication . Abreu, José Guilherme
- 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.
- Création artistique et modélisation logiciellePublication . Abreu, José Guilherme; Verney, Daniel
- Création artistique et modélisation logicielle: phase 3Publication . Abreu, José Guilherme; Verney, Daniel
- Da escultura fin-de-siècle à escultura moderna: grande rutura ou genealogia entrelaçada?Publication . Abreu, José Guilherme
- Do espiritual na contemporaneidade artística : a arte pública como religião implícita?Publication . Abreu, José Guilherme
- El arte público y sus especificidadesPublication . Abreu, José GuilhermeBased on the assumption that Public Art is a principle for enhancing and improving collective environment (Lorraine Cox, 1996), our communication is focused on the problem of the distinction between Public Art and Contemporary Art practices and aims. Thought as a principle for enhancing the collective environment, Public Art engages an opportunity and a stimulus for the advance and the expansion of the public sphere, by allowing citizen participation and increasing social interaction. Because it functions as device for the registration of passed memories or prospecting utopias. Because it attempts to impart a more human sense of collective life. Because it expands the present communication media in the public space beyond advertising or signage that visually pollutes it (J. Maderuelo, 2001), the implementation of public art programs designed for and within a given community, improves community life and allows that our cities become spaces of conviviality and socio- cultural interaction (M. Miles, 1997). This paper intents to point out and to critically analyze different forms and processes of intervention and citizen interaction that are strictly specific to Public Art, both in historical periods and in more recent times, which help to distinguish its conceptual models (S. Armajani, 1999) and its production processes and means (A. Remesar, 1997). First of all, we shall point out some historical forms of civic participation, such as public subscriptions. Secondly, we will refer to, and discuss, some recent public art programs in Portugal, in which different forms of collective and community interaction endorsed by specific cases will be considered, as for instance the International Museum of Contemporary Sculpture of Santo Tirso, in the field of pedagogical approach aiming to help artistic perception and aesthetical awareness, and Paredes Public Art Circuit, in the field of creating community involvement programs, implemented during its programming period.
- 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”.
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