Orientador(es)
Resumo(s)
Procurando evidenciar as mudanças sentidas no âmbito das artes visuais durante as décadas
de sessenta e setenta do século XX, alterações que se encontram directamente relacionadas
com uma nova concepção do objecto artístico e com a diluição da tradicional noção de
espectador, o presente estudo procede à análise da obra de Dan Graham, um dos artistas
mais consequentes na desestabilização/reconfiguração dos respectivos pressupostos. Para
um aprofundamento destas ideias destaca-se a instalação Present Continuous Past(s),
evidenciando-se na mesma a importância do jogo perceptivo resultante da utilização do
espelho e do circuito fechado de vídeo, elementos que permitem a problematização do
objecto artístico, tal como cooperam, mediante a imposição de parelhas dicotómicas (sujeito
observador/objecto observado; individual/colectivo; público/privado), na constituição de
um espectador (sujeito) mais activo e consciente. A dissertação toma como ponto de partida
as contribuições minimalistas e pós-minimalistas, destacando o recurso aos diversos
materiais reflectores e a sua faculdade mediadora. Esta contextualização serve o propósito
de sustentar a obra de Dan Graham e de comprovar simultaneamente que a mesma se
estabelece num lugar sem paralelo, de contornos particulares e único.
In an attempt to stress the challenges posed by the visual arts throughout the 1960s and 1970s, challenges which are closely related to a novel conception of both the art object and the spectator, this dissertation analyzes the work of Dan Graham, one of the artists that most effectively questioned received views about the nature of art and the role of the audience. To understand these challenges more deeply, we focus on Present Continuous Past(s), an installation of Graham’s that makes use of mirrors and a closed-circuit television system in order to question the traditional concept of art object and emphasize the more active, conscious role of the spectator (subject). The dissertation begins by considering Minimalism and Postminimalism contributions, paying close attention to the use of reflective materials and their capacity to mediate. The purpose of this is twofold: on the one hand, it allows us to put Graham’s work into context and, on the other, it seeks to confirm Graham’s unparalleled career.
In an attempt to stress the challenges posed by the visual arts throughout the 1960s and 1970s, challenges which are closely related to a novel conception of both the art object and the spectator, this dissertation analyzes the work of Dan Graham, one of the artists that most effectively questioned received views about the nature of art and the role of the audience. To understand these challenges more deeply, we focus on Present Continuous Past(s), an installation of Graham’s that makes use of mirrors and a closed-circuit television system in order to question the traditional concept of art object and emphasize the more active, conscious role of the spectator (subject). The dissertation begins by considering Minimalism and Postminimalism contributions, paying close attention to the use of reflective materials and their capacity to mediate. The purpose of this is twofold: on the one hand, it allows us to put Graham’s work into context and, on the other, it seeks to confirm Graham’s unparalleled career.
Descrição
Palavras-chave
Espelho Percepção Desestabilização Constituição Espectador Dan Graham Mirror Perception Destabilization Constitution Spectator