Corpos-artistas: práticas colaborativas de modelo vivo em contra-ataque
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Data
2021-10-22
Autores
Ganhito, Lidia Cesaro Penha
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Universidade Estadual Paulista (Unesp)
Resumo
Esta dissertação é um desdobramento teórico da prática realizada como educadora, artista e modelo nas oficinas colaborativas de modelo vivo realizadas em São Paulo entre 2012 e 2019 pelo coletivo colabMOV. Apresento o ateliê colaborativo de modelo vivo como espaço de questionamento dos procedimentos do nu canônico, eliminando a separação entre artistas e modelos para opor-se aos processos de objetificação dos corpos. Tomo as imagens de mulheres na tradição canônica européia como exemplo paradigmático dos princípios ideológicos que guiam as narrativas sobre o que é arte e que tipo de corpo/pessoa pode ser artista. Em contraposição ao corpo-objeto canônico, proponho a noção de corpo-artista, fundamentada no reconhecimento de todos os corpos implicados no processo criativo como sujeitos. Por fim, esta dissertação apresenta um material didático-poético composto por uma série de proposições práticas que podem ser utilizadas como disparadores pelas pessoas interessadas em conduzir oficinas colaborativas de modelo vivo em suas comunidades.
This research is a theoretical development of the author’s practice as an educator, artist and model in the collaborative workshops of live model drawing held in São Paulo between 2012 and 2019 by the art collective colabMOV. The collaborative atelier of live model drawing is presented as a space for questioning procedures of the canonical nude, eliminating the separation between artists and models to oppose the body’s objectification processes. An analysis of images of women in the European canonical tradition is made, taking them as a paradigmatic example of the ideological principles that guide the narratives about what is art and what kind of body/ person can be understood as an artist. In contrast to the canonical objectified body, I propose the notion of the artist-body, based on the recognition of all the bodies involved in the creative process as subjects. Finally, this dissertation presents a didactic-poetic material composed by a series of practical propositions that can be used to trigger collaborative workshops of live model drawing conducted autonomously in one’s own community.
This research is a theoretical development of the author’s practice as an educator, artist and model in the collaborative workshops of live model drawing held in São Paulo between 2012 and 2019 by the art collective colabMOV. The collaborative atelier of live model drawing is presented as a space for questioning procedures of the canonical nude, eliminating the separation between artists and models to oppose the body’s objectification processes. An analysis of images of women in the European canonical tradition is made, taking them as a paradigmatic example of the ideological principles that guide the narratives about what is art and what kind of body/ person can be understood as an artist. In contrast to the canonical objectified body, I propose the notion of the artist-body, based on the recognition of all the bodies involved in the creative process as subjects. Finally, this dissertation presents a didactic-poetic material composed by a series of practical propositions that can be used to trigger collaborative workshops of live model drawing conducted autonomously in one’s own community.
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Palavras-chave
Artes visuais, Nu, Modelo vivo, Práticas colaborativas, Crítica feminista