Pinturas e esculturas depois do ready-made
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Data
2021-12-15
Autores
Oliveira, Bruno Marcelino de
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Universidade Estadual Paulista (Unesp)
Resumo
A minha poética desdobra-se a partir da pintura, mas avança com o desenvolvimento escultórico do suporte. Esta pesquisa estabelece uma estrutura interpretativa adequada para tal prática: partindo da concepção da arte como atividade mental que interroga a experiência e os modos de conhecer, investiga as mudanças nessa concepção em função do surgimento do ready-made. Articulando a noção de clichê nas artes visuais e o conceito de ready-made, a pesquisa busca compreender como o ready-made denota uma virada epistemológica na arte, mas não uma virada ontológica. A análise de minhas obras de arte investiga como as inconstâncias perceptuais e a cor atuam contra os clichês pictóricos e contra a determinação objetiva de minhas peças e qual a relação entre essa estrutura da experiência dos trabalhos e a lógica do ready-made. A partir desta estrutura interpretativa, defendo a ênfase nos eventos sensoriais como uma estratégia obediente a dois objetivos encadeados: 1) atua para transbordar de quadros pré-estabelecidos de entendimento; 2) e para permitir a ancoragem do significado da obra de arte no âmbito da sua relação com o público.
My poetics unfolds from painting, but advances through the sculptural development of the support. This research establishes an adequate interpretive framework for such practice. Based on the conception of art as a mental activity that interrogates experience and ways of knowing, it investigates the changes in this conception due to the emergence of the ready-made. Articulating the notion of cliché in visual arts and the concept of ready-made, the research seeks to understand how the ready-made denotes an epistemological turn in art but not an ontological turn. The analysis of my works of art investigates how perceptual inconstances and color act against pictorial clichés and against the objective determination of my pieces, and what is the relationship between this structure, of its experience, and the logic of the ready-made. From this interpretation structure, I advocate the emphasis on sensory events as a strategy obedient to two linked goals: 1) to act for transmuters of pre-established frameworks of understanding; 2) and to allow the anchoring of the meaning of the work of art within the scope of its relationship with the public.
My poetics unfolds from painting, but advances through the sculptural development of the support. This research establishes an adequate interpretive framework for such practice. Based on the conception of art as a mental activity that interrogates experience and ways of knowing, it investigates the changes in this conception due to the emergence of the ready-made. Articulating the notion of cliché in visual arts and the concept of ready-made, the research seeks to understand how the ready-made denotes an epistemological turn in art but not an ontological turn. The analysis of my works of art investigates how perceptual inconstances and color act against pictorial clichés and against the objective determination of my pieces, and what is the relationship between this structure, of its experience, and the logic of the ready-made. From this interpretation structure, I advocate the emphasis on sensory events as a strategy obedient to two linked goals: 1) to act for transmuters of pre-established frameworks of understanding; 2) and to allow the anchoring of the meaning of the work of art within the scope of its relationship with the public.
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Palavras-chave
Arte moderna, Pintura, Escultura, Crítica de arte, Sentidos e sensações, Modern Art, Painting, Sculpture, Art criticism, Sense and sensation