Abstração e movimento ou a reinterpretação do escultórico: a partir do modernismo

• Autor(a) principal: Cavaleiro, Carlos Filipe Fonseca
• Data de Publicação: 2021
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)
• Texto Completo: http://hdl.handle.net/10451/48283
• topic: Cavaleiro, Carlos, 1994-; Escultura; Fisicalidade; Modernismo (Arte); Arte abstrata; Abstração figurativa; Abstração conceptual; Abstração formal; Movimento; Dadaísmo; Domínio/Área Científica::Humanidades::Artes

In the 20th century, the values of all artistic practices were reinvented time and time again. In a critical social context, the artist responded synchronously to the changes that involved the society of his time. For sculptural practice, these changes were particularly hard. In this practice where the mode of figurative representation, within a mimetic tradition, had been dominant throughout almost its history; which was characterized by techniques such as carving, shaping, and molding; and where the configuration in the three-dimensional space, removed it from a certain optical character, present in painting, all these values were crumbling. There were so many changes that some approaches seemed to want to completely eliminate the category. The mode of figurative representation became less popular, and when present it was often synthesized, particularly the fragmentation of the figure into planes, introduced optical aspects of painting, bringing the two categories closer. The materials of a society increasingly marked by industrialism, became common, introducing techniques such as assemblage, construction, or readymade. But in the second part of the century, there was also a set of practices that came to rethink sculptural practice, rethinking some of the values that were part of its essence, particularly its relation to physics, exploring characteristics such as scale, matter, space, balance, weight, strength, and body. These attitudes were related to the previous appearance of performance practice, where the body was used as an agent. Particularly the attitudes of some artists who explored the most basic and mundane gestures, the body as an object, or, who simply sought the relationship of the body with its exteriority: space, and the things or beings that occupy it. This work is an analysis of some of these mutations in sculptural practice, seeking to dialogue with an artist's work developed during the writing period.