Making worlds, manufacturing possibles: practices of the fingere artist

Detalhes bibliográficos
Autor(a) principal: Bethonico, Marina Romagnoli
Data de Publicação: 2021
Tipo de documento: Artigo
Idioma: por
Título da fonte: Palíndromo (Online)
Texto Completo: https://www.revistas.udesc.br/index.php/palindromo/article/view/19430
Resumo: The paper aims to discuss the motivations connecting me to theoretical and practical research in visual arts that have collective implications. After a brief introduction to my career as an artist-researcher, a contextualization of the theoretical disciplines with which I am involved is presented in order to begin a reflection about the photographic image, in the context of contemporary art, and its production of instants, aligned with an ionic time coherent with its logic of manipulation. The theory of visual possible worlds guides this reflection, in which the notions of “fingere” and “image-fiction” stand out. A case study is presented, based on the work of the artist Éric Baudelaire, who articulates image’s ambiguities in order to reflect on the powers of the false in the re-construction of other versions of the so-called reality. It is concluded that the contemporary (post-)photographic image transits between three degrees: the original event, the historical event and the image event. The latter uses the power of modifying worlds, which the image-fiction carries with it, to stimulate the movement in the direction and the creation of new collective paths.
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spelling Making worlds, manufacturing possibles: practices of the fingere artistFaire mondes, fabriquer possibles: des pratiques de l’artiste du fingereFazer mundos, fabricar possíveis: práticas do artista do fingere fingerepossible worldsimage-fictioncontemporary photographymundos possíveisfingereimagem-ficçãofotografia contemporâneafingeremondes possiblesimage-fictionphotographie contemporaineThe paper aims to discuss the motivations connecting me to theoretical and practical research in visual arts that have collective implications. After a brief introduction to my career as an artist-researcher, a contextualization of the theoretical disciplines with which I am involved is presented in order to begin a reflection about the photographic image, in the context of contemporary art, and its production of instants, aligned with an ionic time coherent with its logic of manipulation. The theory of visual possible worlds guides this reflection, in which the notions of “fingere” and “image-fiction” stand out. A case study is presented, based on the work of the artist Éric Baudelaire, who articulates image’s ambiguities in order to reflect on the powers of the false in the re-construction of other versions of the so-called reality. It is concluded that the contemporary (post-)photographic image transits between three degrees: the original event, the historical event and the image event. The latter uses the power of modifying worlds, which the image-fiction carries with it, to stimulate the movement in the direction and the creation of new collective paths.Ce texte a pour but de discuter les motivations qui me lient à la recherche théorique et pratique en arts visuels qui ont des implications collectives. Après une brève introduction à mon parcours d’artiste-chercheuse, une présentation des disciplines théoriques auxquelles je m’engage est menée afin d’entamer une réflexion sur l'image photographique, dans le contexte de l’art contemporain, et sa production d’instants, alignée à un temps aiônique cohérent avec sa logique de manipulation. La théorie des mondes possibles visuels guide cette réflexion, dans laquelle les notions de « fingere » et d’« image-fiction » ressortent. Une étude de cas est présentée, à partir du travail de l’artiste Éric Baudelaire, qui articule les ambiguïtés de l'image afin de réfléchir aux puissances du faux dans la reconstruction d'autres versions de ladite réalité. On en conclut que l'image (post-)photographique contemporaine transite entre trois degrés : l'événement original, celui historique et celui d'image. Ce dernier utilise la puissance modificatrice de mondes, que l'image porte en elle, pour stimuler le mouvement vers la création de nouvelles voies collectives.Este texto tem como objetivo discorrer sobre as motivações que me ligam à pesquisa teórica e prática em artes visuais que tenham implicações coletivas. Após uma breve introdução ao meu percurso de artista-pesquisadora, uma contextualização das disciplinas teóricas com as quais me envolvo é apresentada a fim de iniciar uma reflexão acerca da imagem fotográfica, no contexto da arte contemporânea, e sua produção de instantes, alinhada a um tempo aiônico coerente com sua lógica de manipulação. A teoria dos mundos possíveis visuais norteia essa reflexão, na qual as noções de “fingere” e de “imagem-ficção” se destacam. Um estudo de caso é apresentado, a partir do trabalho do artista Éric Baudelaire, que articula ambiguidades da imagem para pensar as potências do falso na re-construção de outras versões da dita realidade. Conclui-se que a imagem (pós-)fotográfica contemporânea transita entre três graus: o evento original, o histórico e o de imagem. Este último se vale da potência modificadora de mundos, que a imagem-ficção porta consigo, para estimular o movimento na direção e na criação de novos caminhos coletivos.Universidade do Estado de Santa Catarina2021-05-01info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://www.revistas.udesc.br/index.php/palindromo/article/view/1943010.5965/2175234613302021169Palíndromo; Vol. 13 No. 30 (2021): Autorretratos críticos: o que me/nos/vos motiva? ; 169-183Palíndromo; v. 13 n. 30 (2021): Autorretratos críticos: o que me/nos/vos motiva? ; 169-1832175-23461984-953210.5965/10.5965/2175234613302021reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/19430/12908Copyright (c) 2021 Marina Romagnoli Bethonicohttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessBethonico, Marina Romagnoli 2021-05-01T10:37:02Zoai:ojs.revistas.udesc.br:article/19430Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2021-05-01T10:37:02Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false
dc.title.none.fl_str_mv Making worlds, manufacturing possibles: practices of the fingere artist
Faire mondes, fabriquer possibles: des pratiques de l’artiste du fingere
Fazer mundos, fabricar possíveis: práticas do artista do fingere
title Making worlds, manufacturing possibles: practices of the fingere artist
spellingShingle Making worlds, manufacturing possibles: practices of the fingere artist
Bethonico, Marina Romagnoli
fingere
possible worlds
image-fiction
contemporary photography
mundos possíveis
fingere
imagem-ficção
fotografia contemporânea
fingere
mondes possibles
image-fiction
photographie contemporaine
title_short Making worlds, manufacturing possibles: practices of the fingere artist
title_full Making worlds, manufacturing possibles: practices of the fingere artist
title_fullStr Making worlds, manufacturing possibles: practices of the fingere artist
title_full_unstemmed Making worlds, manufacturing possibles: practices of the fingere artist
title_sort Making worlds, manufacturing possibles: practices of the fingere artist
author Bethonico, Marina Romagnoli
author_facet Bethonico, Marina Romagnoli
author_role author
dc.contributor.author.fl_str_mv Bethonico, Marina Romagnoli
dc.subject.por.fl_str_mv fingere
possible worlds
image-fiction
contemporary photography
mundos possíveis
fingere
imagem-ficção
fotografia contemporânea
fingere
mondes possibles
image-fiction
photographie contemporaine
topic fingere
possible worlds
image-fiction
contemporary photography
mundos possíveis
fingere
imagem-ficção
fotografia contemporânea
fingere
mondes possibles
image-fiction
photographie contemporaine
description The paper aims to discuss the motivations connecting me to theoretical and practical research in visual arts that have collective implications. After a brief introduction to my career as an artist-researcher, a contextualization of the theoretical disciplines with which I am involved is presented in order to begin a reflection about the photographic image, in the context of contemporary art, and its production of instants, aligned with an ionic time coherent with its logic of manipulation. The theory of visual possible worlds guides this reflection, in which the notions of “fingere” and “image-fiction” stand out. A case study is presented, based on the work of the artist Éric Baudelaire, who articulates image’s ambiguities in order to reflect on the powers of the false in the re-construction of other versions of the so-called reality. It is concluded that the contemporary (post-)photographic image transits between three degrees: the original event, the historical event and the image event. The latter uses the power of modifying worlds, which the image-fiction carries with it, to stimulate the movement in the direction and the creation of new collective paths.
publishDate 2021
dc.date.none.fl_str_mv 2021-05-01
dc.type.driver.fl_str_mv info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
format article
status_str publishedVersion
dc.identifier.uri.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/19430
10.5965/2175234613302021169
url https://www.revistas.udesc.br/index.php/palindromo/article/view/19430
identifier_str_mv 10.5965/2175234613302021169
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://www.revistas.udesc.br/index.php/palindromo/article/view/19430/12908
dc.rights.driver.fl_str_mv Copyright (c) 2021 Marina Romagnoli Bethonico
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 Marina Romagnoli Bethonico
http://creativecommons.org/licenses/by/4.0
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
publisher.none.fl_str_mv Universidade do Estado de Santa Catarina
dc.source.none.fl_str_mv Palíndromo; Vol. 13 No. 30 (2021): Autorretratos críticos: o que me/nos/vos motiva? ; 169-183
Palíndromo; v. 13 n. 30 (2021): Autorretratos críticos: o que me/nos/vos motiva? ; 169-183
2175-2346
1984-9532
10.5965/10.5965/2175234613302021
reponame:Palíndromo (Online)
instname:Universidade do Estado de Santa Catarina (UDESC)
instacron:UDESC
instname_str Universidade do Estado de Santa Catarina (UDESC)
instacron_str UDESC
institution UDESC
reponame_str Palíndromo (Online)
collection Palíndromo (Online)
repository.name.fl_str_mv Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)
repository.mail.fl_str_mv palindromorevista@gmail.com || revistapalindromo@udesc.br
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