Endless… ends of art

Detalhes bibliográficos
Autor(a) principal: Huchet, Stéphane
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/20121
Resumo: Our inaugural critical relationship with the installation points out the way the allegory is yet functioning as a vector of meaning. Conscious of the survival of traditional categories, we try to understand the metamorphic play of what is permanent in history, betting on the power of art to intersect the past and the present times. In opposition to the dogma that considers the new as the driving force of art, we assert that its “ends” rarely breaks with some of the originary motivations we find in ancient theory of art: diverse and transtemporary “ends”, such as the manifestation of an idea, the getting on living of image, the glorification of the artist, even the desire of its own “ending”. Both historical and theoretical, the play with the “end” is a paradoxical dialectics of death and transfiguration. Those challenging concepts are functioning as productive tensors: Alberti, Vasari, De Chirico, Malevich, Kosuth, Meireles, Kaprow and Vik Muniz represent some of the references which gave rhythm to thirty years of research.
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spelling Endless… ends of artSans fin… finalités de l’artSem fim...finalidades da arteHistória da arteAlegoriaInstalaçãoIdeia artísticaFimHistory of ArtAllegoryInstallationArtistic IdeaEnd(s)Histoire de l’artAllégorieInstallationIdée artistiqueFin(s)Our inaugural critical relationship with the installation points out the way the allegory is yet functioning as a vector of meaning. Conscious of the survival of traditional categories, we try to understand the metamorphic play of what is permanent in history, betting on the power of art to intersect the past and the present times. In opposition to the dogma that considers the new as the driving force of art, we assert that its “ends” rarely breaks with some of the originary motivations we find in ancient theory of art: diverse and transtemporary “ends”, such as the manifestation of an idea, the getting on living of image, the glorification of the artist, even the desire of its own “ending”. Both historical and theoretical, the play with the “end” is a paradoxical dialectics of death and transfiguration. Those challenging concepts are functioning as productive tensors: Alberti, Vasari, De Chirico, Malevich, Kosuth, Meireles, Kaprow and Vik Muniz represent some of the references which gave rhythm to thirty years of research.Initialement, notre relation critique avec l’installation nous apprend comment l’allégoriefonctionne encore comme un vecteur contemporain de la signification. Conscient de la surviedes catégories traditionnelles, nous avons essayé de comprendre le jeu métamorphiquesous-jacent à ce qui est permanent, mettant en relief la force que l’art a toujours eu decroiser le passé et le présent. Contre le dogme qui fait du nouveau le moteur de l’art, nousaffirmons que ses finalités rompent rarement avec certaines de ses motivations originaires,présentes par exemple dans l’ancienne théorie de l’art: « fins » diverses et transtemporelles,telles la manifestation de l’idée, le devenir-vivant de l’image, la glorification de l’artiste, etjusqu’au désir de sa propre « fin ». À la fois théorique et historique, le jeu avec la « fin »est une dialectique de mort et transfiguration. Ces concepts fonctionnent comme des tenseursproductifs : Alberti, Vasari, De Chirico, Malévitch, Kosuth, Meireles, Kaprow, Vik Munizconstituent quelques unes des référentes qui rythment trente ans de recherche.Nossa relação crítica, inicial, com a instalação nos ensina como a alegoria funciona ainda como vetor contemporâneo da significação. Consciente da sobrevivência das categorias tradicionais, intentamos entender o jogo metamórfico das permanências, apostando na força que a arte sempre teve de cruzar o passado e o presente. Contra o dogma que faz do novo o motor da arte, afirmamos que suas finalidades rompem raramente com motivações originárias já presentes, por exemplo, na teoria antiga da arte: “fins” diversos e transtemporais como a manifestação de uma ideia, o devir-vivo da imagem, a glorificação do artista, até o desejo de seu próprio “fim”! Ao mesmo tempo histórico e teórico, o jogo com o “fim” é uma dialética paradoxal de morte e transfiguração. Esses conceitos desafiadores funcionam como tensores produtivos: Alberti, Vasari, De Chirico, Maliévitch, Kosuth, Meireles, Kaprow, Vik Muniz, são algumas das referências que ritmaram trinta anos de pesquisa.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/2012110.5965/2175234613302021217Palíndromo; Vol. 13 No. 30 (2021): Autorretratos críticos: o que me/nos/vos motiva? ; 217-232Palíndromo; v. 13 n. 30 (2021): Autorretratos críticos: o que me/nos/vos motiva? ; 217-2322175-23461984-953210.5965/10.5965/2175234613302021reponame:Palíndromo (Online)instname:Universidade do Estado de Santa Catarina (UDESC)instacron:UDESCporhttps://www.revistas.udesc.br/index.php/palindromo/article/view/20121/12911Copyright (c) 2021 Stéphane Huchethttp://creativecommons.org/licenses/by/4.0info:eu-repo/semantics/openAccessHuchet, Stéphane2024-02-29T12:47:43Zoai::article/20121Revistahttps://www.revistas.udesc.br/index.php/palindromoPUBhttps://www.revistas.udesc.br/index.php/palindromo/oaipalindromorevista@gmail.com || revistapalindromo@udesc.br2175-23461984-9532opendoar:2024-02-29T12:47:43Palíndromo (Online) - Universidade do Estado de Santa Catarina (UDESC)false
dc.title.none.fl_str_mv Endless… ends of art
Sans fin… finalités de l’art
Sem fim...finalidades da arte
title Endless… ends of art
spellingShingle Endless… ends of art
Huchet, Stéphane
História da arte
Alegoria
Instalação
Ideia artística
Fim
History of Art
Allegory
Installation
Artistic Idea
End(s)
Histoire de l’art
Allégorie
Installation
Idée artistique
Fin(s)
title_short Endless… ends of art
title_full Endless… ends of art
title_fullStr Endless… ends of art
title_full_unstemmed Endless… ends of art
title_sort Endless… ends of art
author Huchet, Stéphane
author_facet Huchet, Stéphane
author_role author
dc.contributor.author.fl_str_mv Huchet, Stéphane
dc.subject.por.fl_str_mv História da arte
Alegoria
Instalação
Ideia artística
Fim
History of Art
Allegory
Installation
Artistic Idea
End(s)
Histoire de l’art
Allégorie
Installation
Idée artistique
Fin(s)
topic História da arte
Alegoria
Instalação
Ideia artística
Fim
History of Art
Allegory
Installation
Artistic Idea
End(s)
Histoire de l’art
Allégorie
Installation
Idée artistique
Fin(s)
description Our inaugural critical relationship with the installation points out the way the allegory is yet functioning as a vector of meaning. Conscious of the survival of traditional categories, we try to understand the metamorphic play of what is permanent in history, betting on the power of art to intersect the past and the present times. In opposition to the dogma that considers the new as the driving force of art, we assert that its “ends” rarely breaks with some of the originary motivations we find in ancient theory of art: diverse and transtemporary “ends”, such as the manifestation of an idea, the getting on living of image, the glorification of the artist, even the desire of its own “ending”. Both historical and theoretical, the play with the “end” is a paradoxical dialectics of death and transfiguration. Those challenging concepts are functioning as productive tensors: Alberti, Vasari, De Chirico, Malevich, Kosuth, Meireles, Kaprow and Vik Muniz represent some of the references which gave rhythm to thirty years of research.
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/20121
10.5965/2175234613302021217
url https://www.revistas.udesc.br/index.php/palindromo/article/view/20121
identifier_str_mv 10.5965/2175234613302021217
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/20121/12911
dc.rights.driver.fl_str_mv Copyright (c) 2021 Stéphane Huchet
http://creativecommons.org/licenses/by/4.0
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2021 Stéphane Huchet
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? ; 217-232
Palíndromo; v. 13 n. 30 (2021): Autorretratos críticos: o que me/nos/vos motiva? ; 217-232
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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