A visualidade possível

• Autor(a) principal: Costa, Nelson Ricardo Ferreira da
• Data de Publicação: 2007
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/7414
• topic: Art; Visual arts; Conceptual arts; Plastic arts; Arte; Artes visuais; Arte conceitual; Artes plásticas; Arte moderna Séc. XX; CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES::ARTES PLASTICAS

The issues dealt with here emerged from a series of artistic Works developed by me in which I reveal the ambiguity of images and daily situations through a border I call Intermediate Space, an area of performance that world move among and through the limits that stipulate each field of thought and action. The visual element is the one that makes possible the perception of work and space existence, and the present conceptual datum reveals itself from the image, never impeding the spectator s physical/sensitive contact with the works, what is, in fact, its site specificity. In the elaboration of a deeper fundamental theory for the fluidity of my creative process, I analyze divergent approaches in what concerns the access to art. Adding speculations of Arthur Danto which, with the end of certain Western Art History in the middle of the 20th century, an artistic procedure is developed that shifts the contact with art from the sensitive sphere, to sheer theory (specifically, philosophy) with Hans Velting s opinion about the so-called spiritual condition of production of images previous to the so-called Art Era in the West, I intend to imagine a possible continuity relationship between that period (specifically he medieval one) and the intellectual approach posture adopted in our days in the transcription project for the public of an artistic production that, physically and apparently, doesn t differ from objects and daily situations. In that sense I evaluate, along with Pierre Francastel, the historical implications that legitimated the thought of translating art into verbal language, ignoring that the artistic thought is equally autonomous and has as instrument the image in counterpoint to the historical supremacy of the world. Next, I relate the possible meanings of representation in order to identify which are the strategies adopted by that indiscernible art to make itself visible. As a counterpoint, I state a defense of the sensitive in reflections by Didi-huberman and examples by Merleau-Ponty that recover the notion of a dialectic relationship among the characters that act in the artistic process, reassessing the conceptions of artist, spectator and work, suggesting, finally, a type f conviviality in which image and conceptual elements would hybrily interwine