The Artist is Present: the slyness of the visible

Detalhes bibliográficos
Autor(a) principal: Bonfitto (Universidade Estadual de Campinas, Campinas/SP, Brasil), Matteo
Data de Publicação: 2022
Tipo de documento: Artigo
Idioma: por
Título da fonte: Revista Brasileira de Estudos da Presença
Texto Completo: https://seer.ufrgs.br/index.php/presenca/article/view/42065
Resumo: In this article I intend to reflect upon a specific experience: my participation in a performance created by Marina Abramović called “The Artist is Present”, occurred in March, 2010 at MoMA – Museum of Modern Art – in New York City. Through the development of this reflection various aspects will be examined, among them the question of presence and its relationship with sight. When the territory in question is associated with the Performative Arts, very often sight can generate deceptive implications, it can function as a sort of obstacle for the emergence of experiences.
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spelling The Artist is Present: the slyness of the visibleThe Artist is Present: les astuces du visibleThe Artist is Present: as artimanhas do visívelPresenceVisionExperiencePerceptionParticipationPrésenceVisionExpériencePerceptionParticipationPresençaVisãoExperiênciaPercepçãoParticipaçãoIn this article I intend to reflect upon a specific experience: my participation in a performance created by Marina Abramović called “The Artist is Present”, occurred in March, 2010 at MoMA – Museum of Modern Art – in New York City. Through the development of this reflection various aspects will be examined, among them the question of presence and its relationship with sight. When the territory in question is associated with the Performative Arts, very often sight can generate deceptive implications, it can function as a sort of obstacle for the emergence of experiences.Dans cet article, l’auteur propose une réflexion sur une expérience spécifique: sa participation à un spectacle créé par Marina Abramovic, intitulé “l’artiste est présent”, qui a eu lieu en Mars 2010 au MoMA – Musée d’Art Moderne – à New York City. Dans l’élaboration de cette réflexion, différents aspectsseront examinés, notamment la question de la présence et sa relation avec la vue. Lorsque ce territoire est associé aux arts performatifs, la vision peut très souvent générer des implications trompeuses, pouvant fonctionner comme une sorte d’obstacle à l’émergence d’expériences.Este artigo se propõe a refletir sobre uma experiência específica: a minha participação em uma performance deMarina Abramović chamada The Artist is Present, ocorrida em março de 2010, no Museum of Modern Art (MoMA), na cidade de Nova Iorque. A partir dessa reflexão, vários aspectos são abordados, dentre eles, a questão da presença e a sua relação com a visão. Quando o campo em exame é o das artes da cena, muitas vezes, a visão pode ser enganadora, pode funcionar quase como um obstáculo para a instauração de experiências.Universidade Federal do Rio Grande do Sul2022-10-16info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionhttps://seer.ufrgs.br/index.php/presenca/article/view/42065Brazilian Journal on Presence Studies; Vol. 4 No. 1 (2014): jan./apr. 2014; 83-96Révue Brésilienne d'Études de la Présence; Vol. 4 No. 1 (2014): jan./abr. 2014; 83-96Révue Brésilienne d'Études de la Présence; Vol. 4 No 1 (2014): jan./abr. 2014; 83-96Revista Brasileira de Estudos da Presença; v. 4 n. 1 (2014): jan./abr. 2014; 83-962237-2660reponame:Revista Brasileira de Estudos da Presençainstname:Universidade Federal do Rio Grande do Sul (UFRGS)instacron:UFRGSporhttps://seer.ufrgs.br/index.php/presenca/article/view/42065/50848Copyright (c) 2022 Revista Brasileira de Estudos da Presençainfo:eu-repo/semantics/openAccessBonfitto (Universidade Estadual de Campinas, Campinas/SP, Brasil), Matteo2022-10-16T21:00:47Zoai:seer.ufrgs.br:article/42065Revistahttp://seer.ufrgs.br/presencaPUBhttps://seer.ufrgs.br/presenca/oai||rev.presenca@gmail.com2237-26602237-2660opendoar:2022-10-16T21:00:47Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)false
dc.title.none.fl_str_mv The Artist is Present: the slyness of the visible
The Artist is Present: les astuces du visible
The Artist is Present: as artimanhas do visível
title The Artist is Present: the slyness of the visible
spellingShingle The Artist is Present: the slyness of the visible
Bonfitto (Universidade Estadual de Campinas, Campinas/SP, Brasil), Matteo
Presence
Vision
Experience
Perception
Participation
Présence
Vision
Expérience
Perception
Participation
Presença
Visão
Experiência
Percepção
Participação
title_short The Artist is Present: the slyness of the visible
title_full The Artist is Present: the slyness of the visible
title_fullStr The Artist is Present: the slyness of the visible
title_full_unstemmed The Artist is Present: the slyness of the visible
title_sort The Artist is Present: the slyness of the visible
author Bonfitto (Universidade Estadual de Campinas, Campinas/SP, Brasil), Matteo
author_facet Bonfitto (Universidade Estadual de Campinas, Campinas/SP, Brasil), Matteo
author_role author
dc.contributor.author.fl_str_mv Bonfitto (Universidade Estadual de Campinas, Campinas/SP, Brasil), Matteo
dc.subject.por.fl_str_mv Presence
Vision
Experience
Perception
Participation
Présence
Vision
Expérience
Perception
Participation
Presença
Visão
Experiência
Percepção
Participação
topic Presence
Vision
Experience
Perception
Participation
Présence
Vision
Expérience
Perception
Participation
Presença
Visão
Experiência
Percepção
Participação
description In this article I intend to reflect upon a specific experience: my participation in a performance created by Marina Abramović called “The Artist is Present”, occurred in March, 2010 at MoMA – Museum of Modern Art – in New York City. Through the development of this reflection various aspects will be examined, among them the question of presence and its relationship with sight. When the territory in question is associated with the Performative Arts, very often sight can generate deceptive implications, it can function as a sort of obstacle for the emergence of experiences.
publishDate 2022
dc.date.none.fl_str_mv 2022-10-16
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://seer.ufrgs.br/index.php/presenca/article/view/42065
url https://seer.ufrgs.br/index.php/presenca/article/view/42065
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://seer.ufrgs.br/index.php/presenca/article/view/42065/50848
dc.rights.driver.fl_str_mv Copyright (c) 2022 Revista Brasileira de Estudos da Presença
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2022 Revista Brasileira de Estudos da Presença
eu_rights_str_mv openAccess
dc.publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
publisher.none.fl_str_mv Universidade Federal do Rio Grande do Sul
dc.source.none.fl_str_mv Brazilian Journal on Presence Studies; Vol. 4 No. 1 (2014): jan./apr. 2014; 83-96
Révue Brésilienne d'Études de la Présence; Vol. 4 No. 1 (2014): jan./abr. 2014; 83-96
Révue Brésilienne d'Études de la Présence; Vol. 4 No 1 (2014): jan./abr. 2014; 83-96
Revista Brasileira de Estudos da Presença; v. 4 n. 1 (2014): jan./abr. 2014; 83-96
2237-2660
reponame:Revista Brasileira de Estudos da Presença
instname:Universidade Federal do Rio Grande do Sul (UFRGS)
instacron:UFRGS
instname_str Universidade Federal do Rio Grande do Sul (UFRGS)
instacron_str UFRGS
institution UFRGS
reponame_str Revista Brasileira de Estudos da Presença
collection Revista Brasileira de Estudos da Presença
repository.name.fl_str_mv Revista Brasileira de Estudos da Presença - Universidade Federal do Rio Grande do Sul (UFRGS)
repository.mail.fl_str_mv ||rev.presenca@gmail.com
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