The Artist is Present: the slyness of the visible
Autor(a) principal: | |
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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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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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