Ação do público como instauradora da obra: propostas participativas na arte contemporânea
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Manancial - Repositório Digital da UFSM |
Texto Completo: | http://repositorio.ufsm.br/handle/1/5210 |
Resumo: | This work deals with the opening of the work of art to the participation of the public in contemporary art. Participation stands for the relation with works of art that need the objective interference of the public and make their involvement and their action part of the process of the construction of the works. The choice for this theme is a response for the curiosity and interest in understanding proposals that happened inside and outside the exhibition spaces, and which provoked the public to act and interact among peers, committing with the development of the work. In the first instance the contemplative context is approached, then the theorists and artists thoughts that start to consider the viewer as a participant too, one who address meaning to the work of art, giving it wholeness. A series of proposals in the 1960s that literally embrace the idea of a participant public are then explored, proposals that make the public involved objectively in the instauration of the work. These proposals motivate the experimentation of the body and physical action of the public with the works, seeking to promote freedom in a moment renowned for its political context of repression. In a second moment, the understanding of the expansion and the persistence of participatory proposals in contemporaneity is sought, as a strategy of the artist abdicating total control over the work of art and its meanings and as a form of relation between work and public today understood in the sense of a shared production. Matters discussed are the motivations and denials of contemporary artists who continue nowadays to involve the public directly in the process of construction of their works. At last, the unpredictability and the risk implied by participatory attitude are discussed. These factors run through both the artist s attitude, by opening his/her production to the interference of the other and the attitude of the participant public, engaging in a proposal which is still open. It is sought to demonstrate therewith how the relations are transformed and even the distribution of the roles between artist, work, and public in the participatory proposals and in which way they can represent opening for experience. Guy Brett, Claire Bishop, Jacques Rancière, and Laurent Goumarre are the main references working as a basis for this investigation. This work points to the comprehension that the unpredictable participation of the public is able to enrich the works of art and the view of the artist himself/herself concerning a proposal, at the same time that it can become a significant experience for the participant public. |
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Ação do público como instauradora da obra: propostas participativas na arte contemporâneaThe action of the public as the instauration of the work of art: participatory proposals in contemporary artArte contemporâneaParticipaçãoPúblicoContemporary artParticipationPublicCNPQ::LINGUISTICA, LETRAS E ARTES::ARTESThis work deals with the opening of the work of art to the participation of the public in contemporary art. Participation stands for the relation with works of art that need the objective interference of the public and make their involvement and their action part of the process of the construction of the works. The choice for this theme is a response for the curiosity and interest in understanding proposals that happened inside and outside the exhibition spaces, and which provoked the public to act and interact among peers, committing with the development of the work. In the first instance the contemplative context is approached, then the theorists and artists thoughts that start to consider the viewer as a participant too, one who address meaning to the work of art, giving it wholeness. A series of proposals in the 1960s that literally embrace the idea of a participant public are then explored, proposals that make the public involved objectively in the instauration of the work. These proposals motivate the experimentation of the body and physical action of the public with the works, seeking to promote freedom in a moment renowned for its political context of repression. In a second moment, the understanding of the expansion and the persistence of participatory proposals in contemporaneity is sought, as a strategy of the artist abdicating total control over the work of art and its meanings and as a form of relation between work and public today understood in the sense of a shared production. Matters discussed are the motivations and denials of contemporary artists who continue nowadays to involve the public directly in the process of construction of their works. At last, the unpredictability and the risk implied by participatory attitude are discussed. These factors run through both the artist s attitude, by opening his/her production to the interference of the other and the attitude of the participant public, engaging in a proposal which is still open. It is sought to demonstrate therewith how the relations are transformed and even the distribution of the roles between artist, work, and public in the participatory proposals and in which way they can represent opening for experience. Guy Brett, Claire Bishop, Jacques Rancière, and Laurent Goumarre are the main references working as a basis for this investigation. This work points to the comprehension that the unpredictable participation of the public is able to enrich the works of art and the view of the artist himself/herself concerning a proposal, at the same time that it can become a significant experience for the participant public.Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEste trabalho trata da abertura da obra à participação do público na arte contemporânea. A participação constitui a relação com trabalhos que necessitam da interferência objetiva do público e fazem de seu envolvimento e de sua ação parte do processo de construção da obra. A escolha por esse tema respondeu à curiosidade e interesse em compreender propostas que aconteciam dentro e fora dos espaços expositivos e que provocavam o público a agir, a interagir entre si, a comprometer-se com o desenvolvimento da obra. Em um primeiro momento, parte-se do contexto contemplativo e do pensamento de teóricos e artistas que passam a considerar que o espectador é também um participante, ao dar sentido à obra, conferindo-lhe completude. Explora-se então uma série de propostas que nos anos 60 tornam literal a idéia de um público participante, fazendo com que este se envolva objetivamente na instauração da obra. Essas propostas motivam a experimentação do corpo e a ação corporal do público junto às obras, buscando promover a liberdade em um momento marcado por contextos políticos de repressão. Em um segundo momento, busca-se compreender a expansão e a persistência das propostas participativas na contemporaneidade, como estratégia do artista que abdica do controle total sobre a obra e sobre seus significados e como forma de relação entre obra e público que hoje é entendida no sentido de uma produção compartilhada. Discutem-se, então, as motivações e renúncias dos artistas contemporâneos que continuam, hoje, envolvendo o público diretamente no processo de construção de seus trabalhos. Por fim, discute-se a imprevisibilidade e o risco implicados pela conduta participativa. Esses fatores perpassam tanto a atitude do artista, ao abrir sua produção à interferência do outro, quanto a atitude do público participante, ao engajar-se em uma proposta que ainda está em aberto. Procura-se demonstrar, a partir disso, como se transformam as relações e até mesmo a distribuição de papéis entre artista, obra e público nas propostas participativas e de que forma elas podem representar uma abertura para a experiência. Guy Brett, Claire Bishop, Jacques Rancière e Laurent Goumarre são os referenciais principais que servem como base para essa investigação. O trabalho aponta para a compreensão de que a participação imprevisível do público é capaz de enriquecer as obras e a própria visão do artista a respeito de uma proposta, ao mesmo tempo em que pode tornar-se uma experiência significativa para o público participante.Universidade Federal de Santa MariaBRArtesUFSMPrograma de Pós-Graduação em Artes VisuaisBrites, Blanca Luzhttp://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4783359E0Alves, Caleb Fariahttp://lattes.cnpq.br/1029918096292730Biancalana, Gisela Reishttp://lattes.cnpq.br/0704025010266511Luersen, Paula Cristina2013-05-212013-05-212012-03-28info:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisapplication/pdfapplication/pdfLUERSEN, Paula Cristina. THE ACTION OF THE PUBLIC AS THE INSTAURATION OF THE WORK OF ART: PARTICIPATORY PROPOSALS IN CONTEMPORARY ART. 2012. 114 f. Dissertação (Mestrado em Artes) - Universidade Federal de Santa Maria, Santa Maria, 2012.http://repositorio.ufsm.br/handle/1/5210porinfo:eu-repo/semantics/openAccessreponame:Manancial - Repositório Digital da UFSMinstname:Universidade Federal de Santa Maria (UFSM)instacron:UFSM2020-05-06T06:00:30Zoai:repositorio.ufsm.br:1/5210Biblioteca Digital de Teses e Dissertaçõeshttps://repositorio.ufsm.br/ONGhttps://repositorio.ufsm.br/oai/requestatendimento.sib@ufsm.br||tedebc@gmail.comopendoar:2020-05-06T06:00:30Manancial - Repositório Digital da UFSM - Universidade Federal de Santa Maria (UFSM)false |
dc.title.none.fl_str_mv |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea The action of the public as the instauration of the work of art: participatory proposals in contemporary art |
title |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea |
spellingShingle |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea Luersen, Paula Cristina Arte contemporânea Participação Público Contemporary art Participation Public CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
title_short |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea |
title_full |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea |
title_fullStr |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea |
title_full_unstemmed |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea |
title_sort |
Ação do público como instauradora da obra: propostas participativas na arte contemporânea |
author |
Luersen, Paula Cristina |
author_facet |
Luersen, Paula Cristina |
author_role |
author |
dc.contributor.none.fl_str_mv |
Brites, Blanca Luz http://buscatextual.cnpq.br/buscatextual/visualizacv.do?id=K4783359E0 Alves, Caleb Faria http://lattes.cnpq.br/1029918096292730 Biancalana, Gisela Reis http://lattes.cnpq.br/0704025010266511 |
dc.contributor.author.fl_str_mv |
Luersen, Paula Cristina |
dc.subject.por.fl_str_mv |
Arte contemporânea Participação Público Contemporary art Participation Public CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
topic |
Arte contemporânea Participação Público Contemporary art Participation Public CNPQ::LINGUISTICA, LETRAS E ARTES::ARTES |
description |
This work deals with the opening of the work of art to the participation of the public in contemporary art. Participation stands for the relation with works of art that need the objective interference of the public and make their involvement and their action part of the process of the construction of the works. The choice for this theme is a response for the curiosity and interest in understanding proposals that happened inside and outside the exhibition spaces, and which provoked the public to act and interact among peers, committing with the development of the work. In the first instance the contemplative context is approached, then the theorists and artists thoughts that start to consider the viewer as a participant too, one who address meaning to the work of art, giving it wholeness. A series of proposals in the 1960s that literally embrace the idea of a participant public are then explored, proposals that make the public involved objectively in the instauration of the work. These proposals motivate the experimentation of the body and physical action of the public with the works, seeking to promote freedom in a moment renowned for its political context of repression. In a second moment, the understanding of the expansion and the persistence of participatory proposals in contemporaneity is sought, as a strategy of the artist abdicating total control over the work of art and its meanings and as a form of relation between work and public today understood in the sense of a shared production. Matters discussed are the motivations and denials of contemporary artists who continue nowadays to involve the public directly in the process of construction of their works. At last, the unpredictability and the risk implied by participatory attitude are discussed. These factors run through both the artist s attitude, by opening his/her production to the interference of the other and the attitude of the participant public, engaging in a proposal which is still open. It is sought to demonstrate therewith how the relations are transformed and even the distribution of the roles between artist, work, and public in the participatory proposals and in which way they can represent opening for experience. Guy Brett, Claire Bishop, Jacques Rancière, and Laurent Goumarre are the main references working as a basis for this investigation. This work points to the comprehension that the unpredictable participation of the public is able to enrich the works of art and the view of the artist himself/herself concerning a proposal, at the same time that it can become a significant experience for the participant public. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-03-28 2013-05-21 2013-05-21 |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
LUERSEN, Paula Cristina. THE ACTION OF THE PUBLIC AS THE INSTAURATION OF THE WORK OF ART: PARTICIPATORY PROPOSALS IN CONTEMPORARY ART. 2012. 114 f. Dissertação (Mestrado em Artes) - Universidade Federal de Santa Maria, Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/5210 |
identifier_str_mv |
LUERSEN, Paula Cristina. THE ACTION OF THE PUBLIC AS THE INSTAURATION OF THE WORK OF ART: PARTICIPATORY PROPOSALS IN CONTEMPORARY ART. 2012. 114 f. Dissertação (Mestrado em Artes) - Universidade Federal de Santa Maria, Santa Maria, 2012. |
url |
http://repositorio.ufsm.br/handle/1/5210 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf application/pdf |
dc.publisher.none.fl_str_mv |
Universidade Federal de Santa Maria BR Artes UFSM Programa de Pós-Graduação em Artes Visuais |
publisher.none.fl_str_mv |
Universidade Federal de Santa Maria BR Artes UFSM Programa de Pós-Graduação em Artes Visuais |
dc.source.none.fl_str_mv |
reponame:Manancial - Repositório Digital da UFSM instname:Universidade Federal de Santa Maria (UFSM) instacron:UFSM |
instname_str |
Universidade Federal de Santa Maria (UFSM) |
instacron_str |
UFSM |
institution |
UFSM |
reponame_str |
Manancial - Repositório Digital da UFSM |
collection |
Manancial - Repositório Digital da UFSM |
repository.name.fl_str_mv |
Manancial - Repositório Digital da UFSM - Universidade Federal de Santa Maria (UFSM) |
repository.mail.fl_str_mv |
atendimento.sib@ufsm.br||tedebc@gmail.com |
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1805922089572499456 |