(Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista

Detalhes bibliográficos
Autor(a) principal: Opa, Matheus Kayssan
Data de Publicação: 2018
Tipo de documento: Artigo
Idioma: por
Título da fonte: METAgraphias
Texto Completo: https://periodicos.unb.br/index.php/metagraphias/article/view/19751
Resumo: The following essay invites us to reflect about a performatic afternoon inside the Pompeii Archeological Area, in Italy, a city destroyed by the Vesuvius eruption and whose ruins remained being a target for the tourists. So, having this place as a poetic catalyzer, how does an artist behave in a touristic area? How can one act proper to oneself being an artist and a tourist in there? To answer that questioning, I bring forth the Theory of the Dérive by Guy Debord (1931 ”“ 1984) and about the flâneur from Walter Benjamin (1892 ”“ 1940). Artist-tourist is that one that flanes the streets searching for (or not) something that he doesn’t acknowledge what it is, drifting, feeling the urbanism flavor through his/her skin. The text also explores how the trip-artwork to the ruins was, how the performance went and the art registry’s poetic outspreading besides a reflection on what is like to be a tourist and artist at the same time.
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spelling (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turistaPompeiaPerformanceFotoperformanceArte-TurismoDerivaFlâneurPompeiiPerformancePhotoperformanceArt-TourismDériveFlâneurThe following essay invites us to reflect about a performatic afternoon inside the Pompeii Archeological Area, in Italy, a city destroyed by the Vesuvius eruption and whose ruins remained being a target for the tourists. So, having this place as a poetic catalyzer, how does an artist behave in a touristic area? How can one act proper to oneself being an artist and a tourist in there? To answer that questioning, I bring forth the Theory of the Dérive by Guy Debord (1931 ”“ 1984) and about the flâneur from Walter Benjamin (1892 ”“ 1940). Artist-tourist is that one that flanes the streets searching for (or not) something that he doesn’t acknowledge what it is, drifting, feeling the urbanism flavor through his/her skin. The text also explores how the trip-artwork to the ruins was, how the performance went and the art registry’s poetic outspreading besides a reflection on what is like to be a tourist and artist at the same time.O presente artigo propõe uma reflexão sobre uma tarde performática no Sítio Arqueológico de Pompeia, Itália, cidade destruída por uma erupção do vulcão Vesúvio cujas ruínas permanecem sendo alvo de turistas. Assim, tendo tal lugar como catalisador poético, como o artista se entende em um espaço turístico? Como ele pode se portar? Para responder tais questionamentos, trago as teorias da Deriva de Guy Debord (1931 ”“ 1984) e sobre o flâneur de Walter Benjamin (1892 ”“ 1940). Artista-turista é esse que flana pelas ruas procurando (ou não) algo que não sabe o que é, derivando, sentindo o sabor do urbanismo pelo seu tato. O texto explora como foi a viagem-obra às ruínas, como a performance se fez e os desdobramentos poéticos do registro além de uma reflexão sobre o que é ser turista e artista ao mesmo tempo.UnB2018-10-19info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://periodicos.unb.br/index.php/metagraphias/article/view/1975110.26512/mgraph.v3i2.19751METAgraphias; v. 3 n. 2 (3): intervençãoPERFORMANCEinstalação2448-1246reponame:METAgraphiasinstname:Universidade de Brasília (UnB)instacron:UNBporhttps://periodicos.unb.br/index.php/metagraphias/article/view/19751/18211Copyright (c) 2018 METAgraphiasinfo:eu-repo/semantics/openAccessOpa, Matheus Kayssan2019-10-06T23:31:27Zoai:ojs.pkp.sfu.ca:article/19751Revistahttp://periodicos.unb.br/index.php/metagraphias/indexPUBhttp://periodicos.unb.br/index.php/metagraphias/oai||metagraphias@gmail.com2448-12462448-1246opendoar:2019-10-06T23:31:27METAgraphias - Universidade de Brasília (UnB)false
dc.title.none.fl_str_mv (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
title (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
spellingShingle (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
Opa, Matheus Kayssan
Pompeia
Performance
Fotoperformance
Arte-Turismo
Deriva
Flâneur
Pompeii
Performance
Photoperformance
Art-Tourism
Dérive
Flâneur
title_short (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
title_full (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
title_fullStr (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
title_full_unstemmed (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
title_sort (Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
author Opa, Matheus Kayssan
author_facet Opa, Matheus Kayssan
author_role author
dc.contributor.author.fl_str_mv Opa, Matheus Kayssan
dc.subject.por.fl_str_mv Pompeia
Performance
Fotoperformance
Arte-Turismo
Deriva
Flâneur
Pompeii
Performance
Photoperformance
Art-Tourism
Dérive
Flâneur
topic Pompeia
Performance
Fotoperformance
Arte-Turismo
Deriva
Flâneur
Pompeii
Performance
Photoperformance
Art-Tourism
Dérive
Flâneur
description The following essay invites us to reflect about a performatic afternoon inside the Pompeii Archeological Area, in Italy, a city destroyed by the Vesuvius eruption and whose ruins remained being a target for the tourists. So, having this place as a poetic catalyzer, how does an artist behave in a touristic area? How can one act proper to oneself being an artist and a tourist in there? To answer that questioning, I bring forth the Theory of the Dérive by Guy Debord (1931 ”“ 1984) and about the flâneur from Walter Benjamin (1892 ”“ 1940). Artist-tourist is that one that flanes the streets searching for (or not) something that he doesn’t acknowledge what it is, drifting, feeling the urbanism flavor through his/her skin. The text also explores how the trip-artwork to the ruins was, how the performance went and the art registry’s poetic outspreading besides a reflection on what is like to be a tourist and artist at the same time.
publishDate 2018
dc.date.none.fl_str_mv 2018-10-19
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://periodicos.unb.br/index.php/metagraphias/article/view/19751
10.26512/mgraph.v3i2.19751
url https://periodicos.unb.br/index.php/metagraphias/article/view/19751
identifier_str_mv 10.26512/mgraph.v3i2.19751
dc.language.iso.fl_str_mv por
language por
dc.relation.none.fl_str_mv https://periodicos.unb.br/index.php/metagraphias/article/view/19751/18211
dc.rights.driver.fl_str_mv Copyright (c) 2018 METAgraphias
info:eu-repo/semantics/openAccess
rights_invalid_str_mv Copyright (c) 2018 METAgraphias
eu_rights_str_mv openAccess
dc.format.none.fl_str_mv application/pdf
dc.publisher.none.fl_str_mv UnB
publisher.none.fl_str_mv UnB
dc.source.none.fl_str_mv METAgraphias; v. 3 n. 2 (3): intervençãoPERFORMANCEinstalação
2448-1246
reponame:METAgraphias
instname:Universidade de Brasília (UnB)
instacron:UNB
instname_str Universidade de Brasília (UnB)
instacron_str UNB
institution UNB
reponame_str METAgraphias
collection METAgraphias
repository.name.fl_str_mv METAgraphias - Universidade de Brasília (UnB)
repository.mail.fl_str_mv ||metagraphias@gmail.com
_version_ 1798320048107945985

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