(Foto)performance no Sítio Arqueológico de Pompeia, Itália: o ser artista-turista
Autor(a) principal: | |
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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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(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 à s 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 |