No abstract available / Dissertation (MA(Fine Arts))--University of Pretoria, 2008. / Visual Arts / unrestricted

Submitted by Rosivalda Pereira (mrs.pereira@ufma.br) on 2017-06-28T17:46:12Z No. of bitstreams: 1 AnaJaciraOliveira.pdf: 1541747 bytes, checksum: f55c1e62400b40f4ab2554ffce162c92 (MD5) / Made available in DSpace on 2017-06-28T17:46:12Z (GMT). No. of bitstreams: 1 AnaJaciraOliveira.pdf: 1541747 bytes, checksum: f55c1e62400b40f4ab2554ffce162c92 (MD5) Previous issue date: 2017-01-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / The expressions of the contemporary art provoke, today, a large discussion about topics not considered in the tradition of the art as institution. In this context, the ability to establish relationships between people presents itself as an opening that involves the artistic and political universe. Highlighting the space-time elements that constitute this relationship, the objective was to analyze how they are based on the aesthetic phenomenon of contemporary visual art, a potential public own of political action. This analysis is based on the political conceptions of Hannah Arendt, which involves the conditioning activities of human life on Earth, the objective nature of art, the activities of the spirit, and the author's appropriation of the Kantian judgment of taste. The context analyzed assumes importance when establishing a link between aesthetics and politics, because the taste refers to an extended thought about what appears. The analysis of the political potential of taste refers to the context in which the public space falls apart and in which an aesthetized society emerges. Considering the performance of artists who broke with the notion of beautiful and artistic object, we find in the poetic proposals of Banksy, collective woodcut Map and Beth Moysés, elements that makes up the manifestations that express the search for a relationship with the public based on the re-signification Of space and time, and that is given by the reflection about the way the places are constituted in the urban space. The notion of place was thought here, from the conceptions of the geographer Yi-Fu Tuan. Besides, the search searched sought the theoretical contribution of Anne Cauquelin, Vera Pallamin and Nicolas Bourriaud, authors who think about the proposals of contemporary art. Also, the philosopher Gilles Deleuze's reflections about the time, which dialogue with the tradition of thought concerning to the theme - especially Henri Bergson - contextualize the role it exercises in the relations occasioned by art between man and space, and which point to the Possibility of a re-signification of values from the perception of spaces and times lived. The phenomena of contemporary visual art inhabit in time and re-signify the urban space, constituting possible places of speech of the individual, as well as of the collective. / As expressões da Arte Contemporânea provocam hoje ampla discussão sobre temas que foram desconsiderados na tradição da arte enquanto instituição. Neste contexto, a capacidade de estabelecer relações entre pessoas apresenta-se como uma abertura que envolve o universo artístico e o político. Destacando os elementos espaço-temporais que constituem esta relação, objetivou-se analisar como eles fundamentam nos fenômenos estéticos da arte visual contemporânea, um potencial público próprio da ação política. Esta análise parte das concepções políticas da pensadora Hannah Arendt, que envolve as atividades condicionantes da vida humana na Terra, a natureza objetiva da arte, as atividades do espírito e a apropriação que a autora faz do juízo de gosto kantiano. O contexto analisado assume importância ao estabelecer um elo entre estética e política, pois o gosto remete a um pensamento alargado acerca daquilo que aparece. A análise do potencial político do gosto remete ao contexto em que o espaço público se desfaz e no qual a noção de sociedade emerge. Considerando a atuação de artistas que romperam com a noção de belo e de objeto artístico, encontramos, nas propostas poéticas de Banksy, coletivo Mapa Xilográfico e Beth Moysés, elementos que compõem as manifestações que expressam a busca de uma relação com o público, baseada na ressignificação do espaço e do tempo, e que se dá pela reflexão acerca da forma como os lugares se constituem no espaço urbano. A noção de lugar foi pensada, aqui, a partir das concepções do geógrafo Yi-Fu Tuan. Além disso, a pesquisa buscou o aporte teórico de Anne Cauquelin, Vera Pallamin e Nicolas Bourriaud, autores que pensam sobre as propostas da Arte Contemporânea. Também, as reflexões do filósofo Gilles Deleuze acerca do tempo, que dialogam com a tradição do pensamento relativas ao tema - com destaque para Henri Bergson -, contextualizam o papel que este exerce nas relações ocasionadas pela arte entre homem e espaço e que apontam para a possibilidade de uma ressignificação de valores a partir da percepção de espaços e tempos vividos. Os fenômenos da arte visual contemporânea habitam no tempo e ressignificam o espaço urbano, constituindo possíveis lugares de fala do indivíduo, bem como do coletivo.

The doctoral thesis deals with the topic of exihibiting empty gallery space. The purpose is to clarify the specifics that accompany the exhibited empty gallery and to define the essence of more general patterns of exposition in the gallery space. Doctoral thesis also presents the special simple void that generates art itself. Finally, the text reopens a polemic within the institutional theory of art. Doctoral thesis criticizes the established terminology related with exposition of the empty gallery.

The doctoral thesis deals with the topic of exihibiting of an empty gallery. The problem of the emptiness is presented by using a prism of theory of art, semiotics and phenomenology, more precisely hermeneutics. The matter is in a relation with some remote domains, it tries to give a definition of substance and general rules by exihibiting of the emptiness in a gallery. According to one of the presented propositions the plain emptiness itself comes to be an artwork. By semantics of logic method the text is tryiing to form another proposition about specific emptiness in a gallery that generates artwork naturally. The text tries to reopen the theme of some crucial problems in conceptual art. It presents an explanation of the aplication of conceptual method to general public.