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Arte e Acontecimento- uma experiência relacional através da instabilidade
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Esta dissertação investiga aspectos estéticos e relacionais referentes a um percurso artístico de criação e produção em trabalhos de arte participativa, levando em conta os conceitos de experiência, jogo e errância. Essa abordagem tríptica é um recorte dentro de um contexto interdisciplinar da arte, referida aqui como uma arte performativa relacional. Tais interfaces conceituais são colocadas em relação a partir de diversos autores, essencialmente, Martin Grossmann, Jorge Larrosa Bondía, Johan Huizinga, Roger Caillois, John Dewey, André Lepecki e Paola Berenstein Jacques, e também a partir de trabalhos de artistas que investigam questões semelhantes, nomeadamente Ricardo Basbaum, Fernanda Eugenio e Gustavo Ciríaco. Busca-se uma articulação conceitual e discursiva referente a uma prática de criação e comunicação das artes performativas em um campo interdisciplinar e expandido, que sustenta a fruição do acontecimento artístico como dispositivo relacional que cria políticas de convívio e, consequentemente, produz outras éticas e estéticas nas relações entre artista-obraparticipador. Consideramos o corpo do artista e seus processos de agenciamento e fusão, na relação com o espaço e com o outro, o vetor principal para a articulação dos conceitos abordados neste estudo.
This dissertation investigates aesthetic and relational aspects related to an artistic path of creation and production in participatory art works, taking into account the concepts of experience, play and wandering. This triptych approach is an outline within an interdisciplinary context of art, referred to here as relational performing art. Such conceptual interfaces are placed in relation to several authors, namely Martin Grossmann, Jorge Larrosa Bondía, Johan Huizinga, Roger Caillois, John Dewey, André Lepecki and Paola Berenstein Jacques. Furthermore, it looks at the works of artists who investigate similar issues, like Ricardo Basbaum, Fernanda Eugenio and Gustavo Ciríaco. We search a conceptual and discursive articulation regarding a practice of creation and communication of the performing arts in an interdisciplinary and expanded field, which sustains the fruition of the artistic happening as a relational device that creates convivial policies and, consequently, produces other ethics and aesthetics in the relations between artist-work-participant. We consider the artist's body and its processes of agency and fusion, in relation to space and to the other, the main vector for the articulation of the concepts covered in this study.
This dissertation investigates aesthetic and relational aspects related to an artistic path of creation and production in participatory art works, taking into account the concepts of experience, play and wandering. This triptych approach is an outline within an interdisciplinary context of art, referred to here as relational performing art. Such conceptual interfaces are placed in relation to several authors, namely Martin Grossmann, Jorge Larrosa Bondía, Johan Huizinga, Roger Caillois, John Dewey, André Lepecki and Paola Berenstein Jacques. Furthermore, it looks at the works of artists who investigate similar issues, like Ricardo Basbaum, Fernanda Eugenio and Gustavo Ciríaco. We search a conceptual and discursive articulation regarding a practice of creation and communication of the performing arts in an interdisciplinary and expanded field, which sustains the fruition of the artistic happening as a relational device that creates convivial policies and, consequently, produces other ethics and aesthetics in the relations between artist-work-participant. We consider the artist's body and its processes of agency and fusion, in relation to space and to the other, the main vector for the articulation of the concepts covered in this study.
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Palavras-chave
Dança Performance Arte relacional Participação Corpo Espaço público Instabilidade Experiência Jogo Errância Relational art Participation Body Public space Instability Experience Game Wandering