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Corpo, Experiência e Impossibilidade em Rui Chafes - uma análise de Sonho e Morte, Comer o coração e Unsaid
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Baseando-se na análise de três obras — Sonho e Morte (1993), Comer o Coração, com Vera Mantero (2004), e Unsaid, com Orla Barry (2001) -, este trabalho procura propor um modo alternativo de ler o trabalho do artista português, Rui Chafes (n. Lisboa, 1966), respondendo ao modo como a crítica e a historiografia da arte hegemonicamente tratam a sua obra. Normalmente inserida numa constelação de relações com autores do Romantismo Alemão, a obra de Rui Chafes parece permanecer alheada dos principais debates da história da escultura contemporânea. É esse olhar que este trabalho visa sustentar, recorrendo às noções de corpo e experiência para reflectir sobre os problemas colocados em cada um dos trabalhos em análise. Partindo do contexto de crise na Modernidade, analisado por Walter Benjamin, pensámos o modo como o corpo foi tratado na poesia de Charles Baudelaire, estendendo o alcance do corpo aos contributos de Herberto Helder e Maurice Merleau-Ponty, de modo a pensar a noção de interpelação por via da abordagem fenomenológica. Corpo e experiência foram noções que alimentaram igualmente o movimento crítico que na década de sessenta, com particular expressão no contexto norte-americano, procurou apresentar alternativas para pensar a escultura e a obra de arte. Essa reivindicação visava superar a noção de obra de arte autónoma - o contexto com o qual pretendemos dialogar as três obras. Se as obras em análise podem ser pensadas como alinhando com ímpeto de abertura que qualificou a arte e a escultura, na segunda metade do século XX, nelas está simultaneamente implicada uma barreira à experiência que os sujeitos possuem destes objectos, o contraponto desta discussão.
Based on the analysis of three works - Sonho e Morte (1993), Comer o Coração, with Vera Mantero (2004), and Unsaid, with Orla Barry (2001) -, this dissertation seeks an alternative approach to read the work of the portuguese artist, Rui Chafes (b. Lisbon, 1966), responding to the way in which art criticism and historiography hegemonically position his work. Usually inserted in a constellation of relationships with authors of German Romanticism, the work of Rui Chafes seems to remain far removed from the main debates in the history of contemporary sculpture. This work seeks to sustain this view, using the notions of body and experience to reflect about the problems posed in each of the works under analysis. Starting from the context of crisis in Modernity analyzed by Walter Benjamin, the way the body was considered in Charles Baudelaire's poetry, and extending the thought around the body to the contributions of Herberto Helder and Maurice Merleau-Ponty, we aimed to think the notion of interpellation through the phenomenological approach. Body and experience were notions that equally fed the critical movement that in the sixties, with particular expression in the north american context, presented alternatives for thinking about sculpture and the work of art. This claim aimed to surpass the notion of autonomous work of art - the context with which we intend to dialogue the three works. If the works under analysis can be thought of as aligning with the impetus of openness that qualified art, and sculpture, in the second half of the 20th century, they are simultaneously implied in a barrier to the experience that subjects have of these objects, the counterpoint of this discussion.
Based on the analysis of three works - Sonho e Morte (1993), Comer o Coração, with Vera Mantero (2004), and Unsaid, with Orla Barry (2001) -, this dissertation seeks an alternative approach to read the work of the portuguese artist, Rui Chafes (b. Lisbon, 1966), responding to the way in which art criticism and historiography hegemonically position his work. Usually inserted in a constellation of relationships with authors of German Romanticism, the work of Rui Chafes seems to remain far removed from the main debates in the history of contemporary sculpture. This work seeks to sustain this view, using the notions of body and experience to reflect about the problems posed in each of the works under analysis. Starting from the context of crisis in Modernity analyzed by Walter Benjamin, the way the body was considered in Charles Baudelaire's poetry, and extending the thought around the body to the contributions of Herberto Helder and Maurice Merleau-Ponty, we aimed to think the notion of interpellation through the phenomenological approach. Body and experience were notions that equally fed the critical movement that in the sixties, with particular expression in the north american context, presented alternatives for thinking about sculpture and the work of art. This claim aimed to surpass the notion of autonomous work of art - the context with which we intend to dialogue the three works. If the works under analysis can be thought of as aligning with the impetus of openness that qualified art, and sculpture, in the second half of the 20th century, they are simultaneously implied in a barrier to the experience that subjects have of these objects, the counterpoint of this discussion.
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Palavras-chave
Rui Chafes Sonho e Morte Comer o coração Unsaid Escultura Co-autoria Superação Transdisciplinaridade Corpo espectador Incompletude Sculpture Co-authorship Surpass Transdisciplinarity Body spectator Incompletness