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Produção Artística em Rede: a Mail Art de Ernesto de Sousa
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Resumo(s)
A presente dissertação propõe-se a analisar a relação entre Ernesto de Sousa e a Mail Art, movimento internacional que se desenvolveu a partir da década de cinquenta. Pretendendo constituir um circuito alternativo de produção e distribuição de arte, a rede internacional de Mail Art consolidou-se a nível global como uma rede de artistas que, através da utilização do sistema de correios, mantinham relações de correspondência e de colaboração que se materializaram numa grande variedade de projetos e, ao longo das últimas décadas do século XX, resultaram no surgimento de novas versões da própria rede. A recusa da especialização, a eliminação das fronteiras entre artes e a aproximação entre arte e vida são valores centrais que Ernesto de Sousa partilha com algumas experiências de arte conceptual com as quais toma contacto a partir da década de sessenta, entre as quais a Mail Art. Ernesto de Sousa destaca-se como uma das principais figuras no panorama cultural português do século XX, tendo desenvolvido uma longa atividade enquanto artista, crítico e divulgador de arte, cineasta, fotógrafo. O próprio justifica a dispersão do percurso através de uma abordagem baseada na fenomenologia e na renovação e polarização de conceitos, que lhe permite integrar e defender várias experiências de arte conceptual. Propõe-se aqui mapear a afinidade teórica entre os valores que levam Ernesto de Sousa a interagir com a rede internacional de Mail Art e, a partir daí, compreender quais os moldes desta relação, qual o papel da Mail Art no contexto do restante trabalho de Ernesto de Sousa e qual a sua abordagem a este movimento. Pretende-se ainda refletir sobre de que modo é que o estudo desta revelação contribui com novas perspetivas para a compreensão da prática de Ernesto de Sousa e da sua abordagem à história da arte.
The following dissertation aims at examining the relationship between Ernesto de Sousa and Mail Art, an international movement that blossomed in the 1950s. With the aim of establishing an alternative circuit of art production and distribution, the international Mail Art network cemented itself on a global scale as a network of artists who, using the postal system, maintained relationships of correspondence and cooperation that materialized in a great variety of projects, as well as the development of renewed versions of the network itself throughout the last three decades of the 20th century. The refusal of specialization, the dilution of borders between arts and the reconnection of art and life are some of the core values shared by Ernesto de Sousa and some of the experiments in conceptual art – Mail Art being one of them – that he is acquainted with from the 1960s onwards. Ernesto de Sousa stands out as one of the main figures of the Portuguese cultural landscape in the 20th century, having developed a long career as artist, as art critic and promoter, as a filmmaker and a photographer, among others. Ernesto de Sousa legitimizes this dispersion through an approach to art history based on phenomenology and the constant renewal and polarization of concepts, which allows him to integrate in his path the defense of conceptual art. This investigation aims at mapping the theorical affinities between the core values that move Ernesto de Sousa to interact with the international Mail Art network. From this departure point, I aim at understanding the molds in which this relationship develops, the role of Mail Art in the context of de Sousa’s other projects, and what approach he takes on the movement. Finally, I seek to reflect on how the study of this relationship offers new perspectives on the comprehension of Ernesto de Sousa’s work, as well as his approach to art history.
The following dissertation aims at examining the relationship between Ernesto de Sousa and Mail Art, an international movement that blossomed in the 1950s. With the aim of establishing an alternative circuit of art production and distribution, the international Mail Art network cemented itself on a global scale as a network of artists who, using the postal system, maintained relationships of correspondence and cooperation that materialized in a great variety of projects, as well as the development of renewed versions of the network itself throughout the last three decades of the 20th century. The refusal of specialization, the dilution of borders between arts and the reconnection of art and life are some of the core values shared by Ernesto de Sousa and some of the experiments in conceptual art – Mail Art being one of them – that he is acquainted with from the 1960s onwards. Ernesto de Sousa stands out as one of the main figures of the Portuguese cultural landscape in the 20th century, having developed a long career as artist, as art critic and promoter, as a filmmaker and a photographer, among others. Ernesto de Sousa legitimizes this dispersion through an approach to art history based on phenomenology and the constant renewal and polarization of concepts, which allows him to integrate in his path the defense of conceptual art. This investigation aims at mapping the theorical affinities between the core values that move Ernesto de Sousa to interact with the international Mail Art network. From this departure point, I aim at understanding the molds in which this relationship develops, the role of Mail Art in the context of de Sousa’s other projects, and what approach he takes on the movement. Finally, I seek to reflect on how the study of this relationship offers new perspectives on the comprehension of Ernesto de Sousa’s work, as well as his approach to art history.
Descrição
Palavras-chave
Ernesto de Sousa Mail Art Arte Conceptual Século XX Conceptual Art 20th Century