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Ana Vieira, uma casa desconhecida. Documentação e resgate de uma memória.
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Resumo(s)
Esta dissertação teve como objetivo estudar um conjunto de instalações da artista portuguesa Ana
Vieira (1940-2016) selecionado dentro de um núcleo que conta com 31 instalações realizadas entre 1977
e 2016, das quais 21 estão sob a tutela de seus filhos, Miguel e Paula Nery.
Nos últimos anos, tem-se verificado o crescente aumento de espólios de arte contemporânea
póstumos. Desprovidos de uma infraestutura necessária, os/as herdeiros/as de artistas têm agora o
desafio de preservar e gerir estes legados. Sem a presença do/a autor/a ou a existência de um estudo
sério e aprofundado sobre a sua obra ou sem uma documentação que possibilite a preservação e ativação
das suas instalações, espólios como o de Ana Vieira correm o risco de desaparecer por carecerem da
salvaguarda associada a um enquadramento institucional. Tem-se verificado que as instituições
museológicas resistem a adquirir obras sem documentação e/ou que impliquem elevados custos de
montagem e de manutenção. Em consequência, muitas obras relevantes no panorama artístico e
escolhidas por críticos e historiadores de arte não estão a ser incorporadas em coleções
públicas/institucionais. Num país pequeno, como Portugal, e com poucos museus de arte
contemporânea, a questão tem uma importância maior.
Através de três casos de estudo: Ocultação/Desocultação (1978), O desenho da menina a fugir
do seu suporte (2014) e A arte da Fuga (2016), tendo como base a Actor-Network Theory (ANT, Bruno
Latour) aplicada por Vivian van Saaze (2013) e a abordagem biográfica desenvolvida por van de Vall
et al. (2011), esta dissertação pretende a) analisar a trajetória das obras; b) perceber e discutir as
metodologias que melhor se aplicam às caraterísticas e especificidades de cada obra; c) demonstrar
como a ativação de uma instalação é um processo colaborativo e dinâmico e de como os vários
intervenientes influenciam este processo; d) refletir sobre o processo de tomada de decisão e sobre quem
são os/as agentes responsáveis pela preservação e ativação da obra na ausência da artista; e) propor e
produzir uma documentação que permita a preservação e apresentação das obras no futuro; e f) pensar
como é que esta documentação é produzida e utilizada.
Entre 2017 e 2019 acompanhei diversas montagens de instalações em diferentes contextos e
instituições, que foram analisadas e documentadas. A ativação das obras foi fundamental para perceber
os desafios colocados, as suas complexidades e contextos, assim como as suas caraterísticas. No decorrer
da investigação tornou-se claro que o processo de tomada de decisão sem a artista e, agora, dependente
de um conjunto de agentes, vai influenciar a trajetória e resultado final da instalação. Confirmou-se que xiv
a documentação é fundamental na conservação de obras complexas, mas verificou-se uma tendência
para a estabilização da obra, o que por vezes pode não ser a melhor solução para obras que são
inerentemente variáveis. Foi evidente a importância de um/a conservador/a/investigador/a nos processos
de tomada de decisão e de ativação da obra, papel esse ainda pouco reconhecido e inexistente no
contexto museológico e/ou institucional.
A instalação, tal como a sua documentação, é um arquivo de potencialidades que necessita
continuamente de atualizações e reflexões.
This dissertation aims to study a set of installations by the Portuguese artist Ana Vieira (1940- 2016) selected within a nucleus that has 30 installations made between 1977 and 2016, of which 22 belong to her children, Miguel and Paula Nery. In recent years, there has been a growing increase in posthumous contemporary art collections. Lacking the necessary infrastructure, the artists’ heirs now face the challenge of preserving and managing these legacies. Without the presence of the author or the existence of a serious and in-depth study of their work or without a documentation that allows the preservation and activation of its installation works, collections such as Ana Vieira run the risk of disappearing because they lack the safeguard associated with an institutional framework. It has been observed that museological institutions resist acquiring works without documentation and/or that imply high installation and maintenance costs. As a result, many works that are relevant in the art scene and chosen by critics and art historians, are not being incorporated into public/institutional collections. In a small country, like Portugal, with few contemporary art museums, the issue has a greater importance. Through the examination of three case studies: Hiding/Unhiding (1978), The drawing of the girl running away from her support (2014) and Art of Escape (2016), drawing on the Actor-Network Theory (ANT, Bruno Latour) applied by Vivian van Saaze (2013) and the biographical approach developed by van de Vall et al. (2011), this dissertation aims to a) analyze the trajectory of the works; b) understand and discuss methodologies that best apply to the characteristics and specificities of each work; c) demonstrate how the activation of an installation is a collaborative and dynamic process and how the various actors influence this process; d) reflect on the decision-making process and who are the agents responsible for the preservation and activation of the work in the absence of the artist; e) propose and produce documentation that allows the preservation and presentation of the works in the future; f) and think about how this documentation is produced and used. Between 2017 and 2019 I followed several installation works in different contexts and institutions, which were analysed and documented. The activation of the works was fundamental to understanding their challenges, complexities and contexts, as well as their characteristics. In the course of the research, it became clear that, without the presence of the artist, the decision-making process is now dependent on a set of agents who will influence the trajectory and the final result of the installation object. It should be emphasized that although it was confirmed that documentation is fundamental in the conservation of complex works, there is a tendency to stabilize the work, which sometimes may not be the best solution for works that are inherently variable works. Furthermore, the importance of a conservator/researcher in the decision-making and activation processes of the work was evident, a role that is still little recognized and non-existent in the museological and/or institutional context. Installation art, like its documentation, is an archive of potentialities that continually needs up- dates and reflections.
This dissertation aims to study a set of installations by the Portuguese artist Ana Vieira (1940- 2016) selected within a nucleus that has 30 installations made between 1977 and 2016, of which 22 belong to her children, Miguel and Paula Nery. In recent years, there has been a growing increase in posthumous contemporary art collections. Lacking the necessary infrastructure, the artists’ heirs now face the challenge of preserving and managing these legacies. Without the presence of the author or the existence of a serious and in-depth study of their work or without a documentation that allows the preservation and activation of its installation works, collections such as Ana Vieira run the risk of disappearing because they lack the safeguard associated with an institutional framework. It has been observed that museological institutions resist acquiring works without documentation and/or that imply high installation and maintenance costs. As a result, many works that are relevant in the art scene and chosen by critics and art historians, are not being incorporated into public/institutional collections. In a small country, like Portugal, with few contemporary art museums, the issue has a greater importance. Through the examination of three case studies: Hiding/Unhiding (1978), The drawing of the girl running away from her support (2014) and Art of Escape (2016), drawing on the Actor-Network Theory (ANT, Bruno Latour) applied by Vivian van Saaze (2013) and the biographical approach developed by van de Vall et al. (2011), this dissertation aims to a) analyze the trajectory of the works; b) understand and discuss methodologies that best apply to the characteristics and specificities of each work; c) demonstrate how the activation of an installation is a collaborative and dynamic process and how the various actors influence this process; d) reflect on the decision-making process and who are the agents responsible for the preservation and activation of the work in the absence of the artist; e) propose and produce documentation that allows the preservation and presentation of the works in the future; f) and think about how this documentation is produced and used. Between 2017 and 2019 I followed several installation works in different contexts and institutions, which were analysed and documented. The activation of the works was fundamental to understanding their challenges, complexities and contexts, as well as their characteristics. In the course of the research, it became clear that, without the presence of the artist, the decision-making process is now dependent on a set of agents who will influence the trajectory and the final result of the installation object. It should be emphasized that although it was confirmed that documentation is fundamental in the conservation of complex works, there is a tendency to stabilize the work, which sometimes may not be the best solution for works that are inherently variable works. Furthermore, the importance of a conservator/researcher in the decision-making and activation processes of the work was evident, a role that is still little recognized and non-existent in the museological and/or institutional context. Installation art, like its documentation, is an archive of potentialities that continually needs up- dates and reflections.
Descrição
Palavras-chave
Ana Vieira Instalação Preservação Ativação Documentação Legados de artista