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Resistências aos arquivos do mal. Contra-mnemónicas, ficções e ressignificações nas práticas artísticas contemporâneas
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A presente tese tem em particular atenção uma viragem no entendimento do arquivo sentida no contexto das práticas artísticas contemporâneas. Acreditando-se que esta mudança se encontra profundamente relacionada com a aporia do testemunho enunciada pelo filósofo italiano Giorgio Agamben (1942), esta investigação examina aquelas que se consideram ser as principais repercussões da chegada à realidade inarquivável do não dito, essa que é consequente das atrocidades praticadas em Auschwitz (1940-1945) (Holocausto, Segunda Guerra Mundial [1939-1945]). Estabelecendo-se, através dos vários testemunhos, aquele que se julga ser um apanhado suficientemente representativo, o principal objetivo será, então, o de mostrar como é que as práticas artísticas, numa força redentora que se propõe ressignificar ad aeternum, revelaram uma consciência do indizível, esse não dito fundamental ou, antes, essa “lacuna essencial”, e conseguiram resistir aos arquivos do mal, não só transgredindo o poder de exclusão das diretrizes normativas, como também, e sobretudo, libertando o porvir (l’avenir) da violência da antecipação para a qual Jacques Derrida (1930-2004) tantas vezes nos alertou. Os primeiros momentos desta tese contam, assim, com os contributos destes e de outros autores considerados aqui fundamentais para a análise das transformações concernentes ocorridas desde a década de 1960 e para a compreensão dos desenvolvimentos sentidos na última década e meia do século XX, momento que aqui merece maior atenção uma vez que registou um aumento exponencial do recurso a materiais de arquivo, o que levou até a que Hal Foster (1955) se referisse a um “impulso arquivístico” ou mesmo a uma “arte arquivística”. É, pois, na consciência deste impulso que, em seguida, se aprofundam os diferentes modos como os artistas desafiaram, no final do século XX, o poder arcôntico, recusaram o discurso do Um e impulsionaram, através de contra-mnemónicas, o encontro com as margens, a descontinuidade e a espectralidade disruptiva. Derivando do termo “contra-memória” foucaultiano, a noção “contra-mnemónica” entra aqui, assim, para caracterizar as propostas artísticas que dão lugar à alteridade discursiva que materializa os arquivos de resistência. Esta alteridade, e como se exemplifica através de diferentes estudos de caso, assume os mais diversos materiais e formatos, passando pelo reposicionamento de objetos do quotidiano, do documento fotográfico e do medium do cinema, para investir, e como se verá, numa heterogenia narrativa que mergulha na ficção como modo privilegiado de representação do real.
This thesis pays special attention to a turn in the understanding of the archive that was felt in the context of contemporary artistic practices. Positing this change as deeply related to the aporia of testimony that Italian philosopher Giorgio Agamben (1942) describes, this research examines what are considered to be the major repercussions of the arrival for the unarchivable reality of the unsaid, which is consequent upon from the atrocities that took place in Auschwitz (1940–1945) (Holocaust, World War II [1939 1945]). By deploying various testimonies to establish what is thought to be a sufficiently representative cluster, the main aim is to show how artistic practices, through a redeeming, ever-resignifying force, have revealed a consciousness of the unsayable, or the “essential lacuna,” and managed to resist the archives of evil by not only transgressing the normative power of exclusion but also, and mainly, by freeing the time to come (l’avenir) from the violence of anticipation that Jacques Derrida (1930 2004) alerted to again and again. As such, the first parts of this thesis include some contributions by these and other authors, whose work is reckoned as essential for analysing related transformations that have taken place from the 1960s on and for understanding the developments which have been particularly felt during the last decade and a half of the 20th century — a moment in time that merits greater attention, wherein an exponential increase in the deployment of archival materials was witnessed, which even led Hal Foster (1955) to point out an “archival impulse” or an “archival art.” As such, through the consciousness of this impulse, these pages will then look deeper into the different ways that artists, in the late 20th century, challenged the archontic power, rejected the discourse of the One, and, via counter-mnemonics, prompted an encounter with the margins, the discontinuity, and with a disruptive spectrality. Deriving from the Foucauldian term “counter-memory,” the notion “counter-mnemonic” comes in to characterise the artistic proposals that have given way to the discursive alterity which materialises the archives of resistance. This alterity, here exemplified through different case studies, deploys the most varied materials and formats — for instance, repositioning everyday objects, the photographic document, and the cinematic medium — to invest in, as will become clear, a narrative heterogeny that dives into fiction as a privileged means of representation of the real.
This thesis pays special attention to a turn in the understanding of the archive that was felt in the context of contemporary artistic practices. Positing this change as deeply related to the aporia of testimony that Italian philosopher Giorgio Agamben (1942) describes, this research examines what are considered to be the major repercussions of the arrival for the unarchivable reality of the unsaid, which is consequent upon from the atrocities that took place in Auschwitz (1940–1945) (Holocaust, World War II [1939 1945]). By deploying various testimonies to establish what is thought to be a sufficiently representative cluster, the main aim is to show how artistic practices, through a redeeming, ever-resignifying force, have revealed a consciousness of the unsayable, or the “essential lacuna,” and managed to resist the archives of evil by not only transgressing the normative power of exclusion but also, and mainly, by freeing the time to come (l’avenir) from the violence of anticipation that Jacques Derrida (1930 2004) alerted to again and again. As such, the first parts of this thesis include some contributions by these and other authors, whose work is reckoned as essential for analysing related transformations that have taken place from the 1960s on and for understanding the developments which have been particularly felt during the last decade and a half of the 20th century — a moment in time that merits greater attention, wherein an exponential increase in the deployment of archival materials was witnessed, which even led Hal Foster (1955) to point out an “archival impulse” or an “archival art.” As such, through the consciousness of this impulse, these pages will then look deeper into the different ways that artists, in the late 20th century, challenged the archontic power, rejected the discourse of the One, and, via counter-mnemonics, prompted an encounter with the margins, the discontinuity, and with a disruptive spectrality. Deriving from the Foucauldian term “counter-memory,” the notion “counter-mnemonic” comes in to characterise the artistic proposals that have given way to the discursive alterity which materialises the archives of resistance. This alterity, here exemplified through different case studies, deploys the most varied materials and formats — for instance, repositioning everyday objects, the photographic document, and the cinematic medium — to invest in, as will become clear, a narrative heterogeny that dives into fiction as a privileged means of representation of the real.
Descrição
Palavras-chave
Arte Contemporânea Impulso arquivístico Contra mnemónicas Ficção Futuro Contemporary Art Archival impulse Counter-mnemonics Fiction Future