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Paisagens Cruzadas: Caminho e Rasto na Arte Contemporânea
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Paisagens cruzadas: caminho e rasto na arte contemporânea procura traçar possibilidades de leitura sobre a problematização que se viu ganhar forma: como se materializa a vivência de uma experiência subjectiva?, abordando-se modos de aproximação à questão. Procurar-se-á demonstrar que o contexto em que decorre a experiência subjectiva, sobre a qual a criação artística assenta, pode residir naquilo que designamos de Paisagem; que o modo como é feita a mediação entre o sujeito e o entorno pode ser através da operacionalidade do Caminhar; e que a materialização da experiência pode advir daquilo a que se designa, nesta dissertação, de Rasto. O presente trabalho divide-se em três grandes secções, cuja estrutura segue a mesma cadência com que surgem no título.
Na primeira parte, partindo da ideia que uma paisagem resulta tanto das suas camadas geológicas quanto dos seus estratos de memória, desenvolve-se uma abordagem mnemónica à paisagem, através de mapeamentos e narrativas que permitem compreendê-la, não apenas de um modo subjectivo, mas, também, operativo.
Na segunda parte, é abordada a acção de caminhar como uma das formas de aproximação à paisagem mais primordial e acessível; isto é, o caminhar enquanto modo de conhecimento de territórios, sítios e lugares, de entornos naturais e urbanos, a partir dos quais, quando cruzados pela marcha, surgem reflexões estéticas e criações artísticas. Irá ser aferido como este acto, por definição transitório e imaterial, veio a ter um papel fundamental, com profundas consequências no processo artístico da década de 1960 em diante, e a ser considerado uma prática artística em si.
É na terceira parte, partindo destas várias acções e declarações artísticas em lugares, que se mobilizou o conceito de rasto como categoria e designação para a compreensão dessas criações artísticas. Nesta investigação, chamaremos a esses legados materiais, de uma experiência subjectiva que se dá na paisagem através da operacionalidade do caminhar, de rastos. São materializações que resgatam e identificam acções humanas, com uma intencionalidade e propósito específicos, que de outra forma desapareceriam, tal como uma pegada. Os rastos são vistos, neste contexto, como criações artísticas em tempos distintos, que perpetuam técnicas, mediações e escalas entre a criação e o território em que são materializadas - sobrevivendo anacronicamente aos tempos.
Crossed landscapes: path and trace in contemporary art seeks to trace possible readings about the problematization: how does the experience of a subjective experience materialize?, addressing ways of approaching this question. It will seek to demonstrate that the context in which subjective experience takes place, on which artistic creation is based, can reside in what we call Landscape; that the way the mediation between the subject and the surroundings can be carried out through the operability of Walking; and that the materialization of that experience can accrue from what is designated, in this dissertation, as Trace. The present work is divided into three large sections, whose structure follows the same sequence stated in the title. In the first section, starting from the idea that a landscape derives from both geological layers and memory strata, a mnemonic approach to landscape is developed, through mapping and narratives that allow its understanding, not only from a subjective but also operative way. In the second section, walking is taken as one of the most primordial and accessible ways of approaching landscape; that is, walking as a way of knowing territories, sites and places, of natural and urban surroundings, from which, when crossed by walking, aesthetic reflections and artistic creations arise. It will be assessed how this act, by definition transitory and immaterial, came to play a fundamental role, with profound consequences in the artistic process from the 1960s onwards, and to be considered an artistic practice in itself. It is in the third section, departing from these various actions and artistic declarations in places, that the concept of trace was summoned as a category and denomination for understanding these artistic creations. In this research, these material legacies, of subjective experiences that take place in the landscape through the operability of walking, will be deemed traces. They are materializations that rescue and identify human actions, with a specific intention and purpose, hat would otherwise disappear, just like a footprint. Traces are seen, in this context, as artistic creations in different periods, which perpetuate techniques, mediations and scales between the creation and the territory in which they are materialized — anachronistically outliving time.
Crossed landscapes: path and trace in contemporary art seeks to trace possible readings about the problematization: how does the experience of a subjective experience materialize?, addressing ways of approaching this question. It will seek to demonstrate that the context in which subjective experience takes place, on which artistic creation is based, can reside in what we call Landscape; that the way the mediation between the subject and the surroundings can be carried out through the operability of Walking; and that the materialization of that experience can accrue from what is designated, in this dissertation, as Trace. The present work is divided into three large sections, whose structure follows the same sequence stated in the title. In the first section, starting from the idea that a landscape derives from both geological layers and memory strata, a mnemonic approach to landscape is developed, through mapping and narratives that allow its understanding, not only from a subjective but also operative way. In the second section, walking is taken as one of the most primordial and accessible ways of approaching landscape; that is, walking as a way of knowing territories, sites and places, of natural and urban surroundings, from which, when crossed by walking, aesthetic reflections and artistic creations arise. It will be assessed how this act, by definition transitory and immaterial, came to play a fundamental role, with profound consequences in the artistic process from the 1960s onwards, and to be considered an artistic practice in itself. It is in the third section, departing from these various actions and artistic declarations in places, that the concept of trace was summoned as a category and denomination for understanding these artistic creations. In this research, these material legacies, of subjective experiences that take place in the landscape through the operability of walking, will be deemed traces. They are materializations that rescue and identify human actions, with a specific intention and purpose, hat would otherwise disappear, just like a footprint. Traces are seen, in this context, as artistic creations in different periods, which perpetuate techniques, mediations and scales between the creation and the territory in which they are materialized — anachronistically outliving time.
Descrição
Palavras-chave
Paisagem Caminhar Arte contemporânea Processos artísticos Landscape Walking Traces Artistic processes Contemporary art