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A atenção numa relação estética: do espaço do museu ao quotidiano
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As relações com a arte são complexas, ambíguas e difíceis de definir. Ao longo do tempo, estas relações têm sido marcadas por contradições, com autores a defender, por um lado, que a arte deve ser experienciada num ambiente neutro, que permita a sua devida contemplação e, por outro, que os objetos artísticos apenas se completam na presença dos espetadores, sendo que são estes que lhes atribuem valor e significado. Os museus, ao longo das últimas décadas, têm-se debatido com esta questão, procurando estratégias expositivas que possibilitem a apreciação e apreensão dos objetos, e das ideias que estes incorporam, por parte dos visitantes. O espaço do museu proporciona encontros particulares com a arte. Estes encontros são definidos pelo próprio museu, pelos curadores ou pelos artistas; todavia, são também definidos pelos visitantes, que entram no museu, olham, escutam, percecionam e refletem. Neste trabalho, defender-se-á que o conceito de relação estética permite problematizar as experiências que ocorrem no museu entre os espetadores, o espaço e os objetos. Partindo do pensamento de Jean-Marie Schaeffer, esclarecer-se-á que este tipo de relações intencionais ocorre a um ritmo específico, no qual os objetos, o tempo ou o espaço podem ser experienciados e conhecidos de uma forma também específica. Esta ideia fundamentar-se-á na teoria fenomenológica de Maurice Merleau-Ponty, que permitirá pensar a perceção enquanto elemento central para compreender a experiência no mundo e o próprio conhecimento. Para pensar o aspeto da relação estética que permite que os objetos sejam conhecidos de forma especial, sugerir-se-á o conceito de atenção. A atenção na relação estética será problematizada, a partir de Merleau-Ponty e Schaeffer, para compreender a possibilidade de este tipo de relação permitir um acesso à arte, à história e à cultura, não se esgotando na contemplação e na apreciação formal e momentânea dos objetos. Esta ideia basear-se-á numa análise ao fenómeno da perceção, como abordado por Merleau-Ponty e por Walter Benjamin; numa investigação sobre o conceito de relação estética, desde a Immanuel Kant até Schaeffer; e num estudo sobre o conceito de atenção. O trabalho teórico será orientado a partir de três exposições, visitadas ao longo do ano de 2023 na Alemanha: The Museum of Ostracism (2018), de Sandra Gamarra Heshiki, Hamburger Bahnhof –Nationalgalerie der Gegenwart; Rethinking and Re-envisioning the Collection. In the Course of Time (2023), Kunstsammlung Nordrhein-Westfalen; O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies (2023), Haus der Kulturen der Welt.
Relationships with art are complex, ambiguous, and difficult to define. Over time, these relationships have been marked by contradictions. Some authors argue, on one hand, that art should be experienced in a neutral space that allows it to be properly contemplated, and on the other hand, that art objects are only completed in the presence of the spectators, who attribute value and meaning to them. Museums, over the past decades, have been debating this issue, seeking exhibition strategies that enable visitors to appreciate and apprehend the objects, as well as the ideas they embody. The museum space provides particular encounters with art. These encounters are defined by the museum itself, by the curators or by the artists; nevertheless, they are also defined by the visitors, who enter the museum, look, listen, perceive, and reflect. In this work, it will be argued that the concept of aesthetic relation allows for problematizing the experiences that occur in the museum among the spectators, the space, and the objects. Drawing from the thinking of Jean-Marie Schaeffer, it will be argued that this type of intentional relations occurs in a specific rhythm, in which objects, time or space can also be experienced and known in a specific way. This idea will also be based on Maurice Merleau-Ponty’s phenomenological theory, which will contribute to the idea that perception is a fundamental element for understanding experience and knowledge itself. To think about the aspect of the aesthetic relation that allows objects to be known in a special way, the concept of attention will be suggested. Attention in aesthetic relations will be problematized, drawing from Merleau-Ponty and Schaeffer, to understand the possibility of this type of relation allowing access to art, history, and culture, not being limited to the contemplation and formal and momentary appreciation of objects. This idea will be based on an analysis of the phenomenon of perception, as approached by Merleau-Ponty and Walter Benjamin; on an investigation into the concept of aesthetic relation, from Immanuel Kant to Schaeffer; and on a study on the concept of attention. The theoretical work will be guided by three exhibitions visited throughout the year 2023 in Germany: The Museum of Ostracism (2018), by Sandra Gamarra Heshiki, Hamburger Bahnhof –Nationalgalerie der Gegenwart; Rethinking and Re-envisioning the Collection. In the Course of Time (2023), Kunstsammlung Nordrhein-Westfalen; O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies (2023), Haus der Kulturen der Welt.
Relationships with art are complex, ambiguous, and difficult to define. Over time, these relationships have been marked by contradictions. Some authors argue, on one hand, that art should be experienced in a neutral space that allows it to be properly contemplated, and on the other hand, that art objects are only completed in the presence of the spectators, who attribute value and meaning to them. Museums, over the past decades, have been debating this issue, seeking exhibition strategies that enable visitors to appreciate and apprehend the objects, as well as the ideas they embody. The museum space provides particular encounters with art. These encounters are defined by the museum itself, by the curators or by the artists; nevertheless, they are also defined by the visitors, who enter the museum, look, listen, perceive, and reflect. In this work, it will be argued that the concept of aesthetic relation allows for problematizing the experiences that occur in the museum among the spectators, the space, and the objects. Drawing from the thinking of Jean-Marie Schaeffer, it will be argued that this type of intentional relations occurs in a specific rhythm, in which objects, time or space can also be experienced and known in a specific way. This idea will also be based on Maurice Merleau-Ponty’s phenomenological theory, which will contribute to the idea that perception is a fundamental element for understanding experience and knowledge itself. To think about the aspect of the aesthetic relation that allows objects to be known in a special way, the concept of attention will be suggested. Attention in aesthetic relations will be problematized, drawing from Merleau-Ponty and Schaeffer, to understand the possibility of this type of relation allowing access to art, history, and culture, not being limited to the contemplation and formal and momentary appreciation of objects. This idea will be based on an analysis of the phenomenon of perception, as approached by Merleau-Ponty and Walter Benjamin; on an investigation into the concept of aesthetic relation, from Immanuel Kant to Schaeffer; and on a study on the concept of attention. The theoretical work will be guided by three exhibitions visited throughout the year 2023 in Germany: The Museum of Ostracism (2018), by Sandra Gamarra Heshiki, Hamburger Bahnhof –Nationalgalerie der Gegenwart; Rethinking and Re-envisioning the Collection. In the Course of Time (2023), Kunstsammlung Nordrhein-Westfalen; O Quilombismo: Of Resisting and Insisting. Of Flight as Fight. Of Other Democratic Egalitarian Political Philosophies (2023), Haus der Kulturen der Welt.
Descrição
Palavras-chave
Atenção Museu Perceção Espetador Relação estética Experiência Attention Museum Perception Spectator Aesthetics relation Experience