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A Instalação em Âmbito Museológico: Desafios e Estratégias para o Futuro
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Orientador(es)
Resumo(s)
O desenvolvimento, sobretudo desde meados do século XX, de formas artísticas, entre
as quais a instalação, que incluem novos materiais e componentes intangíveis, veio questionar
as estratégias de conservação focadas na materialidade das obras de arte, que predominaram
ao longo do século passado. Os desafios lançados aos museus fomentaram um debate
a nível internacional que, particularmente desde a década de 1990, deu origem a diversas
iniciativas que discutiram princípios e metodologias, propondo novos enquadramentos éticos.
Nesta dissertação discutimos, a partir da instalação, aquele que recentemente foi
chamado de “performance paradigm”. Este agrupa um conjunto de propostas que sugeriram
que a conservação das instalações pressupõe a manutenção das características que constituem
a identidade das obras. Focamo˗nos particularmente na chamada intenção do artista, que tende
a ser sugerida como ponto de referência para a selecção destas características, reflectindo
sobre algumas das limitações desta proposta.
Dada a falta de discussão da noção de ‘instalação’ nesta área, começamos por analisar
este conceito e a forma como tem sido tratado na bibliografia, sugerindo um conjunto de particularidades
que, ainda que de modo flexível, ajudam a definir esta categoria. Em seguida,
com recurso a uma selecção de casos, demonstramos alguns dos desafios que a instalação
coloca aos museus, particularmente o modo como as obras variam ao longo das suas diversas
apresentações e as dificuldades que podem surgir na passagem de testemunho do artista para
o museu. Segue˗se a análise do chamado performance paradigm e da possibilidade de integrar
a instalação no conjunto das artes alográficas, como já tem sido sugerido. Depois de
aprofundar as bases da noção de arte alográfica no pensamento dos filósofos Nelson Goodman
e Gérard Genette, propomos que o processo de constituição da identidade da obra pode
ser entendido como uma ‘redução alográfica’, como proposta pelo último.
Dada a importância que tem sido atribuída à chamada ‘intenção do artista’ na determinação
das propriedades fundamentais das instalações, problematizamos esta noção, geralmente
utilizada de forma vaga, com recurso a discussões no âmbito de outras disciplinas.
Apesar da sua relevância no processo criativo, defendemos que esta é parcialmente inacessível.
Nesse sentido, propomos que a constituição da ‘identidade’ de uma instalação não deve
partir da ‘intenção do artista’ mas das manifestações da obra, com particular atenção às decisões
(ou ratificações) tomadas nas diversas apresentações, não só pelo artista, mas também
pelos outros profissionais envolvidos.
The development of artistic forms, mainly since mid XXth century, that comprise innovative materials and intangible elements ˗ amongst which is installation art ˗ challenges conservation strategies focused on artworks materiality which prevailed during the last century. Questions arouse, giving way to an international discussion and many initiatives in which principles and methodologies were debated, and new ethic frameworks proposed. With a focus on installation art, this dissertation discusses the recently named “performance paradigm” ˗ a paradigm that gathers several views which argue that installation art conservation implies maintaining the artwork’s main features that constitute its identity. We focus on the so called ‘artist’s intention’, usually suggested as a guideline for selecting the work defining properties, and consider this approach’s limitations. First, we address the concept of installation art, which lacks discussion in this area of study. We examine how it has been dealt with in specific literature and propose a group of features which help define the concept without stripping off its flexibility. Second, and building on a selection of case studies, we exemplify some of installation art challenges to museum practices, namely its variability as well as knowledge transfer issues between museums and artists. Then, we discuss the “performance paradigm” and the possible inclusion of installation art in “allographic arts”, as already proposed by several authors. After delving into Nelson Goodman’s and Gérard Genette’s perspectives on the matter of allographic arts, we argue that the artwork identity construction can be understood as an ‘allographic reduction’ as defined by Genette. Given the importance usually ascribed to the artist’s intent in the definition of an artwork’s identity and defining properties, we address this notion ˗ typically used in a vague manner ˗ by resorting to discussions from other areas of study. In spite of its importance during the creative process, we argue that the artist’s intentions are partially elusive. As such, we propose that the construction of an artwork’s identity should stem from its manifestations and not from the artist’s intentions, taking in consideration the decisions or sanctions that take place in the reinstallation processes, not only by the artist but also from other actors.
The development of artistic forms, mainly since mid XXth century, that comprise innovative materials and intangible elements ˗ amongst which is installation art ˗ challenges conservation strategies focused on artworks materiality which prevailed during the last century. Questions arouse, giving way to an international discussion and many initiatives in which principles and methodologies were debated, and new ethic frameworks proposed. With a focus on installation art, this dissertation discusses the recently named “performance paradigm” ˗ a paradigm that gathers several views which argue that installation art conservation implies maintaining the artwork’s main features that constitute its identity. We focus on the so called ‘artist’s intention’, usually suggested as a guideline for selecting the work defining properties, and consider this approach’s limitations. First, we address the concept of installation art, which lacks discussion in this area of study. We examine how it has been dealt with in specific literature and propose a group of features which help define the concept without stripping off its flexibility. Second, and building on a selection of case studies, we exemplify some of installation art challenges to museum practices, namely its variability as well as knowledge transfer issues between museums and artists. Then, we discuss the “performance paradigm” and the possible inclusion of installation art in “allographic arts”, as already proposed by several authors. After delving into Nelson Goodman’s and Gérard Genette’s perspectives on the matter of allographic arts, we argue that the artwork identity construction can be understood as an ‘allographic reduction’ as defined by Genette. Given the importance usually ascribed to the artist’s intent in the definition of an artwork’s identity and defining properties, we address this notion ˗ typically used in a vague manner ˗ by resorting to discussions from other areas of study. In spite of its importance during the creative process, we argue that the artist’s intentions are partially elusive. As such, we propose that the construction of an artwork’s identity should stem from its manifestations and not from the artist’s intentions, taking in consideration the decisions or sanctions that take place in the reinstallation processes, not only by the artist but also from other actors.
Descrição
Palavras-chave
Instalação Conservação Arte alográfica Identidade Installation art Conservation Allographic art Identity Performance paradigm