A carregar...
Publicação
Expor a História: O passado no presente. Paris New York (1977) e Monte Verità (1978)
| Nome: | Descrição: | Tamanho: | Formato: | |
|---|---|---|---|---|
| 295.18 MB | Adobe PDF |
Orientador(es)
Resumo(s)
A presente dissertação procura analisar, através do estudo das exposições “Paris-New York” (1977) e “Monte Verità” (1978), as motivações da reemergência da história no campo da curadoria no final da década de 1970. A primeira destas exposições, comissariada por Pontus Hultén para a inauguração do Centre Georges Pompidou traçava os intercâmbios culturais entre Paris e Nova Iorque, e a segunda, com curadoria de Harald Szeemann, apresentava uma história das ideias utópicas no local onde estas haviam sido exploradas: a região do Ticino (sul da Suíça). Estas mostras, centradas sensivelmente no mesmo período histórico, apresentavam diferentes abordagens sobre a História da Cultura do século XX. Dividido em três partes, este trabalho inicia-se com um olhar panorâmico sobre as transformações sociais e culturais que ocorreram na Europa e nos Estados Unidos entre 1957, ano aqui definido como início dos long sixties, e o final da década de 1970,
momento em que estas exposições são apresentadas ao público. Deste período são eleitos alguns movimentos, problemáticas e acontecimentos que o caracterizam, e que servem igualmente para contextualizar o posicionamento e actuação dos respectivos curadores. A segunda parte centra-se nos percursos de Hultén e Szee mann, analisados em paralelo, detectando-se inovações, continuidades e rupturas entre as mostras em estudo e ideias e estratégias expositivas anteriores. A terceira, e última parte, é dedicada
à análise crítica das exposições “Paris-New York” e “Monte Verità”, enquadrando-as nos respectivos projectos de museu – o Musée National d’Art Moderne du Centre Georges Pompidou e o contra-museu “Museum der Obsessionen”. Nesta são aprofundadas as estratégias expositivas, as formas de construção do discurso e suportes de comunicação adoptados, bem como as reacções do público e da crítica, culminando numa análise comparativa, que clarifica os contributos de ambas as mostras para uma visão mais alargada da história da arte e das ideias do século XX e para a prática curatorial contemporânea.
This dissertation seeks to analyse the motivations behind the re-emergence of history within the field of curatorial discourse in the late 1970s, through the study of the exhibitions “Paris-New York” (1977) and “Monte Verità” (1978). The former, curated by Pontus Hultén for the opening of the Centre Georges Pompidou explored the cultural exchanges between Paris and New York, while the latter presented a history of utopian ideas, and it was held by Harald Szeemann in the region of Ticino in southern Switzerland where those ideas where explored. Both exhibitions covered almost the same historic period but presented different approaches to the History of 20th-century Culture. This work is divided into three parts. The first one provides a historical overview of the social and cultural transformations that took place in Europe and in the United States between 1957, the year that one defined as the beginning of the long sixties, and the end of the 1970s, when “Paris-New York” and “Monte Verità” opened to the public. Some movements, issues, and events that characterized that period are addressed. This historical overview also serves to contextualize the curators’ stances and actions. The second part focuses on the parallel careers of the two contemporaries Hultén and Szeemann, detecting innovations, continuities and ruptures between the exhibitions under study and previous ideas and displaying strategies. The third, and last part is devoted to the critical analysis of the exhibitions “Paris-New York” and “Monte Verità”, taking into account the museum projects in which they were included – the Musée National d’Art Moderne du Centre Georges Pompidou and the counter-museum “Museum der Obsessionen”, respectively. In this part one reflects on the displaying strategies, the forms of discourse, the interpretive and communicative media, as well as the exhibition reviews and public reactions. Finally, a comparative analysis clarifies the contributions of both exhibitions to a broader perspective on the History of 20th-century Art and Ideas and to the contemporary curatorial practice.
This dissertation seeks to analyse the motivations behind the re-emergence of history within the field of curatorial discourse in the late 1970s, through the study of the exhibitions “Paris-New York” (1977) and “Monte Verità” (1978). The former, curated by Pontus Hultén for the opening of the Centre Georges Pompidou explored the cultural exchanges between Paris and New York, while the latter presented a history of utopian ideas, and it was held by Harald Szeemann in the region of Ticino in southern Switzerland where those ideas where explored. Both exhibitions covered almost the same historic period but presented different approaches to the History of 20th-century Culture. This work is divided into three parts. The first one provides a historical overview of the social and cultural transformations that took place in Europe and in the United States between 1957, the year that one defined as the beginning of the long sixties, and the end of the 1970s, when “Paris-New York” and “Monte Verità” opened to the public. Some movements, issues, and events that characterized that period are addressed. This historical overview also serves to contextualize the curators’ stances and actions. The second part focuses on the parallel careers of the two contemporaries Hultén and Szeemann, detecting innovations, continuities and ruptures between the exhibitions under study and previous ideas and displaying strategies. The third, and last part is devoted to the critical analysis of the exhibitions “Paris-New York” and “Monte Verità”, taking into account the museum projects in which they were included – the Musée National d’Art Moderne du Centre Georges Pompidou and the counter-museum “Museum der Obsessionen”, respectively. In this part one reflects on the displaying strategies, the forms of discourse, the interpretive and communicative media, as well as the exhibition reviews and public reactions. Finally, a comparative analysis clarifies the contributions of both exhibitions to a broader perspective on the History of 20th-century Art and Ideas and to the contemporary curatorial practice.
Descrição
Palavras-chave
Pontus Hultén Harald Szeemann Centre Pompidou Exposições históricas Modernismo História das ideias do séc. XX. Historical exhibitions Modernism History of ideas in 20th-century