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Dinâmicas conceptuais na Arte Portuguesa, 1972-1977
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Esta dissertação tem por ensejo reflectir sobre três postulados teóricos tradicionalmente
adjudicados às práticas artísticas mais experimentais dos anos 1960 e 1970: anti-modernismo;
desmaterialização da obra de arte; e os conceptualismos. Associados usualmente, dentro da
historiografia de arte, à reconsideração de determinações, de pendor formalista, que dispunham
qualificativamente a obra de arte sob considerações de autonomia, unicidade e no privilégio pela
exploração de essencialidades supostamente inerentes a cada meio.
Reconsiderando as bases teóricas destes termos a partir da produção artística portuguesa
durante esse lapso temporal, com especial pendor para os projectos expositivos engendrados por
Ernesto de Sousa, procura-se evidenciar que esses paradigmas, quando aplicados a uma leitura
da arte nacional em questão, apresentam simultaneamente uma inclinação disruptiva para com o
sistema político e social vigente nesses anos, sobretudo durante o período que compreende o
Estado Novo, até 1974. A arte deixa-se de pensar a si mesma em exclusividade, para repensar
igualmente o quotidiano, propondo novos sistemas de visualização e vivência.
This dissertation discusses the three theoretical terms which are traditionally linked with an experimental art of the 1960s and the 1970s: anti-Modernism, dematerialization of the artwork and conceptualisms. Those terms are frequently associated by art historiography with reconsideration of the formalist view which qualified an artwork under presuppositions regarding its autonomy, uniqueness and ability to explore the essence that was supposedly awarded to the each medium. The work attempts to rethink the theoretical bases for those terms, taking as a departure point Portuguese artistic production during the indicated period, emphasising Ernesto de Sousa’s expositive projects. The dissertation seeks to prove that those paradigms, when applied to the local art in question, reveal certain disruptive inclination toward the currently operating political and social systems, especially until 1974, during the so-called Estado Novo period. Art abandoned concerns related exclusively to itself, in order to rethink day-to-day issues, proposing new systems of visualisation and experience.
This dissertation discusses the three theoretical terms which are traditionally linked with an experimental art of the 1960s and the 1970s: anti-Modernism, dematerialization of the artwork and conceptualisms. Those terms are frequently associated by art historiography with reconsideration of the formalist view which qualified an artwork under presuppositions regarding its autonomy, uniqueness and ability to explore the essence that was supposedly awarded to the each medium. The work attempts to rethink the theoretical bases for those terms, taking as a departure point Portuguese artistic production during the indicated period, emphasising Ernesto de Sousa’s expositive projects. The dissertation seeks to prove that those paradigms, when applied to the local art in question, reveal certain disruptive inclination toward the currently operating political and social systems, especially until 1974, during the so-called Estado Novo period. Art abandoned concerns related exclusively to itself, in order to rethink day-to-day issues, proposing new systems of visualisation and experience.
Descrição
Palavras-chave
Anti-Modernismo Desmaterialização Conceptualismos Anti-Modernism Dematerialization Conceptualisms