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FBA-CIEBA: Revista Convocarte

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A Convocarte — Revista de Ciências da Arte é uma revista digital da FBAUL que visa promover o debate e edição de questões artísticas no espaço universitário, tendo as seguintes coordenadas dominantes: convocar um número de especialistas em torno de um tema do mundo das artes, integrar trabalhos relevantes desenvolvidos nas fases curriculares e de projecto dos mestrados e de doutoramento da FBAUL e publicar trabalhos desenvolvidos em linhas de investigação do CIEBA. Aproveitando os meios digitais, esta revista pretende ser um mecanismo científico ágil e dinâmico, com uma larga plataforma de modos de reflexão sobre as artes, sendo expressão do modo sincrético de funcionamento afecto à área científica de Ciências da Arte, incorporando ensaios de predomínio teórico enraizado nos mais predominantes modos de discurso sobre arte: História da arte, Crítica de Arte, Estética, Teorias da Arte ou Curadoria. Para saber mais http://convocarte.belasartes.ulisboa.pt/

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  • Espírito de Missão
    Publication . Freitas da Costa, Diogo
    Aesthetic Missions, (Missões Estéticas de Férias) was a program of summer artistic residencies intended for outstanding undergraduate art students. Created in 1937 with the explicit aim of “integrating Art in an active and unitary program of national education” and “endowing artists and art students with a knowledge of the nation’s aesthetic heritage”, it involved a collaboration between major political, cultural and academic institutions of Estado Novo. Until 1963, yearly editions were held throughout Portugal’s different regions, exploiting relations between periphery and center as a means of indoctrinating a cultural elite in Nationalistic values. This essay will deliver an overview of the program, focusing specifically on two significant dimensions. Firstly, it will discuss how this program effectively strove to transfer the concept of nationalism from the political to the aesthetic sphere, based on a complex interplay between notions of local identity and historical heritage. Secondly, it will argue that such a transference was made operative through what we may call an “expanded” conception of the studio, describing some of the features implied in setting up young artists in temporary working spaces in locals, conceived as “centers of irradiation”.
  • Diálogo europeu sobre arte contemporânea no Centro de Arte Moderna
    Publication . Jeremias, Joana Leão
    In March, 1985 the Center of Modern Art (CAM) of the Calouste Gulbenkian Foundation received the «First Dialogue-Exhibition on Contemporary Art in Europe», an exhibition promoted by the Council of Europe and René Berger. This counted with the presence of eight European museums, included CAM, the institution that received it. Each museum should select works of art from their recent acquisitions, that would be placed in dialogue with each other’s, allowing a glance on the contemporary artistic creation, the role of the museums of modern art in their relation with it, and the definition of a European cultural identity. In this article, we will explore the concept of the exhibition, verifying its consequent applications and the reception of the art critic.
  • No centro da periferia. Os independentes do modernismo português
    Publication . Reis, Leonor
    This paper seeks to address the origins and trajectory of the so-called independents of Portuguese Modernism on which it aims to shed new light by establishing a direct connection between the Grupo dos Artistas Independentes born in Ma- deira in 1918, and the Independents’ movement which made itself known to Lisbon audiences and critics with the 1923 exhibition at Sociedade Nacional das Belas-Artes. We base our argument on the journey of the three Madeiran artists, Francisco Franco, Henrique Franco and Alfredo Miguéis, from their studies as bursary holders in Paris, to their intellectual gatherin- gs at the Golden Gate in Funchal, to their participation in the 1st Exhibition of Modern Painting and Sculpture of Funchal in 1922. Neglected by Portuguese art historiography this unprecedented although isolated exhibition which was the prelude to the Cinco Independentes exhibition the following year, is a key element of this study.
  • Historiografia da arte portuguesa – A segunda metade do século XIX
    Publication . Calado, Margarida
    Après l’article dédié à Raczynski, on aborde ici les théoriciens et les artistes qui ont contribué pour le dévélopment de l’histoire de l’art pendant la seconde moitié du XIXème siècle, en commençant pour détacher ceux qui ont collaboré avec Raczynski (Visconde da Juromenha et Assis Rodrigues). On parle aussi des revues illustrées et des monographies sur nos monu- ments, en détachant les collabora- teurs comme Vilhena Barbosa. On acentue l’importance des dictionnaires géographiques et chorographiques dont on détache le Portugal Antigo e Moderno de Pinho Leal. Aprés on voit apparaître les guides et les inventaires comme le Guia de Portugal et les inventaires publiés par l’Académie Nationale des Beaux-Arts jusqu’à présent. On a détaché les historiens locaux qui ont mis en valeur l’héritage de leur régions, comme Filipe Simões à Coimbra, Martins Sarmento à Guimarães et Vieira Natividade en Alcobaça. Enfin on a parle sur les musées qui sont créés pendant le XIXème et le XXème siècles três importants pour le dévelopment de ces études.
  • Esthétique du jeu vidéo: l’art de la régression
    Publication . Krajewski, Pascal
    We propose to “to do as if” video game was an art and to think of what is at play in its reception. Our hypothesis will be : the video games' pleasure is a conscious regressive pleasure, intensifying by the awareness of our becoming- a-child and the excessive and transgressive way of doing so. The player re-becomes a dreaming child, whose playful spirit would give birth to a whole fantasy triggered by the real. That is the point where psychoanalysts (Freud and Winnicott) identifies the germs of creation and creativity, when is expressing the same « omnipotence of thoughts » that art activates at an adult stage. The video games' experience would ally a double pleasure : an interactive spectacle (a neo-aesthetic) and a creative impulse (a proto-poïétic). Yet, is such a regressive way of reaching infantile creative stages enough to make it an art?
  • Artes da Esquiva - Jogar às Escondidas na Época da Vigilância Ubíqua
    Publication . Matoso, Rui
    Recognizing that the global situation of the world is not for fun, there are artists who confront the presence of new forms of technological domination, before which they oppose critically, playfully and politically. This article intends to identify the control powers and technologies present in our contemporaneity, as well as to analyze the techno-aesthetic modulations that various artists have been proposing as artistic practices of resistance to the permanent vigilance or trivialization of biometric and facial recognition technologies. In this context, Zach Blas his projects, carried out between 2011 and 2016, directly target the critique and dramatization of biopolitical control practices through face identification. Complementary to the practices of resistance in the field of Tactical Media, there are works that denote a strategy of confrontation and civil disobedience, although in the same board of the hidden game. Artists like Trevor Paglen or Harun Farocki have been developing actions that seek to deconstruct and unveil the military-industrial complex and the devices of cybernetic power.
  • A Ludectrofobia dos críticos de arte
    Publication . Gouveia, João Ricardo Faria de
    The following work explores the relationship of art critics with video games through the analysis of interviews, manifestoes, reviews, and critiques. It is our aim to put in evidence the uneasiness of the art critic to talk about videogames, what we have called “ludectrophobia”. The prevailing critical silence calls attention to the position of videogames in the art world and simultaneously serves as a launching platform in tracing a critical argumentation of videogames based on manifestos and thesis that we found on the theme.
  • En quoi les jeux vidéos sont-ils différents.... ?
    Publication . Natkin, Stéphane
    Starting from an analysis of what differentiates video games from other media, considered from the point of view of aesthetics, creative processes and the organization of this production, we show that this analysis is the foundation of the pedagogy that has been developed for more than fifteen years at the Graduate School of Digital Games and Interactive Media (Enjmin).
  • How to know if it is art? The case of video games
    Publication . Krajewski, Pascal
    Se demander si le jeu vidéo est un art reviendrait sans doute à se demander s'il a accouché d’œuvres d'art ou s'il est susceptible de créer des sentiments esthétiques. Faisant le tour des différents discours de légitimation qui ont eu cours, nous pouvons observer un large panel de plaidoyers : l'enrôlement dans un contexte artistique institutionnel, l'analogie avec des arts connexes reconnus, l'intégration dans un système des beaux-arts élargi, l'identification de marqueurs universels de l'art, l'élection de (proto) chefs d’œuvres ou la mise en avant de principes compatibles avec l'art. Cependant, aucune de ces méthodes ne pourra convaincre le détracteur, et Benjamin pourrait fournir une attitude plus sage et pragmatique : faire comme si le jeu vidéo était un art – pour voir ce qu'il fait à notre sensibilité.
  • As teias que convergem para o videojogo
    Publication . Brito Nogueira, Cicero
    The research elect the video game Spider-Man (Insomniac Game/ Sony Interactive, 2018) as a key element in the convergence of the expanding Universe of Marvel. The objective of understanding how the video games features interlocking elements of cartoons and movies. For the theoretical basis of the research the following authors: Jenkins (2009), Luz (2010), Fernandes and Bianchu (2016). The methodology was qualitative work focusing on case studies and comparative analysis of the narrative of the three averages. In this way it was found that the video game studied brought an Intertextuality with other medies, informing additional issues and completing others listed by movies and cartoons.