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Arte vídeo no atual contexto museológico : problemáticas e novos paradigmas expositivos
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Compreendendo as especificidades particulares do medium videográfico, a sua exposição museológica comportou cuidados e medidas únicas, nunca antes considerados para quaisquer outras tipologias de arte tradicionais. Numa didática de aproximação ao público, a presente dissertação pretende contribuir para um diálogo a respeito da ainda carente integração e inclusão do público atual – dormente e neutro à vasta e intensa cultura imagética contemporânea – no processo receptivo e interpretativo de qualquer peça de vídeo, assim como no espaço expositivo onde esta se insere. Por meio de uma conjugação teórico-prática, no cruzamento entre argumentos e problemáticas outrora identificados por anteriores e influentes historiadores e críticos de arte, uma observação e contacto direto com instituições museológicas e o seu público, e posterior identificação e análise das principais lacunas expositivas do medium, esta investigação propõe a exploração de novos paradigmas expositivos dos novos media, através da elaboração de um Manual de Boas Práticas Expositivas de Arte Vídeo, numa atitude de melhoramento da relação e encontro harmonioso do triângulo arte/público/instituição.
While understanding the peculiar specificities of the videographic medium, its museological exhibition holds unique attention and measures, never before considered to any other traditional typologies of art. In a didactic approach to the public, the present dissertation plans to contribute to a dialogue concerning the still lacking integration and inclusion of the contemporary public – numb and neutral to the vast and intense contemporary image culture – in the receptive and interpretative process of any video piece, as well as in the exhibition space where it is inserted. By means of a theoretical and practical combining, in the crossing of arguments and problematics once identified by previous and influential historians and critics of art, an observation and direct contact with institutions and its public, and a later identification and analysis of the main gaps on the exhibition of the medium, this investigation proposes the development of new exhibition paradigms for new media, through the elaboration of a Manual of Good Video Art Exhibition Practices, in an attitude of improvement of the relation and harmonious meeting concerning the art/public/institution triangle.
While understanding the peculiar specificities of the videographic medium, its museological exhibition holds unique attention and measures, never before considered to any other traditional typologies of art. In a didactic approach to the public, the present dissertation plans to contribute to a dialogue concerning the still lacking integration and inclusion of the contemporary public – numb and neutral to the vast and intense contemporary image culture – in the receptive and interpretative process of any video piece, as well as in the exhibition space where it is inserted. By means of a theoretical and practical combining, in the crossing of arguments and problematics once identified by previous and influential historians and critics of art, an observation and direct contact with institutions and its public, and a later identification and analysis of the main gaps on the exhibition of the medium, this investigation proposes the development of new exhibition paradigms for new media, through the elaboration of a Manual of Good Video Art Exhibition Practices, in an attitude of improvement of the relation and harmonious meeting concerning the art/public/institution triangle.