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Carpe Diem, Houdini is not dead : fragmentação, performatividade e memória no movimento entre as imagens do quotidiano
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Resumo(s)
Esta tese explora as relações entre experiência, representação e memória autobiográfica dos espaços da rotina pendular a partir do seu mapeamento fotográfico, no contexto da minha própria prática artística dos últimos dezassete anos. Para este efeito, altera o foco tradicional da análise da representação do espaço, da imagem fotográfica propriamente dita para a ação de fotografar, abrindo, assim, espaço para uma observação dos efeitos do fotográfico na experiência corpórea do espaço através de três campos de referência: paisagem e lugar/espaço; experiência e representação; e memória. Este foco no corpo como prática, tanto da rotina pendular que observa, como da própria rotina de observação, permite pensar o fotográfico como um efeito de performatividade que alarga a prática como a entendemos a uma função política e social maior. Considera como principais efeitos do fotográfico: a performatividade, a repetição, a fragmentação, e a relação de distância ao objeto de observação. Ao surgir numa época em que a introdução de novos elementos tecnológicos vem por em causa alguns dos alicerces da imagem fotográfica – a objetividade/verosimilhança e o caráter de verdade tradicionalmente associados à imagem – e em que a minha própria prática vai sofrendo alterações pelo questionamento desses novos elementos, a tese identifica e torna pensante uma hesitação entre as duas rotinas, a pendular e a do seu mapeamento, e entre dois modelos de organização a partir da imagem, um burocrático, assente no controlo vertical da informação, e um eletrónico, assente na ideia de instantaneidade e horizontalidade da partilha. Neste hiato entre algo que deixou de ser e algo que ainda não é, proponho uma revisitação do mapeamento fotográfico do quotidiano, já não como representação objetiva, distante e independente, mas como um convite à experiência da presença como relação, a uma celebração poética da experiência do corpo no espaço.
This thesis explores the relationships between experience, representation, and autobiographical memory of commuting routine spaces through their photographic mapping, within the context of my own artistic practice over the last seventeen years. To this end, it shifts the traditional focus in the representation of space from the photographic image itself to the action of photographing, thus making room for an observation of the effects of the photographic on the corporeal experience of space in three fields of reference: landscape and place/space; experience and representation; and memory. This focus on the body as practice, both of the routine of commute it observes and of the routine of observation itself, allows us to think of the photographic as an effect of performativity that extends practice as we understand it to a broader political and social function. It considers as main photographic effects: performativity, repetition, fragmentation, and the relationship of distance to the object of observation. Emerging at a time when the introduction of new technological elements challenges some of the foundations of the photographic image – the objectivity/verisimilitude and truth character traditionally associated with the image – and when my own practice undergoes changes through questioning these new elements, the thesis identifies and makes thinkable a hesitation between the two routines, the commuting and its mapping, and between two models of organization based on image, a bureaucratic one, based on vertical control of information, and an electronic one, based on the idea of instantaneity and horizontality of sharing. In this hiatus between something that ceased to be and something that is not yet, I propose a revisitation of the photographic mapping of everyday life, no longer as an objective, distant, and independent representation, but as an invitation to experience presence as relationship, to a poetic celebration of the body's experience in space.
This thesis explores the relationships between experience, representation, and autobiographical memory of commuting routine spaces through their photographic mapping, within the context of my own artistic practice over the last seventeen years. To this end, it shifts the traditional focus in the representation of space from the photographic image itself to the action of photographing, thus making room for an observation of the effects of the photographic on the corporeal experience of space in three fields of reference: landscape and place/space; experience and representation; and memory. This focus on the body as practice, both of the routine of commute it observes and of the routine of observation itself, allows us to think of the photographic as an effect of performativity that extends practice as we understand it to a broader political and social function. It considers as main photographic effects: performativity, repetition, fragmentation, and the relationship of distance to the object of observation. Emerging at a time when the introduction of new technological elements challenges some of the foundations of the photographic image – the objectivity/verisimilitude and truth character traditionally associated with the image – and when my own practice undergoes changes through questioning these new elements, the thesis identifies and makes thinkable a hesitation between the two routines, the commuting and its mapping, and between two models of organization based on image, a bureaucratic one, based on vertical control of information, and an electronic one, based on the idea of instantaneity and horizontality of sharing. In this hiatus between something that ceased to be and something that is not yet, I propose a revisitation of the photographic mapping of everyday life, no longer as an objective, distant, and independent representation, but as an invitation to experience presence as relationship, to a poetic celebration of the body's experience in space.
Descrição
Tese de doutoramento, Belas-Artes, na especialidade de Arte Multimédia, 2025, Universidade de Lisboa, Faculdade de Belas-Artes.
Palavras-chave
Experience Representation Performativity Repetition Fragmentation Experiência Representação Performatividade Repetição Fragmentação