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A imaterialidade na escultura modernista
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Abstract(s)
The aim of this dissertation is to verify and demonstrate the existence of a marked tension and interest in the apparently paradoxical instance of immateriality and ineffability in sculpture. The temporal field of investigation of this interest will conventionally be limited to the lively phase of the twentieth century known as "Modernism", the period between 1900 and the 70s. However, as far as historical epochs and currents of thought are concerned, it is impossible to draw a clear line between before and after, since the boundaries between these phenomena are always fluid and blurred. For this reason, in the course of the dissertation we will also occasionally examine relevant individual examples that are chronologically beyond the historical limits we have given ourselves, but which nevertheless present a continuity with the subject under investigation and its temporal framework. In this discussion, what will be understood as an instance of the "intangible" in sculpture is not any aspect of immateriality in art, but rather the intentional imbalance of interest and relevance in the work between the material and immaterial parts in favour of the latter. The thread that connects the individual artistic manifestations of this interest will therefore be intention, an artistic vision that feels and expresses the increasing relevance of the immaterial aspect in sculptural art. The analysis of the works will therefore be organized in this dissertation according to three "macro-categories" that correspond, within this vision, to three different approaches to the immaterial, from a physical, symbolic and conceptual point of view respectively, and which will be referred to as "Negation of Matter", "Intangible Matter" and "Exaltation of the Concept". Given this premise, the dissertation argues that the dissipation of matter begins with the loss of form that occurred from the last decades of the 19th century onwards; therefore, will be analyzed some of the formal and conceptual innovations introduced by the artistic movements of the late 19th - early 20th century, which constitute the fundamental assumptions for the affirmation of the instance of immateriality in sculpture. The interest in the intangible aspect within the most material of the arts will be examined here from a reflection on the concept of "representation" in sculpture; the distinction between signifier and signified -subjacent to the questioning of matter- will be approached from a perspective that sees in the separation between matter and idea another face of the split between the sacred and the profane that became evident during the twentieth century. Having said this, through the investigation of paradigmatic examples it will be highlighted how in Modernism there is a tension in sculpture towards its apparent antithesis, an interest that continues to manifest itself and which from the current historical perspective assumes even greater relevance, given our current relationship with material reality in a context in which digital technology is increasingly advanced and present. A context in which - in the words of Michel Serres - there is a digital reconfiguration of space-time that allows us to overcome Cartesian rigidity and recover the concrete through the virtual, leading us to cast an objective and analytical eye over the past of this instance of the immaterial
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Keywords
Art & Language (Grupo de artistas) Escultura Modernismo Representação - (Arte) Matéria Imaterialidade Significado Actions (Arte) Happening Arte da performance