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Tecnologia e obsolescência nas práticas artísticas contemporâneas
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Esta dissertação em Teoria da Arte procura definir uma hipótese experimental
capaz de explicitar uma abordagem à História da Arte, que se desenvolve em torno do
conjunto de problemas que o acelerado desenvolvimento tecnológico e o seu
subproduto, a obsolescência, impõem às práticas artísticas contemporâneas.
Assim, através das hipóteses levantadas pelo pensamento de Walter Benjamin,
Rosalind Krauss, Giorgio Agamben ou Thierry de Duve, iremos proceder à
construção de uma síntese teórica capaz de enquadrar as principais problemáticas
levantadas por um conjunto de obras de arte, tal como aferir acerca das possibilidades
que essas práticas artísticas levantam para a emancipação crítica do sujeito diante do
quadro social, político e económico da sociedade contemporânea.
Em concreto, delimitamos a nossa análise a exemplos de obras de arte dos
artistas Rodney Graham, Stan Douglas e Tacita Dean (a partir de 1980 a meados da
primeira década de 2000) que se propõem a problematizar as categorias da técnica,
tecnologia e da obsolescência, em conjunto com a mundividência que subjaz a essas
manifestações, posicionando-as criticamente no contexto actual.
Concluindo, através do estudo das principais implicações metodológicas e
epistemológicas associadas ao uso de técnicas e tecnologias, que por uma ordem
determinada se tornam obsoletas, interessar-nos-á compreender diferentes propostas
artísticas de actualização crítica, ou resgate no presente, dessas manifestações, que
através de uma reflexão profunda sobre as suas condições históricas no passado e a
possibilidade potencial da sua actualização no presente, são entendidas como arquivos
de subjectividades e realidades sociais passadas capazes de sugerir novas
possibilidades de entendimento da própria história cultural.
This dissertation in the field of Art Theory seeks to define an experimental hypothesis capable of setting out an approach to the History of Art, which revolves around the set of problems that the rapid technological development and its byproduct, obsolescence, are instilling in contemporary artistic practices. Therefore, by resorting to the hypotheses raised by the thinking of Walter Benjamin, Rosalind Krauss, Giorgio Agamben or Thierry de Duve, we will undertake the construction of a theoretical synthesis which is able to accommodate the main issues posed by a series of artworks, while also assessing the possibilities that those same artistic practices offer to the critical emancipation of the subject vis-à-vis the social, political and economic framework of contemporary society. Specifically, we circumscribe our analysis to examples of artworks executed by Rodney Graham, Stan Douglas and Tacita Dean (from 1980 to the first five years of the new millennium) which intend to question the categories of technique, technology and obsolescence, together with the world view which underlies those manifestations, by placing them critically in the current context. In conclusion, through the study of the chief methodological and epistemological implications related to the use of techniques and technologies, which become obsolete in a certain order, our goal is the comprehension of varied artistic offers aimed at bringing into the present or critically updating those manifestations, which, through a deep reflection about their past historical conditions and their potential for modernization in current times, are seen as archives of subjectivities and former social realities able to propose new possibilities for the comprehension of cultural history itself.
This dissertation in the field of Art Theory seeks to define an experimental hypothesis capable of setting out an approach to the History of Art, which revolves around the set of problems that the rapid technological development and its byproduct, obsolescence, are instilling in contemporary artistic practices. Therefore, by resorting to the hypotheses raised by the thinking of Walter Benjamin, Rosalind Krauss, Giorgio Agamben or Thierry de Duve, we will undertake the construction of a theoretical synthesis which is able to accommodate the main issues posed by a series of artworks, while also assessing the possibilities that those same artistic practices offer to the critical emancipation of the subject vis-à-vis the social, political and economic framework of contemporary society. Specifically, we circumscribe our analysis to examples of artworks executed by Rodney Graham, Stan Douglas and Tacita Dean (from 1980 to the first five years of the new millennium) which intend to question the categories of technique, technology and obsolescence, together with the world view which underlies those manifestations, by placing them critically in the current context. In conclusion, through the study of the chief methodological and epistemological implications related to the use of techniques and technologies, which become obsolete in a certain order, our goal is the comprehension of varied artistic offers aimed at bringing into the present or critically updating those manifestations, which, through a deep reflection about their past historical conditions and their potential for modernization in current times, are seen as archives of subjectivities and former social realities able to propose new possibilities for the comprehension of cultural history itself.
Descrição
Palavras-chave
Graham, Rodney, 1949- Douglas, Stan, 1960- Dean, Tacita, 1965- Arte - séc.21 Estética Arte e tecnologia Obsolescência Teses de mestrado - 2018