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Abstract(s)
Este artigo é estruturado em pertinentes citações visuais da pintura de Tiziano, Venere di Urbino, obra icónica do imaginário erótico renascentista que se revelou um catalisador formal e conceptual para artistas de gerações futuras, destacando aqui os portugueses Acácia Maria Thiele e Gabriel Abrantes, entre outras referências obrigatórias no palco artístico europeu. As suas obras são aqui interpretadas numa esfera de raíz activista, quer na objectificação do corpo feminino, quer na camuflagem social que igualmente propõem, apesar de algumas inevitáveis interferências, resultante de conceitos e abordagens menos consensuais.
This article is structured in relevant visual quotations from the painting by Titian, Venere di Urbino, an iconic work of the Renaissance erotic imagery, which has proved to be a formal and conceptual catalyst for artists of future generations, especially the Portuguese Acácia Maria Thiele and Gabriel Abrantes, among others references on the European artistic stage. Their works are here interpreted in an activist root sphere, both in the objectification of the female body and in the social camouflage that they propose, despite some inevitable interferences, resulting from less consensual concepts and approaches.
This article is structured in relevant visual quotations from the painting by Titian, Venere di Urbino, an iconic work of the Renaissance erotic imagery, which has proved to be a formal and conceptual catalyst for artists of future generations, especially the Portuguese Acácia Maria Thiele and Gabriel Abrantes, among others references on the European artistic stage. Their works are here interpreted in an activist root sphere, both in the objectification of the female body and in the social camouflage that they propose, despite some inevitable interferences, resulting from less consensual concepts and approaches.
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Género Máscara Venere Sexualidade Activismo
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Húmus/ UNL