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Abstract(s)
Os milhares de objetos instalados nas rotundas rodoviárias de Portugal
inscrevem uma singular marca na paisagem. Nestes objetos podemos encontrar ecos de
temas e naturezas tão diversas como celebrações de figuras, acontecimentos e aspectos
da memória regional coletiva e também propostas estilísticas e conceptuais afins de
certas tendências da Arte pública contemporânea.
A motivação dos responsáveis pela criação dessas peças passa por uma espécie
de expressão da “identidade” da comunidade e do lugar. Mas que alma é essa, capaz de
cristalizar a cultura, os traços distintivos e a vida dos locais em objetos identitários?
Logrará tal vontade de fixação da(s) identidade(s) do lugar tornar-se um símbolo
contra o esquecimento e a homogeneização social e cultural global? Que outras
questões no plano simbólico e estético levanta este fenómeno?
Os objetos, muitas vezes apresentados e considerados como representações
artísticas, transformam o vazio central da rotunda num espaço potencial de criação e
intervenção artística de grande formato. Contudo, tal localização em locais
aparentemente desprovidos de enraizamento social e histórico, bem como a linearidade
conceptual do programa, autoriza o questionamento do seu valor intrínseco, enquanto
forma de Arte pública e de estratégia de marcação e/ou valorização da paisagem.
Tendo por base estas inquietações, este projeto de investigação aborda a
produção e o uso destes objetos, relacionando e questionando as suas funções artísticas
e identitárias no contexto português, tanto a partir de referências bibliográficas, como
da observação in loco.
A partir de um trabalho de campo abrangente, foi realizado um mapeamento e
registo audiovisual das várias expressões dessas obras, que serviu de mote à reflexão
sobre a sua conexão com a conjuntura social e a memória coletiva das comunidades.
O resultado desta investigação encontra-se assim vertido neste ensaio,
estruturado em torno das principais pistas teóricas e estéticas levantadas durante o
trabalho de campo e no processo de criação de um conjunto de peças artísticas
apresentadas, com recurso a dispositivos audiovisuais, gráficos e instalativos, que
proporcionaram a experimentação de abordagens conceptuais e plásticas diversas,
dialogando entre si de molde a fomentar uma reflexão crítica sobre este fenómeno.
The thousands of objects installed at Portugal's traffic circles make a singular mark on the landscape. In these objects we can find echoes of themes and natures as diverse as celebrations of figures, events and aspects of collective regional memory and also stylistic and conceptual proposals related to certain trends in contemporary public art. The motivation of the creators of these pieces is a kind of expression of the "identity" of the community and the place. But what is this soul, capable of crystalizing the culture, the distinctive traits, and the life of places in identity objects? Can this will to fix the identity(ies) of the place become a symbol against oblivion and global social and cultural homogeneity? What other symbolic and aesthetic questions does this phenomenon raise? The objects, often presented and considered as artistic representations, transform the central emptiness of the traffic circle into a potential space for large-scale artistic creation and intervention. However, such location in places apparently devoid of social and historical roots, as well as the conceptual linearity of the program, allows the questioning of its intrinsic value as a form of public art and as a strategy to mark and/or enhance the landscape. Based on these concerns, this research project addresses the production and use of these objects, relating and questioning their artistic and identity functions in the Portuguese context, both from bibliographic references and from on-site observation. From a comprehensive fieldwork, a mapping and audiovisual record of the various expressions of these works was made, which served as a motto for reflection on their connection with the social conjuncture and the collective memory of the communities to which they belong. The result of this research is thus expressed in this essay, structured around the main theoretical and aesthetic clues raised during the fieldwork and in the process of creating a set of artistic pieces presented, using audiovisual, graphic, and installation devices, which provided the experimentation of diverse conceptual and plastic approaches, dialoguing among themselves in order to foster a critical and in-depth reflection on this phenomenon.
The thousands of objects installed at Portugal's traffic circles make a singular mark on the landscape. In these objects we can find echoes of themes and natures as diverse as celebrations of figures, events and aspects of collective regional memory and also stylistic and conceptual proposals related to certain trends in contemporary public art. The motivation of the creators of these pieces is a kind of expression of the "identity" of the community and the place. But what is this soul, capable of crystalizing the culture, the distinctive traits, and the life of places in identity objects? Can this will to fix the identity(ies) of the place become a symbol against oblivion and global social and cultural homogeneity? What other symbolic and aesthetic questions does this phenomenon raise? The objects, often presented and considered as artistic representations, transform the central emptiness of the traffic circle into a potential space for large-scale artistic creation and intervention. However, such location in places apparently devoid of social and historical roots, as well as the conceptual linearity of the program, allows the questioning of its intrinsic value as a form of public art and as a strategy to mark and/or enhance the landscape. Based on these concerns, this research project addresses the production and use of these objects, relating and questioning their artistic and identity functions in the Portuguese context, both from bibliographic references and from on-site observation. From a comprehensive fieldwork, a mapping and audiovisual record of the various expressions of these works was made, which served as a motto for reflection on their connection with the social conjuncture and the collective memory of the communities to which they belong. The result of this research is thus expressed in this essay, structured around the main theoretical and aesthetic clues raised during the fieldwork and in the process of creating a set of artistic pieces presented, using audiovisual, graphic, and installation devices, which provided the experimentation of diverse conceptual and plastic approaches, dialoguing among themselves in order to foster a critical and in-depth reflection on this phenomenon.
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Keywords
Arte pública Identidade Tradição Património local Rotundas