DSpace Communidade:http://repositorio.ufc.br/handle/riufc/196312024-03-29T08:39:04Z2024-03-29T08:39:04ZSob a pele: práticas cutâneas e outras experimentaçõesSousa, Jonathan Ferreira dehttp://repositorio.ufc.br/handle/riufc/766202024-03-20T16:22:44Z2023-01-01T00:00:00ZTítulo: Sob a pele: práticas cutâneas e outras experimentações
Autor(es): Sousa, Jonathan Ferreira de
Abstract: In "Under the Skin: cutaneous practices and other experimentations", I present my skin as a support for artistic experimentations based on multidisciplinary practices in contemporary art to incorporate the complexity of the surface of the human body into my creative process in the works presented throughout this research. My interest lies in approaching the multiplicity of the body's envelope using authors such as Georges Bataille, Ashley Montagu and Didier Anzieu. In order to dialogue with my artistic practices, I present some artists who bring the skin to the center of their productions, such as Vera Chaves Barcellos, Orlan, Lygia Clark, Gina Pane, Ariana Page Russell, Rosângela Rennó, John Coplans, among others. In performance, sculpture, text-work and experimentation, I've worked on issues that encompass my skin and the memories present on this surface since my childhood. If the skin is changeable, the research has taken on the same characteristic through a process of perspiration of thought and my artistic practice. Some of the experiments present in this research are: "Pelos Caminhos, Pelos Desvios", "Mão-objeto", "Territórios Cutâneos", "O Rosto que Cai", "Skin.care?". These experiments have been present since the first contact with the research and permeate the whole investigation.
Tipo: Dissertação2023-01-01T00:00:00ZTransver ruínas: narrativas possíveis a partir de experimentaçõesRemígio, Suzane Kely Dias Sousahttp://repositorio.ufc.br/handle/riufc/764592024-03-11T18:27:33Z2023-01-01T00:00:00ZTítulo: Transver ruínas: narrativas possíveis a partir de experimentações
Autor(es): Remígio, Suzane Kely Dias Sousa
Abstract: The text presents the research process in Poetics of Creation and Thought in Arts, which aimed to analyze, experiment and reflect on actions carried out in ruins of houses (near Avenida Borges de Melo), at Fortaleza, between 2020 and 2023. How can closer relations with this place arise? It was possible to transver/see through the ruins (from a world perspective by Manoel de Barros). The ruins of these houses were seen as an open field, a booster for the imagination to germinate. The activities carried out included experimenting with these spaces, apprehending the aesthetics of these ruins so that a way of reinventing them could be developed, based on the collected data (photos, videos, audios, drawings) and my creative process (which arises from them), proposing thus, a rewriting that can reimagine them. The narratives that emerged from these activities culminated in this dissertation. The work developed into an art research method based on the “Process Critique”, which Cecilia Salles discusses. This research can be associated with an unusual architectural design of ruins. Each textual part was thought of as decomposed domestic environments (living room, kitchen, bedroom...) and the relationships we can have with them. In this way, the text was elaborated as an exploratory walk through the ruin of a house. This investigation presented different understandings about what was captured from the ruins and from myself, based on artistic creation and reflection on the work of theorists (Gaston Bachelard, Juhanni Pallasmaa, Francesco Careri, Walter Benjamim, Bruno Zevi, among others.) and artists (Íris Helena, Beatriz Rodrigues, Rafael Martins, Thiago Florencio, Paulo Nazareth, Grupo Poro, Yuri Firmeza, Brígida Baltar...) with whom I found dialogue. Literature was also a resource summoned in the composition of text, because I believe that writers (mainly Manoel de Barros), sometimes better translate what I feel or even awaken my sensitivity within the work. With the actions taken, I learned to accept the changes in routes that every field visit offers, one of them was dealing with the pandemic, another was to assume a less passive and more active posture inside the ruined houses. There were a total of six actions: visit to the ruins with data collection, installation of a hammock, creation of a model, elaboration and collage of lambe (Ephemeral), photomontage and exhibition on site. As a result of this project, I brought a writing that comprises a reflection on action, composition, creative process and ruin, with a view to approaching this territory of the city, strengthening the importance of the relationship between art and life.
Tipo: Dissertação2023-01-01T00:00:00ZOurivesaria das coisas: os metais na arquitetura do mundoBortolotti, Bruna Albuquerquehttp://repositorio.ufc.br/handle/riufc/764382024-03-08T12:13:34Z2024-01-01T00:00:00ZTítulo: Ourivesaria das coisas: os metais na arquitetura do mundo
Autor(es): Bortolotti, Bruna Albuquerque
Abstract: I use goldsmithing, the craft I learned from my grandfather, to write this dissertation. This means: goldsmithing is my writing, research and invention methodology. It is starting from the goldsmith's craft that I investigate jewelry, desecrating (AGAMBEN, 2009) its meaning and displacing it from its European tradition, as an object made of stones and metals. In place of the object, I propose the jewelry as a thing (INGOLD, 2012; HEIDEGGER, 1987) related to the flows of the world, to social, political and material issues. The jewel is presented in this writing as an incarnated thing, which is characterized more by the tactility of the person who builds and uses it than by visuality. I propose an expanded understanding of the jewel, establishing a historicity that is not intended to be linear and seeking the origin of the thing without intending to find it: it is important, rather, to build what is fundamental in the jewel to transform it into this writing. I question what is stated as a movement (CAMPOS, 2011) of jewelry in contemporary times, the so-called jewelry art or contemporary jewelry, and I choose to take another path: practicing a goldsmithing of things. Therefore, I do not propose to make jewelry, but from goldsmithing to do other things, such as the writing that is presented. In this dissertation, I establish a relationship with authors who discuss jewelry, such as Passos (2018) and Unger (2017), authors who discuss the thing, such as Ingold (2012) and Heidegger (1987) and art historians, such as Archer (2001) and Cauquelin (2005). Philosophers Bennett (2010) and Han (2022) are present in this dissertation to support an approach to things and jewelry through the discussion of materiality. Through Albert and Kopenawa (2015), Iubel (2020) and the wisdom I build at the goldsmith's bench, metals infiltrate this dissertation and take on a life of their own, just as Deleuze and Guattari (1997) already stated about minerals such as privileged substance capable of exposing the vitality of materials.
Tipo: Dissertação2024-01-01T00:00:00ZGuarda-tombo: o inventário da queda ou uma escrita-experiência do corpo pe(n)santeCampos Neto, José Danilo Rodrigueshttp://repositorio.ufc.br/handle/riufc/763942024-03-05T17:29:31Z2023-01-01T00:00:00ZTítulo: Guarda-tombo: o inventário da queda ou uma escrita-experiência do corpo pe(n)sante
Autor(es): Campos Neto, José Danilo Rodrigues
Abstract: This research unfolds as a performative writing project I have called “experiencewriting”. Emerging from (and attending to) the act of falling - literally and metaphorically - this writing is composed by the circumstances with which the author’s body is entangled in the present, while also meeting past experiences. In this respect, this thesis is fully processual and aligns itself to the proposition of a “performative research” (HASEMAN, 2006). Guided by intuition and an enthusiasm of practice (HASEMAN, 2006), it assembles a collection of terms and images that results from the polysemic wordplay related to the act of falling, including dance and performance art pieces that explore the concept of falling. Drawing clues from these artworks in the text produces considerations about the concept of presence — weak, strong and radical (FISCHERLICHTE, 2012) — and rehearses the ways in which these qualities become materialized. Reflecting upon subjects such as weight, falling, qualities of performative presence, as they fuel a critical writing in the Arts, connects everyday life to the act of writing and frames the body in terms of a weighting-thinking state (BARDET, 2014). In such experience-writing, a few artworks are brought into the larger discussion about falling and fallen bodies. These include some of my own works as well as other artists’, such as Yves Klein, Bas Jan Ader, and Trisha Brown. The theoretical discussion seeks consistency in the concepts of “falling” in relation to creative processes in dance (POPPE, 2018), of “becoming”, and “body memory” (ROCHA, 2016; ROLNIK, 1993), all of which contribute to the discussion about the constitutive elements of artworks, about how these might advance modes of critical thinking, and how these resonate in the current writing of this thesis. Towards the end, I present a series of falls, of different natures and perspectives, as practical propositions emerging from the investigation of weight, with which the readers can also attune themselves, as they are invited to connect their own weight with the weight of the spaces they are in, and to collect their own stumbles and falls, be these understood as dance or as writing.
Tipo: Dissertação2023-01-01T00:00:00Z