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I TRANSFORMAR ARTE FUNCIONAL EM OBJETO MUSEAL Alguns TRANSFORMAR ARTE FUNCIONAL EM OBJETO MUSEAL Alguns Desafios à Musealização de Arte Contemporânea Ana Sofia Lopes da Ponte Tese de Doutoramento em Arte e Design apresentada à Faculdade de Belas Artes da Universidade do Porto Orientação: Professora Doutora Lúcia Almeida Matos setembro 2016 Com o apoio de uma bolsa de investigação da: (SFRH/BD/79367/2011) I Resumo e Palavras-chave Esta pesquisa problematiza a exposição de obras de Arte Funcional em museus de arte. Arte Funcional é um segmento de Arte Contemporânea, relacionado com Arte Pública, constituído por obras que se materializam através de uma inconfundível articulação entre as suas dimensões conceptual, social e funcional. Preenchendo uma lacuna no estudo das estratégias de exposição deste tipo de obras e através de uma análise da sua transformação em objeto museal, esta investigação propõe-se compreender a presença da Arte Funcional em museus de arte. O campo empírico deste trabalho trata, por um lado, de esclarecer a noção de Arte Funcional praticada por artistas contemporâneos e difundida por curadores e, por outro, investigar os desafios que se colocam diante da sua exposição. Baseada numa revisão teórica e na recolha de depoimentos de fontes primárias, a pesquisa desenvolve uma análise interligada sobre o conceito de “função” à luz de uma tipologia mais recente de Arte Pública relacionada com a Estética da Participação Social, e das ideias de “arte pósconceptual” e da “viragem social da arte”. O trabalho analisa o conceito de função através de casos de estudo de três obras e a sua respetiva vida social — The Homeless Vehicle (1988) de Krzysztof Wodiczko, paraSite (1998-) de Michael Rakowitz e Victory Gardens+ (2007) de Amy Franceschini. As três obras, criadas em contexto Norte-Americano, têm percursos expositivos significativamente distintos. Apresentadas sobretudo na Europa e na América do Norte, pertencem, cada uma, a uma coleção de arte. Esta opção metodológica possibilitou estudar versões museais específicas e conhecer as estratégias curadoriais que as têm acompanhado na sua exposição. O leque diversificado de situações expositivas identificadas permitiu verificar que uma exposição põe em marcha ações de recontextualização que levam à transformação conceptual e material das obras de Arte Funcional em questão. Propõe-se que a natureza híbrida e complexa da Arte Funcional tende a desafiar as condutas de exposição praticadas nos museus de arte, porque o conceito de objeto museal relativo à Arte Funcional é instável e está sujeito a um processo de negociação pouco comum quando incorporado em museus. Verificou-se que este processo tem contribuído, e simultaneamente beneficiado, da “desmodernização” do contexto museal, um fenómeno recente mas com fervorosos seguidores, que tem potenciado uma atividade curadorial cada vez mais reflexiva. Palavras-chave Arte Funcional, Estética da Participação Social, Objeto Museal Instável, Exposição, Musealização. III Résumé et Mots clés Cette thèse se centre sur un projet de recherche dont le but est celui de problématiser l'exposition d'œuvres d'art fonctionnel dans des musées d'art. L’Art Fonctionnel s’agit d’un segment de l’art contemporain, en rapport avec l’art public, constitué par œuvres matérialisées à travers l’articulation qui se joue entre ses dimensions conceptuelle, sociale et fonctionnelle. La mise en oeuvre de cette recherche est d’étudier la présence de l’Art Fonctionnel dans des musées d'art pour essayer de remplir une lacune dans l’étude des stratégies de l’exposition de ce type d’œuvres en tant qu’elles parviennent des objets muséaux. Du point de vue empirique, ce travail a en vue, d’une part, clarifier la notion d'art fonctionnel et, d’autre part, rechercher les défis à dépasser pour mettre en place son exposition. Cette recherche, basée sur une revue de la littérature et de la collecte des sources primaires témoignages, développe une analyse interreliée rendant possible approfondir le concept de “fonction” à la lumière d’une typologie plus récente de l’Art Public aussi bien que les idée de l'art “post-conceptuel” et du “virage social” de l'art. D'ailleurs, elle est accompagnée par les trois cas d’étude suivants: The Homeless Vehicle (1988) de Krzysztof Wodiczko, paraSITE (1998-) de Michael Rakowitz et Victory Gardens+ (2007) de Amy Franceschini, correspondant à d’œuvres avec des parcours expositifs bien différents et appartenant chacune à une collection d’art. Les trois œuvres créées dans le contexte nord-américain, ont des itinéraires expositoires significativement différents. Présenté principalement en Europe et en Amérique du Nord, chacun appartient à une collection de l'art. Cet option méthodologique nous a permis d’étudier leurs versions muséales et de connaître les stratégies curatoriales adoptées dans leurs expositions. La diversité des parcours expositifs identifiés nous a permis de vérifier qu’une exposition réussit à mettre en marche des actions de récontextualisation qui aboutissent à la transformation conceptuelle et matérielle des œuvres d'art fonctionnel. Il est proposé que nature hybride et complexe d'Art Fonctionnel tend à remettre en question les comportements d'exposition pratiquées dans les musées d'art, parce que le concept d’objet de musée par rapport à l’Art Fonctionnel n’est pas stable et il est sujet à un processus de négociation pas habituel quand il s’agit d’être exposé dans des musées d’art. On a constaté aussi que ce processus contribue, et a reçu en même temps, à ‘démodernisation’ du contexte muséal, un phénomène récent, pourtant avec de fervents suiveurs, qui a favorisé que l’activité curatoriale devienne de plus en plus réflexive. Mots clés L'Art Fonctionnel, L'Art Socialement Engagé, L'Objet Muséal Instable, Exposition, Muséalisation. IV Abstract and Keywords This thesis addresses the challenge of exhibiting functional works of art in museums. Functional Art is a contemporary segment of art related to Public Art, which materializes through an unmistakable connection between its conceptual, social and functional dimensions. By filling in an existing gap in the study of the exhibition strategies of such works of art, and by analysing its transformation into a museum object, this research investigates the presence of Functional Art in museums. On the one hand, the research empirical field helps to clarify the concept of Functional Art, and on the other, investigates some of the challenges of its exhibition. The research is based on a theoretical review and on the collection of primary source testimonials. Furthermore, it develops an interconnected analysis that deepens in the concept of “function” in the light of a more recent typology of Public Art related both to Socially Engaged Art, and the ideas of “postconceptual art” and “social turn” of art. The investigation involves case studies of three works of art and their social life — The Homeless Vehicle (1988) by Krzysztof Wodiczko, paraSite (1998-) by Michael Rakowitz and Victory Gardens + (2007) by Amy Franceschini. These three works of art, created in the North American context, have significantly different exhibition trajectories. Mostly shown in Europe and America, each of them belongs to an art collection. This methodological approach enabled a study of its museological versions and of the curatorial strategies that have adjusted them to the various exhibit contexts. The range of displays examined shows that exhibiting Functional Art activates recontextualising actions that lead to the material and conceptual transformation of the works of Functional Art in question. With this study I demonstrate that the hybrid and complex nature of Functional Art tends to defy the common attitude towards the exhibit of museum objects, as their concept, when related to Functional Art, is unstable and subject to an unusual negotiation process. My research reveals that this process has been contributing, and simultaneously benefited, to the “demodernization” of the museum context, a recent development however with significant followers, that has contributed to an increasingly reflective curatorial activity. Keywords Functional Art, Socially Engaged Art, Unstable Museum Object, Exhibition, Musealization. V Agradecimentos Esta investigação teve o contributo de um considerável número de pessoas e de instituições: Da minha orientadora, Professora Lúcia Almeida Matos, que apoiou e acompanhou esta investigação ao longo de todo o processo. Da Professora Raquel Henriques da Silva, Diretora do Instituto de História de Arte da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa (IHA/FCSH/UNL), entidade que acolheu este projeto de investigação. Da Fundação para a Ciência e Tecnologia (FCT) que me concedeu uma bolsa de doutoramento. Dos artistas Michael Rakowitz, Alyce Santoro, Alice Leora Briggs, Ricardo Miranda Zuniga, Nihad Nino Pusija, Amy Franceschini, Grady Gerbracht, Marianne Fairbanks, Alexander Roemer e dos curadores Charles Esche, Nick Aikens, Gemma Medina, Alessandra Saviotti, Stephanie Smith, Dana Turkovic e Jane Simon que me disponibilizaram o seu conhecimento sobre as obras, as exposições e os temas em estudo. Dos profissionais das instituições museais e investigadores que contactei e que me ajudaram na recolha de informação e material indispensável a esta investigação, nomeadamente, Sara Patrello, Christine M. Granat, Lea Kolb, Rita Sobreiro Souther, James Pierce, Phyllis Criddle, Thomas Huston, Helene Grabow, Jill Vuchetich, Marilu Knode, Chris Grouwels, Marleen Ruebens, Elena Fuchs, Christie Parker, Hélène Retailleau,
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