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Projetos Editoriais Que Testam Os Limites Da Publicação

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Projetos Editoriais Que Testam Os Limites Da Publicação UNIVERSIDADE DE LISBOA FACULDADE DE BELAS-ARTES FACULDADE DE ARQUITETURA Projetos Editoriais que testam os limites da Publicação Bárbara Forte Fernandes Gonçalves Teixeira Dissertação Mestrado em Práticas Tipográficas e Editoriais Contemporâneas Dissertação orientada pela Professora Doutora Sofia Leal Rodrigues 2019 I DECLARAÇÃO DE AUTORIA Eu, Bárbara Forte Fernandes Gonçalves Teixeira, declaro que a presente dissertação de mestrado intitulada “Projetos Editoriais que testam os limites da Edição”, é o resultado da minha investigação pessoal e independente. O conteúdo é original e todas as fontes consultadas estão devidamente mencionadas na bibliografia ou outras listagens de fontes documentais, tal como todas as citações diretas ou indiretas têm devida indicação ao longo do trabalho segundo as normas académicas. O Candidato Lisboa, 22 de Outubro de 2019 II RESUMO O livro enquanto veículo de expressão artística tem vindo a ser explorado desde a génese das práticas editoriais. O design, a música, o teatro, a literatura, o cinema, entre outras formas de manifestação criativa, são ingredientes do bolo que constituí a book art e a publicação independente, cuja expressividade é diretamente influenciada pela mistura rica de áreas e técnicas participantes. É necessário conhecer particularidades do trabalho percursor neste âmbito, para que se assimile e compreenda o papel disruptivo do artist’s book. As formas comunicação gráfica primevas (são exemplo as pinturas rupestres), despoletaram espontaneamente, cumprindo as necessidades do ser humano pré-histórico. Com o avançar dos anos, e à medida que a linguagem se desenvolvia cada vez mais complexa, os suportes de inscrição de matéria foram também aperfeiçoados. As culturas chinesa e egípcia possibilitaram a descoberta e refinamento do papel, ao aplicarem as fibras de bambu e papiro, respetivamente, num processo de fabricação de “folhas”. A “folha”, que é um plano finito, junta-se a outra, e outra, até que aquele que dela se auxilia, decida pôr fim àquilo que compilou. Da necessidade de compilação surge então, mais tarde, o códice. Uma estrutura de armazenamento de páginas cuja forma, absolutamente engenhosa, permanece resiliente nos dias de hoje, após dois mil anos da sua invenção. Ao efetuar-se uma viagem histórica, verifica-se que tem existido uma densa experimentação das potencialidades formais do códice. Tendo como ponto de partida a idade média e percorrendo um caminho até à atualidade, conclui-se que as possibilidades de inovação são inesgotáveis, tanto a nível gráfico, como conceptual. Como tal, prevê-se que expedição da publicação de autor e da book art continuará em marcha progressiva, já que as possibilidades de exploração se parecem multiplicar com o passar do tempo. O futuro da cultura impressa poderá passar pelo conhecimento dos meios tecnológicos disponíveis e em progresso, aliados a uma experimentação inovadora e consciente dos suportes táteis. Palavras-Chave: Design; Arte; Autopublicação; Book art; Livro. III ABSTRACT The book, as a means of artistic expression, has been explored since the beginning of editorial practices. Design, music, theatre, literature, cinema, among other forms of creative expression, are parts of a whole that constitute book art and independent publishing, whose expressivity is directly influenced by the rich mixture of participating areas and techniques. It is necessary to know the particular details of leading work in this area, so that the disruptive role of the artist´s book may be assimilated and understood. The primary forms of graphic communication, such as cave paintings, appeared spontaneously, fulfilling the needs of the prehistoric human being. Over the years, and as the language developed and became more complex, the mediums of inscription were also perfected. The Chinese and Egyptian cultures made the discovery and refinement of paper possible, as they were the first to apply bamboo and papyrus fibers, respectively, in a “leaf” manufacturing process. The "leaf," which is a finite plan is added on to another leaf and yet another until the user decides to finish its compilation. From the need for compilation emerges the codex, an ingenious page storage structure, which two thousand years later remains resilient. When travelling in time, it is possible to verify the potential of the codex as an object of art and expression, which has suffered constant experimentation over the years. Having as a starting point the Middle Ages, and throughout history, it can be concluded that the possibilities for innovation are inexhaustible, both graphically and conceptually. As such, it is estimated that the expedition of book art and author's publication will continue to progress, as the possibilities for exploration seem to multiply over time. The future of the printed culture may be tied to the knowledge of the current available technological means, allied to an innovative and conscious experimentation of tactile supports. Keywords: Design; Art; Self-publishing; Book art; Book. IV Agradecimentos Durante o percurso desafiador que tem sido escrever esta dissertação, devo agradecer a algumas pessoas que se mantiveram a meu lado, apoiando-me e guiando-me. Agradeço aos meus pais pela preocupação e incentivo incondicionais, por terem sido sempre o meu maior pilar e estrutura inabalável. À minha irmã por ser a minha confidente favorita em horas de aperto, e pelos serões de trabalho passados no escritório, acompanhadas de chá. Agradeço à minha família, tios e primos, pelo espírito de equipa e confiança que sentimos uns pelos outros. A nossa união é um elo raro. Ao Beco, por ser o meu companheiro de todos os momentos, pelos debates e por tantas vezes me ouvir recitar partes desta dissertação, quando busquei opinião. À Maria, que partilhou esta etapa comigo, me ajudou, e me fazer crer que as coisas são simples e solucionáveis. Agradeço à Rita por fazer parte da minha vida, e pela sorte de poder contar com a ajuda da melhor tradutora que conheço. Ao Pedro Petiz, pelo companheirismo e amizade, mas acima de tudo por me fazer crescer e inspirar durante esta jornada que foi o mestrado, mostrando-me que autopublicação é um caminho maravilhoso e libertador. À minha orientadora, pela constante disponibilidade e por me escutar atentamente quando expressei, muitas vezes de forma confusa, as ideias abstratas que me foram surgindo ao longo deste exercício. V VI Para os meus avós, Domingos, Teresa, Carlos e Maria. Que tão contentes devem ficar por me ver “mestre”. Dedico em especial à minha tia Alívio. A tua energia deu-me força para concluir etapa, e nenhuma memória é tão luminosa como a tua. VII VIII Lista de abreviaturas a.C. - antes de Cristo d.C. - depois de Cristo n.d. - data desconhecida p. - página pp. - intervalo de páginas S. – São IX Índice Introdução 17 1. Breve história do Livro 20 2. A Arte e o Design na época da sua Reprodutibilidade Técnica 26 2.1 Surgimento da Imprensa....................................................................................................27 2.2 Primeiros mecanismos de Reprodutibilidade Técnica.......................................................29 2.3 Walter Benjamin e a Reprodutibilidade da Obra Artística................................................33 2.4 Adorno e Horkheimer: A Indústria Cultral........................................................................38 3. Book, book art, artist's book, bookwork, book magazine e livre d'artiste 42 3.1 Introdução aos conceitos....................................................................................................43 3.2 O território do livro de artista............................................................................................47 4. Reflexão histórica da Publicação de Autor 58 4.1 Os antecedentes do livro de artista e publicação de autor..................................................59 4.1.1Conceito e filosofia do livro........59 4.1.2 Movimentos dos anos 20........64 4.2 O livro de artista e a publicação de autor - História selecionada.......................................82 4.2.1 Retrospetiva........82 4.2.2 Pop Art, Concetualismo, Minimalismo e Performance........85 4.2.3 Fluxus........101 4.3 O século XX, considerações finais..................................................................................111 5. Algumas questões sobre a book art 114 5.1 Quem? O quê? Qual? Como? Para quem?......................................................................115 6. Meios de disseminação e Coleções 122 6.1 Bibliotecas, galerias, livrarias e museus..........................................................................123 6.2 Colecionar livros de artista e publicações de autor..........................................................130 7. Designer como Autor 134 Conclusão 144 Bibliografia 146 X Índice de Imagens Figura 1. Tabuleta de argila em escrita cuneiforme de origem Suméria, pertencente a 2500 a.C., aproximadamente. .................................................................................................... 2 Figura 2. Secção do “Livro dos Mortos” no capítulo de Nani, pertencente a 1050 a.C., aproximadamente.............................................................................................................. 2 Figura 3. Folha de impressão em bloco chinês, pertencente à Dinastia Sung (960-1279 d.C.) .................................................................................................................................. 2 Figura 4. Inscrição de caracteres chineses em em osso, pertencente a 1300 a.C., apro-
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