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Fotografando Sombras Um Olhar Sobre As Imagens Obscuras De Gottfried Helnwein

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Fotografando Sombras Um Olhar Sobre As Imagens Obscuras De Gottfried Helnwein PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Lidia Zuin de Moura Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein MESTRADO EM COMUNICAÇÃO São Paulo 2014 PONTIFÍCIA UNIVERSIDADE CATÓLICA DE SÃO PAULO PUC-SP Lidia Zuin de Moura Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein MESTRADO EM COMUNICAÇÃO Dissertação apresentada à Banca Examinadora da Pontifícia Universidade Católica de São Paulo, como exigência parcial para obtenção do título de MESTRE em Comunicação e Semiótica, sob a orientação do Prof. Dr. Norval Baitello Junior. São Paulo 2014 2 Fotografando sombras Um olhar sobre as imagens obscuras de Gottfried Helnwein Lidia Zuin de Moura Resumo Esta pesquisa visa investigar e compreender as estratégias discursivas empregadas nas construções das imagens de Gottfried Helnwein, fotógrafo e pintor hiperrealista austríaco. Suas obras unem o tema do nazismo e da violência numa estética soturna que dialoga com personagens da cultura pop. A pesquisa se divide em três eixos: 1. O contexto histórico e cultural vivido por Helnwein e a relação do público com suas imagens; 2. Os universos culturais que exerceram influência sobre Helnwein: Barroco e Tenebrismo, sombra junguiana, Acionismo Vienense, Pop Art, Hiperrealismo; 3. Análise das séries The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993-1998) e The American Paintings (2000-2003), focando-se especialmente nos motivos da criança, da cultura pop, do nazismo e da religiosidade. O quadro teórico e metodológico constitui-se a partir das teorias da imagem de Vilém Flusser e de Aby Warburg, considerando-se também os conceitos de imagem arquetípica de C. G. Jung e de cultura pop para Daniel Boorstin e Roland Kelts. Palavras-chave: Gottfried Helnwein, fotografia, hiperrealismo, cultura pop, nazismo, arquétipo da sombra 3 Photographing shadows A look over the dark images of Gottfried Helnwein Lidia Zuin de Moura Abstract The objective of this research is to investigate and comprehend the discursive strategies employed in the construction of the images by Gottfried Helnwein, an Austrian photographer and hyperrealist painter. His works reunite the theme of Nazism and violence in a grim aesthetics that dialogues with pop culture characters. The research is divided in three parts: 1. The historic and cultural context lived by Helnwein and the relationship of the public with his images; 2. The cultural universes that influenced Helnwein: Baroque and Tenebrism, Jungian shadow, Viennese Actionism, Pop Art, Hyperrealism; 3. The analysis of the series The Murmur of the Innocents (2009-2013), The Disasters of War (2007-2011), Epiphany (1993- 1998) and The American Paintings (2000-2003), focusing specially on the motives of the child, pop culture, Nazism and religiosity. The theoretical and methodological framework is constituted by the image theories of Vilém Flusser and Aby Warburg, by the concepts of archetypical image of C. G. Jung and pop culture of Daniel Boorstin and Roland Kelts. Keywords: Gottfried Helnwein, photography, hyperrealism, pop culture, Nazism, shadow archetype 4 Sumário 0.0 Introdução ........................................................................................................................ p.6 1.0 Der Schattenspieler: Gottfried Helnwein num jogo de sombras ............................... p.8 1.1 Recepção: a força da imagem .................................................................................. p.25 2.0 Traços ............................................................................................................................ p.32 2.1 Barroco e Tenebrismo: as cores da sombra ........................................................... p.32 2.2 Sombra junguiana: sobre deuses e moluscos .......................................................... p.42 2.3 Acionismo Vienense: sombra como catarse ............................................................ p.50 2.4 Pop Art: arte consumidora, imagem consumida ................................................... p.57 2.5 Hiperrealismo: foto sobre tela ................................................................................. p.64 3.0 Obra ............................................................................................................................... p.73 3.1 The American Paintings: o fascínio pela imagem ................................................... p.75 3.2 The Murmur of the Innocents e The Disasters of War: cicatrizes da infância ...... p.87 3.3 Epiphany: assombrações do nazismo .................................................................... p.111 4.0 Conclusão .................................................................................................................... p.122 5.0 Referências .................................................................................................................. p.128 6.0 Anexos .......................................................................................................................... p.135 6.1 Entrevista ................................................................................................................. p.135 6.2 Cronologia ............................................................................................................... p.150 7.0 Notas de fim ................................................................................................................. p.162 5 0.0 Introdução Fotografando Sombras tem como proposta analisar a obra do fotógrafo e pintor hiperrealista austríaco Gottfried Helnwein (1948 – presente) a partir dos estudos da comunicação e da semiótica. Para isso, o trabalho é dividido em três principais eixos temáticos, sendo o primeiro focado em sua biografia, no qual procuramos entender o contexto em que o artista se situa histórica e geograficamente, compreendendo-o como indivíduo nascido logo após a Segunda Guerra Mundial, num país germânico e que se reestrutura após o conflito ao mesmo tempo em que recebe influência de outros países, por exemplo, os Estados Unidos. Em seguida, a dissertação observa como o público se relaciona com o trabalho de Helnwein, separando casos específicos, como as instalações Selektion, em Colônia, no ano de 1988, e Epiphany, em Kilkenny, em 2001, causaram reações de terceiros, de modo a entender a dimensão do formato imagético como suporte comunicador além de sua proposta artística. Assim posto, o segundo eixo é aberto para a apresentação de possíveis tendências, traços reconhecidos na obra e na estética de Helnwein, a começar pela possível inspiração no movimento artístico Barroco e no Tenebrismo, que é percebido tanto como um aspecto visual quanto temático na obra do austríaco. Desse modo, no subcapítulo seguinte, é abordada a questão da sombra junguiana, conceito arquetípico estudado por Carl Gustav Jung que norteia a hipótese da presente pesquisa e que se une à figura metafórica do molusco abissal de Vilém Flusser, o Vampyroteuthis infernalis. Assim retornamos aos movimentos artísticos quando abordarmos o Acionismo Vienense, que segue como outra proposta de influência em Helnwein, cuja obra também conta com ações realizadas no início de sua carreira. Em sequência, a Pop Art vem como outro traço que aparece como referência nas imagens do austríaco, quando estas trazem à tona sua memória infantil de chegada da cultura popular americana à Europa, com os quadrinhos da Disney, o cinema hollywoodiano e o American way of life. E esse mesmo movimento, o Hiperrealismo, estaria ligado ao seguinte, que é o estilo pictórico seguido por Helnwein ao pintar suas telas e ilustrações, todas sustentadas por fotografias, a maioria feita por ele mesmo. 6 Ao fechar esse bloco temático, o terceiro e último eixo aborda quatro séries escolhidas para estudo. Nessa mesma parte da pesquisa, todos os assuntos anteriormente analisados serão revisitados a partir de exemplos, conforme as obras são mencionadas para a observação. Em The American Paintings (2000-2003), Helnwein faz uma exaltação à sua nostalgia, ao afeto sentido pela cultura americana durante sua infância e pinta três séries monocromáticas em que retrata diferentes cenas do cotidiano estadunidense, sejam elas dignas de bairros do subúrbio ou de telas de cinema. Já em The Murmur of the Innocents (2009-2013) e The Disasters of War (2007-2011), a cultura pop vem mais forte e acompanhada: bonecos da Disney se unem a action figures de animações japonesas (anime) enquanto Helnwein faz uma homenagem às gravuras de Francisco de Goya e apresenta o grande tema da sua obra, a criança divina, abandonada e ferida. E, finalmente, em Epiphany, as imagens das igrejas visitadas durante a infância do artista retornam junto à reminiscência do nazismo, quando Madonna segura Cristo com o semblante de Hitler em Epiphany I (Adoration of the Magi), de 1996. Entre as imagens da própria infância e de uma infância divina, glorificada pelo artista, Helnwein cria uma metáfora que se repete pelos quadros e pelas fotografias, todos estes sendo mensagens, maneiras de se comunicar imageticamente com o público das exposições, das ruas onde os painéis de suas instalações são estendidos. Num jogo de luz e sombras, o artista esmaece o limite entre a história pessoal e a história do mundo e faz o convite para que aqueles que observam suas imagens também possam ter o olhar da criança, de todas e de tantas crianças que Helnwein já fotografou e pintou. A pesquisa conta com citações em outras línguas, as quais foram traduzidas pela autora
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