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Programa De Pós-Graduação Em Artes Visuais Do Instituto De Artes Da Ufrgs NOVEMBRO, 2011 PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES VISUAIS DO INSTITUTO DE ARTES DA UFRGS 31NOVEMBRO, 2011 PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES VISUAIS DO INSTITUTO DE ARTES DA UFRGS UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL Porto Arte. – v.1, n. 1 (jun. 1990) – . – Porto Alegre: REITOR Universidade Federal do Rio Grande do Sul. Carlos Alexandre Netto Instituto de Artes. Programa de Pós-Graduação INSTITUTO DE ARTE em Artes Visuais, 1990 – . Diretor v. Alfredo Nicolaiewsky Vice-Diretor Carlos Augusto Nunes Camargo Semestral Assessora A partir do v. 5, n. 8 (nov. 1993) passa a Maria Clara Machado incorporar subtítulo, Porto Arte : Revista de Artes PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES Visuais. VISUAIS ISSN 0103-7269 Coordenação 1. Arte : Periódicos. I. Universidade Federal do Rio Mônica Zielinsky Grande do Sul. Instituto de Artes. Programa de Pós- Graduação em Artes Visuais. PROGRAMA EDITORIAL Revista Porto Arte CDU 7 (05) Série Visualidade Série Interfaces Bibliotecária: Mara R. B. Machado, CRB10/1885 CONSELHO EDITORIAL Alvaro Valls (UNISINOS) Eliane Chiron (UNIV. PARIS) Versão digital: Icleia Borsa Cattani (UFRGS) http://seer.ufrgs.br/portoarte François Soulages (UNIV. PARIS) Gilbertto Prado (USP) Hélio Fervenza (UFRGS) Jean Lancri (UNIV. PARIS) Margarita Shultz (UNIV. CHILE) Maria do Carmo Nino (UFPer) Maria Celeste Wanner (UFBa) Maria Lúcia Bastos Kern (PUC-RS) Patrícia Franca (UFMG) COMITÊ EDITORIAL Blanca Brites Maria Amelia Bulhões Paulo Silveira Sandra Rey Editoração Pedro Biz ASSINATURAS E PERMUTAS PROGRAMA DE PÓS-GRADUAÇÃO EM ARTES VISUAIS – INSTITUTO DE ARTES – UFRGS Rua Senhor dos Passos, 248 – 3º andar – CEP 90.020-180 – Porto Alegre, RS – Brasil Fone: (51) 3308.4313 – Fax: (51) 3308.4314 – [email protected] – www.artes.ufrgs.br EDITORIAL O Dossiê da revista Porto Arte número Porto Arte’s 31 issue’s dossier, organized 31, organizado por Icleia Cattani, tem by Icleia Cattani, has been christened como título Pintura contemporânea: campos Contemporary Painting: processes and fields. e processos. Os campos da pintura são The fields of painting are currently and atualmente objeto de reflexão recorrente, recurringly an object of reflection, given devido à sua ampliação e à presença de its broadening and the presence of an um “fora do campo” que parte da própria “out-of-field” matter that comes from linguagem pictórica. A organizadora, que pictorial language itself. The organizer, coordena grupo de pesquisa apoiado pelo who coordinates the research group in CNPq nesta temática, propõe um conjunto this area supported by CNPq, proposes de reflexões que abrangem artigos nas an ensemble of reflections that comprise áreas de História, teoria e critica da arte e de articles pertaining to the ares of history, art Poéticas visuais. theory and critic and visual poetics. Na primeira área, o texto de Gustavo In the first area, Gustavo Fares’s text Fares dialoga diretamente com aquele já dialogues directly with the classic one by clássico de Rosalind Krauss, A escultura no Rosalind Krauss, “Sculpture in the expanded campo expandido, discutindo a metodologia field”, discussing the author’s methodology da autora para a pintura e propondo for painting and proposing conceptual desdobramentos conceituais. Michael unfoldings. Michael Asbury and Icleia Cattani Asbury e Icleia Cattani trazem a discussão bring a discussion of fields and processes of dos campos e processos da pintura contemporary painting to the analysis of the contemporânea para a análise de obras specifis works of two renowed artists in the específicas de dois artistas reconhecidos no national scene, respectively Daniel Senise and cenário nacional, respectivamente, Daniel Karin Lambrecht. Senise e Karin Lambrecht. In the area of visual poetics, Éliane Na área de poéticas visuais, Éliane Chiron transposes pictorial questions into Chiron transpõe questões pictóricas para the digital video, overall by isolating images o vídeo digital, sobretudo ao isolar imagens from it, in saturated colors, and putting them deste, de cor saturada, e deslocá-las para into bidimensional pillars. Simultaneously, she suportes bidimensionais. Ela trabalha works with the concept of the intimate in art. simultaneamente com o conceito de íntimo For Carlos Zilio, to choose for the support na arte. Para Carlos Zilio, optar pelo of painting meant to understand its potential suporte da pintura significava compreender as a theoretical field. With its crisis, painting seu potencial como campo teórico. Com a should be thought upon, which brought him sua crise, a pintura deveria ser colocada em to paint painting. For Paulo Pasta, painting causa, o que o levou a pintar a pintura. Para has always been, also, a self-discover, being a Paulo Pasta, a pintura sempre foi, também, very close activity to his own life, which made auto descoberta, sendo uma atividade him attempt to build some distance between muito rente à própria vida, o que o faz desire and project. Ricardo Perufo Mello tentar construir uma distância entre desejo approaches changes in image, among which its e projeto. Ricardo Perufo Mello aborda rarefication through the action of time, when as mudanças da imagem, entre as quais a transposed from video to painting. sua rarefação pela ação do tempo, quando In this issue we also bring an article transposta do vídeo à pintura. by Nestor Garcia Canclini about the 8th Contamos ainda neste número com Visual Arts Mercosul Biennial and another um artigo de Nestor Garcia Canclini sobre by Artur Freitas on the pictorial work of a 8ª edição da Bienal de Artes Visuais do Miguel Bakun. In the Reviews section, we Mercosul e outro de Artur Freitas sobre a present commentaries on the book Paisagem: obra pictórica de Miguel Bakun. Na seção desdobramentos e perspectivas contemporâneas Resenha apresentamos comentários sobre o (Scenery, unfoldings and contemporary livro Paisagem: desdobramentos e perspectivas perspectives) by Antonio Vargas. contemporâneas, escrita por Antonio Vargas. SUMÁRIO DOSSIÊ: Pintura Contemporânea - Campos e Processos Organização: Icleia Cattani 07 GUSTAVO FARES Pintura no campo expandido 17 ICLEIA CATTANI Poiética, matéria, campos nas pinturas de Karin Lambrecht 31 MICHAEL ASBURY Daniel Senise, 2892: entre o ser e o nada, o espectador 41 ÉLIANE CHIRON Íntima mutação da pintura no vídeo digital 55 CARLOS ZILIO A pintura como indagação 63 PAULO PASTA Dentro e fora da pintura 73 RICARDO PERUFO MELLO Rarefação: paradoxos imagéticos (mestiçagens contidas na poética pictórica de uma imagem videográfica rarefeita) TEXTOS 81 NÉSTOR GARCÍA CANCLINI A bienal da desglobalização 87 ARTUR FREITAS A natureza dispersa: Miguel Bakun NOTAS DE LEITURA 105 ANTONIO VARGAS Paisagem: desdobramentos e perspectivas contemporâneas, Maria Amelia Bulhões e Maria Lúcia Bastos Kern, Organizadoras CADERNO DE VERSÕES 113 ENGLISH 157 FRANÇAIS 165 ESPAÑOL DOSSIÊ GUSTAVO FARES Pintura no campo expandido Tradução: Denise Spier RESUMO O presente ensaio questiona e ao mesmo tempo reconhece as condições históricas e lógicas da existência da pintura como um campo expandido. O campo expandido da pintura é apresentado através de um retângulo de Greimas, o qual incorpora as noções de singularidade / reprodutibilidade, multidimensionais espaços afins e história. O ensaio oferece uma compreensão da disciplina e das obras de arte e torna possível situar diferentes manifestações artísticas que ocorrem hoje na sociedade. PALAVRAS-CHAVE Pintura. Pluralismo. Krauss. Greimas. Campo expandido. 8 REVISTA PORTO ARTE: PORTO ALEGRE, V. 18, N. 31, NOVEMBRO/2011 DOSSIÊ PINTURA NO CAMPO EXPANDIDO O mundo da arte de hoje pode ser caracterizado por aquilo que, por falta de termo melhor, é chamado de “pluralismo”. O termo “pluralismo” designa, pelo menos, duas diferentes tendências. Por um lado, ele sinaliza o fato de que não há estilos de arte dominantes em nossos dias e que continuar a procurar uma linguagem pura em qualquer meio visual pode tornar-se uma tarefa infrutífera. Por outro lado, “pluralismo” também é usado para descrever uma atitude de “vale tudo” que deixa as preocupações com a qualidade de lado em favor de um tipo de tolerância que tudo aceita como igualmente válido. Arthur C. Danto propõe uma primeira compreensão do termo “pluralismo” como sendo o resultado das mudanças no mundo da arte desde os anos 1960. Na sua opinião, a partir desta década, a crise da arte-objeto assumiu amplo poder de disseminação. Este foi para Danto, sobretudo no caso da obra de Andy Warhol, o que tornou evidente o problema com/da arte. Esse problema não é outro senão o de distinguir o objeto de arte dos objetos-do-mundo. Quando o objeto artístico veio a ser considerado nem superior nem inferior a objetos no mundo real, mas próximo demais a eles para permitir uma distinção visual (ready-mades de Duchamp ou Brillo boxes de Warhol), a diferença entre um objeto de arte e um objeto-do- mundo escapou da esfera da estética, e da arte em geral, para se tornar um problema Publicado originalmente em Janus filosófico. Era como se a arte tivesse chegado à compreensão de sua própria essência, Head: Journal of Interdisciplinary Studies in Literature, Continental Phi- o conhecimento pela arte de “o que é arte” e, ao fazê-lo, tivesse chegado a uma losophy, Phenomenological Psychology, espécie de encerramento (Danto,Transfiguration, p. 107).1 A arte adentrou, então, and the Arts, v. 7, n. 2, p. 477-487, um estágio que pode ser chamado de pós-histórico ou pós-moderno, uma fase que inverno de 2004, Trivium Publications, Amherst (Estados Unidos). parecia libertar o artista e o objeto de arte das funções que foram convencionadas a eles até aquele momento. 1 O segundo significado de “pluralismo”, como “vale tudo”, caracteriza uma Danto propõe que um desenvolvimen- falha por parte do artista, do crítico, e do mundo da arte em geral em engajar-se to semelhante ocorre na estética de seriamente com o tema em questão, ou seja, a arte, a fim de fazê-la desempenhar Hegel, onde a arte é um instrumento para a plena manifestação do espírito um papel relevante nos debates culturais de hoje.
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